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"title": "A Second-By-Second Breakdown of Dolly Parton’s ‘We Are the Champions’ Video",
"headTitle": "A Second-By-Second Breakdown of Dolly Parton’s ‘We Are the Champions’ Video | KQED",
"content": "\u003cp>I’ve been trying to ignore the press releases for Dolly Parton’s imminent album \u003cem>Rockstar\u003c/em>, on which the country superstar is joined by guest stars to cover a variety of rock classics. (And also \u003ca href=\"https://www.youtube.com/watch?v=fLH_g2L3pKU\">Miley Cyrus’ pop hit “Wrecking Ball”\u003c/a> because: goddaughter). Some find Dolly duetting with the original artists (like “Every Breath You Take” featuring Sting, or “Heart of Glass” featuring Debbie Harry), and some feature random stars (like her version of “(I Can’t Get No) Satisfaction” with P!nk and Brandi Carlile). The album also contains a few original tracks, on which Dolly collaborates with the likes of \u003ca href=\"https://www.youtube.com/watch?v=hQTM3Dwpk0I\">Judas Priest’s Rob Halford\u003c/a> and human garbage truck Kid Rock.\u003c/p>\n\u003cp>[aside postid='arts_13889581']One of the first tastes we’re getting of \u003cem>Rockstar\u003c/em> is the brand new video for a solo Dolly performing Queen’s “We Are the Champions,” in anticipation of the Summer 2024 Olympics in Paris. Queen’s 1977 hit was already played out as a sporting anthem when the San Francisco Giants decided to play it into our unwilling ears at every game following their 2012 World Series win, but sure, let’s keep flogging that dead horse, shall we?\u003c/p>\n\u003cp>Dolly, perhaps keen to differentiate her sporty use of “We Are the Champions” from other sporty uses of “We Are the Champions,” has also tacked a gratuitous rendition of “We Will Rock You” onto the end. Because apparently good sense was entirely absent in the \u003cem>Rockstar\u003c/em> recording sessions.\u003c/p>\n\u003cp>The video for the final awkward-combo song was released today. As you might expect, it’s a thing to behold! Here then, is our (admittedly cynical) rundown of everything that happens in the video.\u003c/p>\n\u003cp>\u003cstrong>0:05\u003c/strong>: Dolly sits somberly on empty bleachers wearing the same facial expression she might adopt before singing “\u003ca href=\"https://www.youtube.com/watch?v=xRriGGC68A8\">Me and Little Andy\u003c/a>,” her classic track in which an abandoned six-year-old child and her cute little dog beg strangers for help, then unceremoniously drop dead. Who feels like goin’ to the Olympics?! Woo!\u003c/p>\n\u003cfigure id=\"attachment_13932127\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932127\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-26-at-3.14.54-PM-800x483.png\" alt=\"Dolly Parton, wearing a white jumpsuit, sitting alone in the center of bleachers, head bowed.\" width=\"800\" height=\"483\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-26-at-3.14.54-PM-800x483.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-26-at-3.14.54-PM-160x97.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-26-at-3.14.54-PM-768x464.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-26-at-3.14.54-PM.png 934w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dolly Parton: Very much not at a pep rally and obviously sad about it. \u003ccite>(YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>0:36\u003c/strong>: Fireworks explode behind the Eiffel Tower and sports montages begin, complete with a backing track of roaring crowds. Do you feel that, everyone? It’s the sound of trying to get excited about something that doesn’t start for another year! Yay!\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>0:40\u003c/strong>: Dolly’s wearing a gold dress now. You know: Like the medal. Because if this song isn’t literal enough already, by God, Dolly can and will hammer it home with a wardrobe choice.\u003c/p>\n\u003cp>\u003cstrong>0:49\u003c/strong>: She’s wearing silver now. Because winning a silver medal is also perfectly respectable, and Dolly wouldn’t want you to think otherwise. Inclusion!\u003c/p>\n\u003cp>\u003cstrong>0:52\u003c/strong>: An image of two athletes literally fighting to accompany the line “We’ll keep on fighting ’til the end.” Subtle imagery is everywhere!\u003c/p>\n\u003cp>\u003cstrong>0:56\u003c/strong>: Oh, snap! Dolly’s wearing bronze now! Five dollars says she’s about to show up dressed as a participation certificate.\u003c/p>\n\u003cp>\u003cstrong>0:59\u003c/strong>: Gold, silver and bronze Dolly are singing in front of the Eiffel Tower now, together. Strong bachelorette-party-with-too-many-of-your-drunk-aunts-in-Vegas vibes emanate from the screen.\u003c/p>\n\u003cfigure id=\"attachment_13932126\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932126\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-26-at-3.02.46-PM-800x425.png\" alt=\"Three Dolly Partons performing on stools together, wearing matching silver, gold and bronze dresses.\" width=\"800\" height=\"425\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-26-at-3.02.46-PM-800x425.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-26-at-3.02.46-PM-1020x542.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-26-at-3.02.46-PM-160x85.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-26-at-3.02.46-PM-768x408.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-26-at-3.02.46-PM-1536x816.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-26-at-3.02.46-PM-2048x1089.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-26-at-3.02.46-PM-1920x1020.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cool. \u003ccite>(YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>1:26\u003c/strong>: The line “I’ve taken my bows” is accompanied by — what else? — a runner taking a bow. A handful of my brain cells just died.\u003c/p>\n\u003cp>\u003cstrong>1:40\u003c/strong>: A montage of athletes biting the dust, in slow motion, on their respective fields. “No time for losers” and now this? This doesn’t feel very supportive, Dolly!\u003c/p>\n\u003cp>\u003cstrong>2:28\u003c/strong>: Dolly is in the bleachers again, now surrounded by a wholesome group of perfectly still young people who stare intently at her face, even if it means twisting around in their seats to do so. Two questions: 1) Is this a cult? And, 2) Is there about to be a human sacrifice? ‘Cause this is weird. First one to move is the loser!\u003c/p>\n\u003cfigure id=\"attachment_13932125\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932125\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-26-at-2.57.25-PM-800x463.png\" alt=\"Dolly Parton seated on bleachers surrounded by a diverse crowd of people of varying ages.\" width=\"800\" height=\"463\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-26-at-2.57.25-PM-800x463.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-26-at-2.57.25-PM-1020x590.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-26-at-2.57.25-PM-160x93.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-26-at-2.57.25-PM-768x444.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-26-at-2.57.25-PM.png 1144w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Hey, extra No. 46. You look a bit like Zendaya. Go ahead and sit directly behind Dolly.” \u003ccite>(YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>2:45\u003c/strong>: Oh, crap. The wholesome humans are singing along en masse now, thereby signaling that we’re \u003cem>all\u003c/em> losers.\u003c/p>\n\u003cp>\u003cstrong>3:04\u003c/strong>: Oh, crap. The “We Will Rock You” segue has begun and things are about to get considerably worse, I can just feel it.\u003c/p>\n\u003cp>[aside postid='arts_13922004']\u003cstrong>3:19\u003c/strong>: Director: “Hey, video people? Listen. Clearly some of you have no rhythm, so instead of doing full handclaps and foot stomps as Queen originally intended, just limply do a single handclap at the end of each section. Is that cool? Cool. We have zero faith in any of you.”\u003c/p>\n\u003cp>\u003cstrong>3:52\u003c/strong>: The camera pans out from Dolly’s corner of the stadium to show bleacher after bleacher of limply clapping people. Feel the American glory!\u003c/p>\n\u003cp>\u003cstrong>3:55\u003c/strong>: Diamonds with “Paris 2024” written inside them flash onscreen along with the NBC logo. I should’ve known that network had something to do with this. NBC was also responsible for the Dollywood/NBC infomercial that was Dolly Parton’s last (mind-melting) Christmas movie, \u003cem>\u003ca href=\"https://www.kqed.org/arts/13922004/dolly-partons-mountain-magic-christmas-special-nbc-miley-billy-ray-cyrus\">Dolly Parton’s Magic Mountain Christmas\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>You can watch Dolly Parton’s “We Are the Champions/We Will Rock You” in full below, if you dare:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4UYtJUYrGQQ\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>Dolly Parton’s ‘Rockstar’ will be released on Nov. 17, 2023. You have been warned.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>One of the first tastes we’re getting of \u003cem>Rockstar\u003c/em> is the brand new video for a solo Dolly performing Queen’s “We Are the Champions,” in anticipation of the Summer 2024 Olympics in Paris. Queen’s 1977 hit was already played out as a sporting anthem when the San Francisco Giants decided to play it into our unwilling ears at every game following their 2012 World Series win, but sure, let’s keep flogging that dead horse, shall we?\u003c/p>\n\u003cp>Dolly, perhaps keen to differentiate her sporty use of “We Are the Champions” from other sporty uses of “We Are the Champions,” has also tacked a gratuitous rendition of “We Will Rock You” onto the end. Because apparently good sense was entirely absent in the \u003cem>Rockstar\u003c/em> recording sessions.\u003c/p>\n\u003cp>The video for the final awkward-combo song was released today. As you might expect, it’s a thing to behold! Here then, is our (admittedly cynical) rundown of everything that happens in the video.\u003c/p>\n\u003cp>\u003cstrong>0:05\u003c/strong>: Dolly sits somberly on empty bleachers wearing the same facial expression she might adopt before singing “\u003ca href=\"https://www.youtube.com/watch?v=xRriGGC68A8\">Me and Little Andy\u003c/a>,” her classic track in which an abandoned six-year-old child and her cute little dog beg strangers for help, then unceremoniously drop dead. Who feels like goin’ to the Olympics?! Woo!\u003c/p>\n\u003cfigure id=\"attachment_13932127\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932127\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-26-at-3.14.54-PM-800x483.png\" alt=\"Dolly Parton, wearing a white jumpsuit, sitting alone in the center of bleachers, head bowed.\" width=\"800\" height=\"483\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-26-at-3.14.54-PM-800x483.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-26-at-3.14.54-PM-160x97.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-26-at-3.14.54-PM-768x464.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-26-at-3.14.54-PM.png 934w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dolly Parton: Very much not at a pep rally and obviously sad about it. \u003ccite>(YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>0:36\u003c/strong>: Fireworks explode behind the Eiffel Tower and sports montages begin, complete with a backing track of roaring crowds. Do you feel that, everyone? It’s the sound of trying to get excited about something that doesn’t start for another year! Yay!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>0:40\u003c/strong>: Dolly’s wearing a gold dress now. You know: Like the medal. Because if this song isn’t literal enough already, by God, Dolly can and will hammer it home with a wardrobe choice.\u003c/p>\n\u003cp>\u003cstrong>0:49\u003c/strong>: She’s wearing silver now. Because winning a silver medal is also perfectly respectable, and Dolly wouldn’t want you to think otherwise. Inclusion!\u003c/p>\n\u003cp>\u003cstrong>0:52\u003c/strong>: An image of two athletes literally fighting to accompany the line “We’ll keep on fighting ’til the end.” Subtle imagery is everywhere!\u003c/p>\n\u003cp>\u003cstrong>0:56\u003c/strong>: Oh, snap! Dolly’s wearing bronze now! Five dollars says she’s about to show up dressed as a participation certificate.\u003c/p>\n\u003cp>\u003cstrong>0:59\u003c/strong>: Gold, silver and bronze Dolly are singing in front of the Eiffel Tower now, together. Strong bachelorette-party-with-too-many-of-your-drunk-aunts-in-Vegas vibes emanate from the screen.\u003c/p>\n\u003cfigure id=\"attachment_13932126\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932126\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-26-at-3.02.46-PM-800x425.png\" alt=\"Three Dolly Partons performing on stools together, wearing matching silver, gold and bronze dresses.\" width=\"800\" height=\"425\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-26-at-3.02.46-PM-800x425.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-26-at-3.02.46-PM-1020x542.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-26-at-3.02.46-PM-160x85.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-26-at-3.02.46-PM-768x408.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-26-at-3.02.46-PM-1536x816.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-26-at-3.02.46-PM-2048x1089.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-26-at-3.02.46-PM-1920x1020.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cool. \u003ccite>(YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>1:26\u003c/strong>: The line “I’ve taken my bows” is accompanied by — what else? — a runner taking a bow. A handful of my brain cells just died.\u003c/p>\n\u003cp>\u003cstrong>1:40\u003c/strong>: A montage of athletes biting the dust, in slow motion, on their respective fields. “No time for losers” and now this? This doesn’t feel very supportive, Dolly!\u003c/p>\n\u003cp>\u003cstrong>2:28\u003c/strong>: Dolly is in the bleachers again, now surrounded by a wholesome group of perfectly still young people who stare intently at her face, even if it means twisting around in their seats to do so. Two questions: 1) Is this a cult? And, 2) Is there about to be a human sacrifice? ‘Cause this is weird. First one to move is the loser!\u003c/p>\n\u003cfigure id=\"attachment_13932125\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932125\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-26-at-2.57.25-PM-800x463.png\" alt=\"Dolly Parton seated on bleachers surrounded by a diverse crowd of people of varying ages.\" width=\"800\" height=\"463\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-26-at-2.57.25-PM-800x463.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-26-at-2.57.25-PM-1020x590.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-26-at-2.57.25-PM-160x93.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-26-at-2.57.25-PM-768x444.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-26-at-2.57.25-PM.png 1144w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Hey, extra No. 46. You look a bit like Zendaya. Go ahead and sit directly behind Dolly.” \u003ccite>(YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>2:45\u003c/strong>: Oh, crap. The wholesome humans are singing along en masse now, thereby signaling that we’re \u003cem>all\u003c/em> losers.\u003c/p>\n\u003cp>\u003cstrong>3:04\u003c/strong>: Oh, crap. The “We Will Rock You” segue has begun and things are about to get considerably worse, I can just feel it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cstrong>3:19\u003c/strong>: Director: “Hey, video people? Listen. Clearly some of you have no rhythm, so instead of doing full handclaps and foot stomps as Queen originally intended, just limply do a single handclap at the end of each section. Is that cool? Cool. We have zero faith in any of you.”\u003c/p>\n\u003cp>\u003cstrong>3:52\u003c/strong>: The camera pans out from Dolly’s corner of the stadium to show bleacher after bleacher of limply clapping people. Feel the American glory!\u003c/p>\n\u003cp>\u003cstrong>3:55\u003c/strong>: Diamonds with “Paris 2024” written inside them flash onscreen along with the NBC logo. I should’ve known that network had something to do with this. NBC was also responsible for the Dollywood/NBC infomercial that was Dolly Parton’s last (mind-melting) Christmas movie, \u003cem>\u003ca href=\"https://www.kqed.org/arts/13922004/dolly-partons-mountain-magic-christmas-special-nbc-miley-billy-ray-cyrus\">Dolly Parton’s Magic Mountain Christmas\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>You can watch Dolly Parton’s “We Are the Champions/We Will Rock You” in full below, if you dare:\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/4UYtJUYrGQQ'\n title='//www.youtube.com/embed/4UYtJUYrGQQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\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>Dolly Parton’s ‘Rockstar’ will be released on Nov. 17, 2023. You have been warned.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Issa Rae Offers Aspiring Female Directors a Chance to Shine on ‘Project Greenlight’ Reboot",
"headTitle": "Issa Rae Offers Aspiring Female Directors a Chance to Shine on ‘Project Greenlight’ Reboot | KQED",
"content": "\u003cp>From Issa Rae’s perspective, there’s plenty of talented female filmmakers willing to work. However, she knows most haven’t been afforded the same support as their male counterparts.\u003c/p>\n\u003cp>[aside postid='pop_17048']Now, Rae feels compelled to create a supportive platform for aspiring women directors through the reboot series \u003cem>Project Greenlight: A New Generation\u003c/em>, which premiered this month on Max. She brought back the Ben Affleck and Matt Damon series that debuted in 2001 on HBO about unproven filmmakers directing a feature-length movie. It was canceled 14 years later after a controversial fourth season, which included \u003ca href=\"https://www.youtube.com/results?search_query=matt+damon+effie+brown\">a heated discussion between Damon and producer Effie Brown over diversity\u003c/a>.\u003c/p>\n\u003cp>This time, Rae puts a spotlight on the next generation of women who are tasked to direct a full-length film too.\u003c/p>\n\u003cp>“The series shows that there are a lot of women out there who are interested. With proper resources and given a chance, they can absolutely deliver,” Rae said in interview before the actor’s strike. She is a mentor in the series alongside actor Kumail Nanjiani and \u003cem>The Woman King\u003c/em> director Gina Prince-Bythewood.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=W00grJNOIVo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Rae witnessed Greta Gerwig direct the big budget \u003ca href=\"https://www.kqed.org/arts/13931753/allan-doll-michael-cera-greta-gerwig-barbie-movie-review\">\u003cem>Barbie\u003c/em> film\u003c/a>, which had 2023’s biggest opening. \u003ca href=\"https://www.kqed.org/arts/13931981/greta-gerwig-box-office-record-female-directors\">Gerwig shattered the first weekend records for a film directed by a woman\u003c/a>. The \u003cem>Insecure\u003c/em> creator appeared as President Barbie in the movie starring Margot Robbie and Ryan Gosling.\u003c/p>\n\u003cp>“I saw it even while promoting \u003cem>Barbie\u003c/em>,” Rae said. “I’m working with a director who’s one of six to get a $100-million budget. Six women. It’s an industry-wide issue where there are limitations for the opportunities that women get. I think this series shines a light on a very small area that needs improvement.”\u003c/p>\n\u003cp>[aside postid='arts_13931981']Rae said the idea to revive the series was originally presented to her by Montrel McKay, who is featured in show and serves as the president of development & production at her Hoorae Media production company. After the company approached Max with the idea to highlight first-time female directors, she said the streaming service was “enthusiastic” in what she calls the easiest greenlight from them.\u003c/p>\n\u003cp>Rae and company filtered through 10 finalists before selecting Meko Winbush, a writer-director who mostly had experience making trailers and short films. The 10-episode series pulls back the curtain on the entire filmmaking process that shows the challenges each team faces while guiding Winbush — who is a Black woman — into making a successful film project.\u003c/p>\n\u003cp>Prince-Bythewood said it was important for the series to specifically highlight female directors, who weren’t hardly featured — if at all — in the original series.\u003c/p>\n\u003cp>“I used to love the show. I used to watch every season. And there was such a normalcy to the winners always being ‘white men.’ I don’t even remember a person of color even being in the running. I don’t remember a woman,” she said. “I didn’t even question it back then, which is crazy. Being a part of it now, this reboot is way more reflective of what the industry is and needs to be.”\u003c/p>\n\u003cfigure id=\"attachment_13932091\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932091\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-1472404785-scaled-e1690396752210-800x564.jpg\" alt=\"Two Black women with shoulder length wavy hair stand close together, smiling, on a red carpet. The woman on the left wears a gold velvet suit and white shirt and clutches an award statue. The woman on the right wearing a Black suit.\" width=\"800\" height=\"564\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1472404785-scaled-e1690396752210-800x564.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1472404785-scaled-e1690396752210-1020x719.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1472404785-scaled-e1690396752210-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1472404785-scaled-e1690396752210-768x541.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1472404785-scaled-e1690396752210-1536x1082.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1472404785-scaled-e1690396752210.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gina Prince-Bythewood and Viola Davis, star of ‘The Woman King,’ attend the 2023 ‘ESSENCE’ Black Women in Hollywood Awards in LA. \u003ccite>(Robin L Marshall/Getty Images for ESSENCE)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Throughout the process, Winbush was under constant pressure and struggled at times to execute her vision. She had less than 20 days to direct the science fiction thriller called \u003cem>Gray Matter\u003c/em>.\u003c/p>\n\u003cp>The cameras rolled from pre-production along with casting through principal photography and post-production.\u003c/p>\n\u003cp>“Women aren’t given a chance to direct genre movies,” said Rae, who initially had some reservations about selecting Winbush. “In hindsight, it’s ambitious to try to make a genre movie in 18 days with a very limited budget. But I give props to Meko for doing just that. This is a hard experience to do with a camera in your face. She did it and handled it with grace and was enthusiastic about the process.”\u003c/p>\n\u003cp>Prince-Bythewood sees herself in Winbush, who has become her mentee of sorts. As a fellow introvert, she tried to instill more confidence in Winbush’s stature as a leader.\u003c/p>\n\u003cp>[aside postid='arts_13931773']“I thought about myself and given the situation, I could empathize with what she was going through,” said Prince-Bythewood, who made her directorial debut with \u003cem>Love & Basketball\u003c/em> and known for other films such as \u003cem>The Secret Life of Bees\u003c/em> and \u003cem>The Old Guard\u003c/em>. The director said she was determined to help Winbush learn the importance of communication, swagger and inspiring the crew.\u003c/p>\n\u003cp>“The confidence in her abilities was always there. My thing was she kept calling herself a first-time director,” she said. “I told her you can’t think of yourself like that, because then everybody else is going to think about you like that as if that’s a negative thing, like you don’t know what you’re doing as opposed to you being a director making your first film … You’re on the frontline.”\u003c/p>\n\u003cp>Regardless of how Winbush’s film panned out, Rae said the process was very beneficial. She has hopes for a second season to introduce more female directors, including some of color.\u003c/p>\n\u003cp>“If we get another opportunity, we kind of want to start smaller, make sure the script is in shape,” Rae said. “We want to give an opportunity to another director out there who needs a support system. Gina, Kumail and I lament the fact that our time was sucked by respective projects. We want to operate as even better mentors to the next hopeful and be more hands on with the project throughout.”\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>‘Project Greenlight: A New Generation’ is streaming on Max now.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Now, Rae feels compelled to create a supportive platform for aspiring women directors through the reboot series \u003cem>Project Greenlight: A New Generation\u003c/em>, which premiered this month on Max. She brought back the Ben Affleck and Matt Damon series that debuted in 2001 on HBO about unproven filmmakers directing a feature-length movie. It was canceled 14 years later after a controversial fourth season, which included \u003ca href=\"https://www.youtube.com/results?search_query=matt+damon+effie+brown\">a heated discussion between Damon and producer Effie Brown over diversity\u003c/a>.\u003c/p>\n\u003cp>This time, Rae puts a spotlight on the next generation of women who are tasked to direct a full-length film too.\u003c/p>\n\u003cp>“The series shows that there are a lot of women out there who are interested. With proper resources and given a chance, they can absolutely deliver,” Rae said in interview before the actor’s strike. She is a mentor in the series alongside actor Kumail Nanjiani and \u003cem>The Woman King\u003c/em> director Gina Prince-Bythewood.\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/W00grJNOIVo'\n title='//www.youtube.com/embed/W00grJNOIVo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Rae witnessed Greta Gerwig direct the big budget \u003ca href=\"https://www.kqed.org/arts/13931753/allan-doll-michael-cera-greta-gerwig-barbie-movie-review\">\u003cem>Barbie\u003c/em> film\u003c/a>, which had 2023’s biggest opening. \u003ca href=\"https://www.kqed.org/arts/13931981/greta-gerwig-box-office-record-female-directors\">Gerwig shattered the first weekend records for a film directed by a woman\u003c/a>. The \u003cem>Insecure\u003c/em> creator appeared as President Barbie in the movie starring Margot Robbie and Ryan Gosling.\u003c/p>\n\u003cp>“I saw it even while promoting \u003cem>Barbie\u003c/em>,” Rae said. “I’m working with a director who’s one of six to get a $100-million budget. Six women. It’s an industry-wide issue where there are limitations for the opportunities that women get. I think this series shines a light on a very small area that needs improvement.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Rae said the idea to revive the series was originally presented to her by Montrel McKay, who is featured in show and serves as the president of development & production at her Hoorae Media production company. After the company approached Max with the idea to highlight first-time female directors, she said the streaming service was “enthusiastic” in what she calls the easiest greenlight from them.\u003c/p>\n\u003cp>Rae and company filtered through 10 finalists before selecting Meko Winbush, a writer-director who mostly had experience making trailers and short films. The 10-episode series pulls back the curtain on the entire filmmaking process that shows the challenges each team faces while guiding Winbush — who is a Black woman — into making a successful film project.\u003c/p>\n\u003cp>Prince-Bythewood said it was important for the series to specifically highlight female directors, who weren’t hardly featured — if at all — in the original series.\u003c/p>\n\u003cp>“I used to love the show. I used to watch every season. And there was such a normalcy to the winners always being ‘white men.’ I don’t even remember a person of color even being in the running. I don’t remember a woman,” she said. “I didn’t even question it back then, which is crazy. Being a part of it now, this reboot is way more reflective of what the industry is and needs to be.”\u003c/p>\n\u003cfigure id=\"attachment_13932091\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932091\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-1472404785-scaled-e1690396752210-800x564.jpg\" alt=\"Two Black women with shoulder length wavy hair stand close together, smiling, on a red carpet. The woman on the left wears a gold velvet suit and white shirt and clutches an award statue. The woman on the right wearing a Black suit.\" width=\"800\" height=\"564\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1472404785-scaled-e1690396752210-800x564.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1472404785-scaled-e1690396752210-1020x719.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1472404785-scaled-e1690396752210-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1472404785-scaled-e1690396752210-768x541.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1472404785-scaled-e1690396752210-1536x1082.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1472404785-scaled-e1690396752210.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gina Prince-Bythewood and Viola Davis, star of ‘The Woman King,’ attend the 2023 ‘ESSENCE’ Black Women in Hollywood Awards in LA. \u003ccite>(Robin L Marshall/Getty Images for ESSENCE)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Throughout the process, Winbush was under constant pressure and struggled at times to execute her vision. She had less than 20 days to direct the science fiction thriller called \u003cem>Gray Matter\u003c/em>.\u003c/p>\n\u003cp>The cameras rolled from pre-production along with casting through principal photography and post-production.\u003c/p>\n\u003cp>“Women aren’t given a chance to direct genre movies,” said Rae, who initially had some reservations about selecting Winbush. “In hindsight, it’s ambitious to try to make a genre movie in 18 days with a very limited budget. But I give props to Meko for doing just that. This is a hard experience to do with a camera in your face. She did it and handled it with grace and was enthusiastic about the process.”\u003c/p>\n\u003cp>Prince-Bythewood sees herself in Winbush, who has become her mentee of sorts. As a fellow introvert, she tried to instill more confidence in Winbush’s stature as a leader.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I thought about myself and given the situation, I could empathize with what she was going through,” said Prince-Bythewood, who made her directorial debut with \u003cem>Love & Basketball\u003c/em> and known for other films such as \u003cem>The Secret Life of Bees\u003c/em> and \u003cem>The Old Guard\u003c/em>. The director said she was determined to help Winbush learn the importance of communication, swagger and inspiring the crew.\u003c/p>\n\u003cp>“The confidence in her abilities was always there. My thing was she kept calling herself a first-time director,” she said. “I told her you can’t think of yourself like that, because then everybody else is going to think about you like that as if that’s a negative thing, like you don’t know what you’re doing as opposed to you being a director making your first film … You’re on the frontline.”\u003c/p>\n\u003cp>Regardless of how Winbush’s film panned out, Rae said the process was very beneficial. She has hopes for a second season to introduce more female directors, including some of color.\u003c/p>\n\u003cp>“If we get another opportunity, we kind of want to start smaller, make sure the script is in shape,” Rae said. “We want to give an opportunity to another director out there who needs a support system. Gina, Kumail and I lament the fact that our time was sucked by respective projects. We want to operate as even better mentors to the next hopeful and be more hands on with the project throughout.”\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>‘Project Greenlight: A New Generation’ is streaming on Max now.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In ‘Talk to Me,’ the Journey Is More Fun Than the Final Destination",
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"content": "\u003cp>Did you ever go on an epic cross-country road trip, only to discover that the car ride was a lot more fun than the final destination? If you want to experience that same slightly confounding sensation at the movies this summer, then new Aussie horror flick \u003cem>Talk to Me\u003c/em> is probably for you!\u003c/p>\n\u003cp>[aside postid='arts_13904911']There is so much right about this gritty little hell-ride. There’s the alluring premise — a bunch of thrill-seeking teens use a mysterious porcelain hand to start communicating with the dead. We only know as much as the kids do about the origins of the hand, but we do meet its last owner in one of the most memorable opening scenes in recent horror history. (I’d go so far as to put it up there with \u003ca href=\"https://www.youtube.com/watch?v=Sn5SkCvPEYo\">Drew Barrymore’s turn in 1996’s \u003cem>Scream\u003c/em>\u003c/a>.)\u003c/p>\n\u003cp>\u003cem>Talk to Me\u003c/em> also benefits from a fantastic cast who acts the crap out of this entire thing, conveying a natural chemistry that grounds the movie in realism. (Refreshing, given how often supernatural movies fail in that task.) Particularly stellar is Sophie Wilde as Mia, an alienated teen still grieving the death of her mother. (Because yes, you can never have too many \u003ca href=\"https://www.kqed.org/arts/13929006/from-psycho-to-a-new-crop-of-horror-movies-the-genre-has-some-mommy-issues\">mommy issues in horror movies\u003c/a>.) Wilde does most of the heavy lifting here, lurching from raw emotion to cartoonish possession in the blink of an eye. But there isn’t a bad actor in the bunch.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PGo4wfCejsk\u003c/p>\n\u003cp>As things begin to spiral out of control for Mia and her friends, and as dark forces begin invading their everyday spaces, the tension mounts, the unease spreads and the horror ramps up. Word of warning: There are moments of physical violence so distressing here, you’ll struggle to keep your eyes on the screen.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='arts_13929006']Then, after all that promise and build-up, there’s the ending: the stupid, confusing, half-baked ending that’s in such a rush to tie things up neatly, a number of major questions never get appropriately answered. The fate of one of Mia’s most vulnerable friends makes the least sense of all.\u003c/p>\n\u003cp>It’s worth noting that, before they co-directed \u003cem>Talk to Me,\u003c/em> twins Danny and Michael Philippou were best known for their \u003ca href=\"https://www.youtube.com/channel/UCz_cDc_2arKIb6SlJoqFT0w\">RackaRacka YouTube channel\u003c/a>. The brothers’ goofy skits and real-life stunts garnered them a subscriber list of almost 7 million people. Fumbled ending or not, there are enough great elements in \u003cem>Talk to Me\u003c/em> that it’s likely to change the brothers’ lives fundamentally. Let’s just hope that, when it comes time for them to make their second feature, they’ll be confident and comfortable enough to stick the landing. For what it’s worth, \u003cem>Talk to Me\u003c/em> got damn close.\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>‘Talk to Me’ is released nationwide on Friday, July 28, 2023.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Did you ever go on an epic cross-country road trip, only to discover that the car ride was a lot more fun than the final destination? If you want to experience that same slightly confounding sensation at the movies this summer, then new Aussie horror flick \u003cem>Talk to Me\u003c/em> is probably for you!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There is so much right about this gritty little hell-ride. There’s the alluring premise — a bunch of thrill-seeking teens use a mysterious porcelain hand to start communicating with the dead. We only know as much as the kids do about the origins of the hand, but we do meet its last owner in one of the most memorable opening scenes in recent horror history. (I’d go so far as to put it up there with \u003ca href=\"https://www.youtube.com/watch?v=Sn5SkCvPEYo\">Drew Barrymore’s turn in 1996’s \u003cem>Scream\u003c/em>\u003c/a>.)\u003c/p>\n\u003cp>\u003cem>Talk to Me\u003c/em> also benefits from a fantastic cast who acts the crap out of this entire thing, conveying a natural chemistry that grounds the movie in realism. (Refreshing, given how often supernatural movies fail in that task.) Particularly stellar is Sophie Wilde as Mia, an alienated teen still grieving the death of her mother. (Because yes, you can never have too many \u003ca href=\"https://www.kqed.org/arts/13929006/from-psycho-to-a-new-crop-of-horror-movies-the-genre-has-some-mommy-issues\">mommy issues in horror movies\u003c/a>.) Wilde does most of the heavy lifting here, lurching from raw emotion to cartoonish possession in the blink of an eye. But there isn’t a bad actor in the bunch.\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/PGo4wfCejsk'\n title='//www.youtube.com/embed/PGo4wfCejsk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As things begin to spiral out of control for Mia and her friends, and as dark forces begin invading their everyday spaces, the tension mounts, the unease spreads and the horror ramps up. Word of warning: There are moments of physical violence so distressing here, you’ll struggle to keep your eyes on the screen.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Then, after all that promise and build-up, there’s the ending: the stupid, confusing, half-baked ending that’s in such a rush to tie things up neatly, a number of major questions never get appropriately answered. The fate of one of Mia’s most vulnerable friends makes the least sense of all.\u003c/p>\n\u003cp>It’s worth noting that, before they co-directed \u003cem>Talk to Me,\u003c/em> twins Danny and Michael Philippou were best known for their \u003ca href=\"https://www.youtube.com/channel/UCz_cDc_2arKIb6SlJoqFT0w\">RackaRacka YouTube channel\u003c/a>. The brothers’ goofy skits and real-life stunts garnered them a subscriber list of almost 7 million people. Fumbled ending or not, there are enough great elements in \u003cem>Talk to Me\u003c/em> that it’s likely to change the brothers’ lives fundamentally. Let’s just hope that, when it comes time for them to make their second feature, they’ll be confident and comfortable enough to stick the landing. For what it’s worth, \u003cem>Talk to Me\u003c/em> got damn close.\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>‘Talk to Me’ is released nationwide on Friday, July 28, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Tensions Boil Over in Christian Petzold’s Haunting Summer Drama, ‘Afire’",
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"content": "\u003cp>Fire is in the air this summer, literally, and at the movies. Though the flames in German filmmaker Christian Petzold’s \u003cem>Afire\u003c/em> aren’t of the nuclear variety, the smoke from his tension-filled chamber piece about a few young adults at a vacation house near the Baltic Sea certainly gets in your eyes.\u003c/p>\n\u003cp>[aside postid='arts_13931543']This is a film about youth, climate change, ego, artistry and, well, being a human in the world. So naturally the main protagonist is an arrogant, off-putting writer aggrieved by everything and everyone around him as he tries to work on his latest novel in a would-be idyllic setting.\u003c/p>\n\u003cp>To be fairer to Leon (Thomas Schubert), there is a lot to be annoyed about from the start. His friend Felix’s (Langston Uibel) car breaks down on the way and they have to lug their suitcases quite a distance to get to the holiday home. When they finally arrive at the home, it’s a mess — plates, food, wine glasses, clutter and the distinct sense that someone else is staying there. Felix’s mom forgot to tell them she’d let someone else have the place and now these two pals are going to have to share a room on top of everything. The mystery guest, Nadja (Paula Beer), who disappears during the day, can’t seem to clean up after herself and makes quite a bit of noise at night with her own guest. In other words, Leon is not sleeping or getting much writing done.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Ss0jpO3txVQ\u003c/p>\n\u003cp>Empathy for Leon, however, wears thin pretty quickly. This is a man who is entirely consumed with himself, to the point where he can neither see nor empathize with anyone around him. Similarly he cannot enjoy himself or the world — he refuses to go for swims, gets annoyed at himself when he does venture to the beach and just falls asleep, he resents people for having jobs that aren’t intellectual and lets them know it, too. When Felix, a photographer, tells him about his idea for his portfolio, he callously dismisses it. Later, someone whose intellect he respects gushes about how brilliant Felix’s idea is, and Leon seethes more. And all as wildfires encroach upon the small town, threatening everything. The winds, they’re told, mean they’re safe.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The metaphor might not be subtle, but it’s surprisingly effective and haunting considering what’s to come. While Schubert is perfectly unlikable as the caustic writer, the real standout is Petzold regular Beer. Nadja is a luminous presence in a complex character who has depths that no one realizes. That’s what happens when you don’t ask, right?\u003c/p>\n\u003cp>[aside postid='arts_13931848']Petzold said the film, which won the Silver Bear at the Berlin Film Festival earlier this year, was born out of actual fever dreams, as he suffered through a bout with COVID-19, and the films of Eric Rohmer, which he watched through it all. He realized the French, and even Americans, have a whole summer movie genre — these journeys of self-discovery, often on a beach — but that German cinema was lacking.\u003c/p>\n\u003cp>And perhaps this is a very German expression of a summer coming-of-age film — there are striped sweaters, a very photogenic Baltic Sea, romantic longing and dinners with too much wine and a hauntingly atmospheric song, “in my mind” by the Wallners, which sets a dreamy, Lynchian mood. There’s also guilt, grief and loss and a poignant reminder to look at the world around us before it’s gone.\u003c/p>\n\u003cp>\u003cem>Copyright 2023 Associated Press. To see more, \u003ca href=\"https://apnews.com/\" rel=\"noopener\">visit AP\u003c/a>.\u003c/em>\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>‘Afire’ will screen at San Francisco’s \u003ca href=\"https://roxie.com/film/afire/\">Roxie Theater Aug. 4 – 6\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fire is in the air this summer, literally, and at the movies. Though the flames in German filmmaker Christian Petzold’s \u003cem>Afire\u003c/em> aren’t of the nuclear variety, the smoke from his tension-filled chamber piece about a few young adults at a vacation house near the Baltic Sea certainly gets in your eyes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This is a film about youth, climate change, ego, artistry and, well, being a human in the world. So naturally the main protagonist is an arrogant, off-putting writer aggrieved by everything and everyone around him as he tries to work on his latest novel in a would-be idyllic setting.\u003c/p>\n\u003cp>To be fairer to Leon (Thomas Schubert), there is a lot to be annoyed about from the start. His friend Felix’s (Langston Uibel) car breaks down on the way and they have to lug their suitcases quite a distance to get to the holiday home. When they finally arrive at the home, it’s a mess — plates, food, wine glasses, clutter and the distinct sense that someone else is staying there. Felix’s mom forgot to tell them she’d let someone else have the place and now these two pals are going to have to share a room on top of everything. The mystery guest, Nadja (Paula Beer), who disappears during the day, can’t seem to clean up after herself and makes quite a bit of noise at night with her own guest. In other words, Leon is not sleeping or getting much writing done.\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/Ss0jpO3txVQ'\n title='//www.youtube.com/embed/Ss0jpO3txVQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Empathy for Leon, however, wears thin pretty quickly. This is a man who is entirely consumed with himself, to the point where he can neither see nor empathize with anyone around him. Similarly he cannot enjoy himself or the world — he refuses to go for swims, gets annoyed at himself when he does venture to the beach and just falls asleep, he resents people for having jobs that aren’t intellectual and lets them know it, too. When Felix, a photographer, tells him about his idea for his portfolio, he callously dismisses it. Later, someone whose intellect he respects gushes about how brilliant Felix’s idea is, and Leon seethes more. And all as wildfires encroach upon the small town, threatening everything. The winds, they’re told, mean they’re safe.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The metaphor might not be subtle, but it’s surprisingly effective and haunting considering what’s to come. While Schubert is perfectly unlikable as the caustic writer, the real standout is Petzold regular Beer. Nadja is a luminous presence in a complex character who has depths that no one realizes. That’s what happens when you don’t ask, right?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Petzold said the film, which won the Silver Bear at the Berlin Film Festival earlier this year, was born out of actual fever dreams, as he suffered through a bout with COVID-19, and the films of Eric Rohmer, which he watched through it all. He realized the French, and even Americans, have a whole summer movie genre — these journeys of self-discovery, often on a beach — but that German cinema was lacking.\u003c/p>\n\u003cp>And perhaps this is a very German expression of a summer coming-of-age film — there are striped sweaters, a very photogenic Baltic Sea, romantic longing and dinners with too much wine and a hauntingly atmospheric song, “in my mind” by the Wallners, which sets a dreamy, Lynchian mood. There’s also guilt, grief and loss and a poignant reminder to look at the world around us before it’s gone.\u003c/p>\n\u003cp>\u003cem>Copyright 2023 Associated Press. To see more, \u003ca href=\"https://apnews.com/\" rel=\"noopener\">visit AP\u003c/a>.\u003c/em>\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>‘Afire’ will screen at San Francisco’s \u003ca href=\"https://roxie.com/film/afire/\">Roxie Theater Aug. 4 – 6\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Resilience of Steph Curry is Explored in New Apple TV+ Documentary",
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"content": "\u003cp>\u003ca href=\"https://www.kqed.org/arts/13927474/stephen-curry-underrated-documentary-peter-nicks\">\u003cem>Stephen Curry: Underrated\u003c/em>\u003c/a> is easily one of the most inspirational movies of the year.\u003c/p>\n\u003cp>This is a portrait of a man — the greatest three-point shooter of all time — who has felt inferior playing the game he loves since he was a scrawny kid playing on his local under-10 team. It’s easy to roll your eyes at supermodels who say they were teased when they were kids or famous actors who look like the captain of the football team insisting they were outcasts in high school. In the rear-view mirror, when things have gone so well after that origin story, it just always rings a little false.\u003c/p>\n\u003cp>[aside postid='arts_13927474']But in this documentary, directed by Peter Nicks and streaming on Apple TV+ Friday, the filmmakers put you in Curry’s shoes. They show you video of him on that under-10 team, indeed looking scrawnier than his counterparts and with the posture of someone who’s already self-conscious about it.\u003c/p>\n\u003cp>They have Reggie Miller on hand to read the draft report which says Curry is “far below NBA standard in regard to explosiveness and athleticism,” extremely short for a shooting guard position, and cautions “do not rely on him to run your team.” Ouch.\u003c/p>\n\u003cp>And they close in on his face at some of the biggest moments of his career, both in college and in the NBA, to show a reaction that’s neither smug nor nonchalant or overly celebratory: It’s authentic astonishment.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=csMgsPbzs5o\u003c/p>\n\u003cp>As if to upend expectations even more, the present timeline of \u003cem>Stephen Curry: Underrated\u003c/em> is not focused on a season or chasing a title — though there is plenty of basketball, including the moment he breaks the three-point record. It’s almost more about college — deciding he wanted to play at school, finding the right school for himself and, many years and championships later, studying to finish what he started, while juggling his career, his contracts and his family.\u003c/p>\n\u003cp>[aside postid='arts_13928775']In 2009, Curry decided to leave Davidson College a year early, without graduating, to pursue professional basketball. But he made a promise his mother, Sonya, that he’d go back and finish at some point.\u003c/p>\n\u003cp>Curry and Davidson, like most healthy athlete-school agreements, seemed to choose one another at exactly the right time. When he got in, feeling good about himself, he went to tell his friends: They’d never even heard of the small liberal arts college in North Carolina. That was a bit disappointing but what would have been even worse is if he’d accidentally sabotaged the whole thing by not responding to coach Bob McKillop, who started to worry whether his recruit was being pursued by other schools when Curry went dark.\u003c/p>\n\u003cp>From high school to college on into the pros, something that struck many about Curry is how he makes a lot of mistakes but never seems to wallow in them. When he goes up against Michigan for the first time in college, he describes how everything that could go wrong went wrong. Later, his coach said he was going to start the next game. McKillop saw in his perseverance a toughness that was rare in players.\u003c/p>\n\u003cp>His parents, Dell and Sonya, helped shepherd that discipline but always because he wanted it — not some horrifying reversal in which the parents are the drivers of something.\u003c/p>\n\u003cp>[aside postid='arts_13914916']You don’t need to know much about basketball or care about Steph Curry to watch this film, though many probably will. But much like the Michael Jordan doc \u003cem>The Last Dance\u003c/em>, this beautifully constructed (and much more economical) narrative operates on its own terms, with a beautiful score guiding the viewer through his life.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As Curry says in a zen sort of way, he’s just, ”Trying to find the space to survey my life … Let my mind think about how I got here.”\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>‘Stephen Curry: Underrated,’ begins streaming on Friday, July 21, via Apple TV+.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But in this documentary, directed by Peter Nicks and streaming on Apple TV+ Friday, the filmmakers put you in Curry’s shoes. They show you video of him on that under-10 team, indeed looking scrawnier than his counterparts and with the posture of someone who’s already self-conscious about it.\u003c/p>\n\u003cp>They have Reggie Miller on hand to read the draft report which says Curry is “far below NBA standard in regard to explosiveness and athleticism,” extremely short for a shooting guard position, and cautions “do not rely on him to run your team.” Ouch.\u003c/p>\n\u003cp>And they close in on his face at some of the biggest moments of his career, both in college and in the NBA, to show a reaction that’s neither smug nor nonchalant or overly celebratory: It’s authentic astonishment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In 2009, Curry decided to leave Davidson College a year early, without graduating, to pursue professional basketball. But he made a promise his mother, Sonya, that he’d go back and finish at some point.\u003c/p>\n\u003cp>Curry and Davidson, like most healthy athlete-school agreements, seemed to choose one another at exactly the right time. When he got in, feeling good about himself, he went to tell his friends: They’d never even heard of the small liberal arts college in North Carolina. That was a bit disappointing but what would have been even worse is if he’d accidentally sabotaged the whole thing by not responding to coach Bob McKillop, who started to worry whether his recruit was being pursued by other schools when Curry went dark.\u003c/p>\n\u003cp>From high school to college on into the pros, something that struck many about Curry is how he makes a lot of mistakes but never seems to wallow in them. When he goes up against Michigan for the first time in college, he describes how everything that could go wrong went wrong. Later, his coach said he was going to start the next game. McKillop saw in his perseverance a toughness that was rare in players.\u003c/p>\n\u003cp>His parents, Dell and Sonya, helped shepherd that discipline but always because he wanted it — not some horrifying reversal in which the parents are the drivers of something.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>You don’t need to know much about basketball or care about Steph Curry to watch this film, though many probably will. But much like the Michael Jordan doc \u003cem>The Last Dance\u003c/em>, this beautifully constructed (and much more economical) narrative operates on its own terms, with a beautiful score guiding the viewer through his life.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As Curry says in a zen sort of way, he’s just, ”Trying to find the space to survey my life … Let my mind think about how I got here.”\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>‘Stephen Curry: Underrated,’ begins streaming on Friday, July 21, via Apple TV+.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Abbi Jacobson Is Auctioning Off Her Blue ‘Broad City’ Dress to Benefit Striking Writers",
"headTitle": "Abbi Jacobson Is Auctioning Off Her Blue ‘Broad City’ Dress to Benefit Striking Writers | KQED",
"content": "\u003cp>There have been many sacrifices made since the WGA and SAG-AFTRA unions began striking in Hollywood. Three months in, writers’ bank accounts are taking a major hit as creatives continue to strike for better contracts and compensation. A week ago, actors joined the strike in solidarity with the writers, grinding Hollywood to an almost complete halt. That means, in turn, that California’s economy is losing millions. (\u003ca href=\"https://www.vox.com/culture/23696617/writers-strike-wga-2023-explained-residuals-streaming-ai\">The 100-day strike in 2007-08 cost the state a whopping $2.1 billion\u003c/a>!) To say it’s an all-hands-on-deck situation would be an understatement.\u003c/p>\n\u003cp>Remarkably, on Thursday morning, yet another extraordinary sacrifice was made. Abbi Jacobson stepped forward clutching the prize of a generation — her blue bodycon dress from \u003cem>Broad City\u003c/em>. The \u003cem>League of Their Own\u003c/em> star hit Instagram to announce she would be auctioning off her character Abbi Abrams’ iconic party garment to benefit \u003ca href=\"https://www.tusctogether.com/\">The Union Solidarity Commission. \u003c/a>(TUSC has been assisting striking workers with living and healthcare expenses.)\u003c/p>\n\u003cfigure id=\"attachment_13931868\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://www.instagram.com/p/Cu7N39lL3Ng/?img_index=1\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931868\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-20-at-12.13.39-PM-800x388.png\" alt=\"An Instagram post by Abbi Jacobson, featuring a photo of her wearing a blue dress while standing in a cluttered bedroom. She has her hands on her hips.\" width=\"800\" height=\"388\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-20-at-12.13.39-PM-800x388.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-20-at-12.13.39-PM-1020x494.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-20-at-12.13.39-PM-160x78.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-20-at-12.13.39-PM-768x372.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-20-at-12.13.39-PM-1536x744.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-20-at-12.13.39-PM-1920x930.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-20-at-12.13.39-PM.png 1936w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Abbi Jacobson is parting with her legendary blue dress, all to benefit the writers and actors currently on strike. \u003ccite>(Instagram/ @abbijacobson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jacobson wrote: “Have you ever wanted to own a real piece of Hollywood history? Some would say a priceless iconic garment? Others a treasured sliver of a time gone by? … This will obviously come with a handwritten note from me as this gem is hard to part with (and the Smithsonian hasn’t returned my calls). It’s taken me 5 years just to peel it off my body. Go bid and help a great cause!”\u003c/p>\n\u003cp>Jacobson’s former \u003cem>Broad City\u003c/em> co-star Ilana Glazer was quick to leave a comment asking “how do I win this dress… pls.”\u003c/p>\n\u003cp>Abbi’s blue dress appeared repeatedly throughout \u003cem>Broad City’\u003c/em>s five seasons — an on-screen reflection of the Millennial need to use the one nice thing they own over and over again in order to justify its purchase.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the show, Abbi first bought the dress to attend a fancy rooftop party without looking too “vanilla.” It reappeared at her birthday dinner at a snooty restaurant where she — to her absolute horror — “peed out a condom.” Next up, Abbi and her blue dress went on a yacht date with Ilana, Lincoln, Jaime and way too many lawyers to celebrate Jaime becoming an American citizen. By the time Abbi’s mom showed up and wore the dress on a night out, we all understood the pain of the moment. The blue dress got one last spin around the block when Abbi first went on a date with Trey.\u003c/p>\n\u003cp>[aside postid='pop_96171']At the time of writing, Abbi’s blue dress had received 27 bids and was sitting at $5,010. Other items in the TUSC auction include \u003ca href=\"https://givebutter.com/c/TUSCauction/auction/items/144742\">a ceramic vase\u003c/a> made by Seth Rogen, \u003ca href=\"https://givebutter.com/c/TUSCauction/auction/items/148464\">a “private hang” with Woody Harrelson\u003c/a>, \u003ca href=\"https://givebutter.com/c/TUSCauction/auction/items/144740\">blankets hand-knitted by Justine Bateman\u003c/a>, a bikini \u003ca href=\"https://givebutter.com/c/TUSCauction/auction/items/149994\">hand-knit by Lena Dunham\u003c/a> and \u003ca href=\"https://givebutter.com/c/TUSCauction/auction/items/144799\">a writing workshop with Amber Tamblyn\u003c/a>. The dress has far and away the highest bid of any lot in the auction so far, but the price is bound to increase further. The auction is running until 4 p.m. on Aug. 5.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>You can \u003ca href=\"https://givebutter.com/c/TUSCauction/auction/items/144792\">bid on the blue dress here\u003c/a> or check out \u003ca href=\"https://givebutter.com/c/TUSCauction/auction\">all of TUSC’s auction\u003c/a> items here.\u003c/p>\n\n",
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"excerpt": "Abbi's blue dress became a symbol of Millennial financial constraints on the show. Now, you too can spend too much money on it!",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There have been many sacrifices made since the WGA and SAG-AFTRA unions began striking in Hollywood. Three months in, writers’ bank accounts are taking a major hit as creatives continue to strike for better contracts and compensation. A week ago, actors joined the strike in solidarity with the writers, grinding Hollywood to an almost complete halt. That means, in turn, that California’s economy is losing millions. (\u003ca href=\"https://www.vox.com/culture/23696617/writers-strike-wga-2023-explained-residuals-streaming-ai\">The 100-day strike in 2007-08 cost the state a whopping $2.1 billion\u003c/a>!) To say it’s an all-hands-on-deck situation would be an understatement.\u003c/p>\n\u003cp>Remarkably, on Thursday morning, yet another extraordinary sacrifice was made. Abbi Jacobson stepped forward clutching the prize of a generation — her blue bodycon dress from \u003cem>Broad City\u003c/em>. The \u003cem>League of Their Own\u003c/em> star hit Instagram to announce she would be auctioning off her character Abbi Abrams’ iconic party garment to benefit \u003ca href=\"https://www.tusctogether.com/\">The Union Solidarity Commission. \u003c/a>(TUSC has been assisting striking workers with living and healthcare expenses.)\u003c/p>\n\u003cfigure id=\"attachment_13931868\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://www.instagram.com/p/Cu7N39lL3Ng/?img_index=1\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931868\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-20-at-12.13.39-PM-800x388.png\" alt=\"An Instagram post by Abbi Jacobson, featuring a photo of her wearing a blue dress while standing in a cluttered bedroom. She has her hands on her hips.\" width=\"800\" height=\"388\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-20-at-12.13.39-PM-800x388.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-20-at-12.13.39-PM-1020x494.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-20-at-12.13.39-PM-160x78.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-20-at-12.13.39-PM-768x372.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-20-at-12.13.39-PM-1536x744.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-20-at-12.13.39-PM-1920x930.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-20-at-12.13.39-PM.png 1936w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Abbi Jacobson is parting with her legendary blue dress, all to benefit the writers and actors currently on strike. \u003ccite>(Instagram/ @abbijacobson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jacobson wrote: “Have you ever wanted to own a real piece of Hollywood history? Some would say a priceless iconic garment? Others a treasured sliver of a time gone by? … This will obviously come with a handwritten note from me as this gem is hard to part with (and the Smithsonian hasn’t returned my calls). It’s taken me 5 years just to peel it off my body. Go bid and help a great cause!”\u003c/p>\n\u003cp>Jacobson’s former \u003cem>Broad City\u003c/em> co-star Ilana Glazer was quick to leave a comment asking “how do I win this dress… pls.”\u003c/p>\n\u003cp>Abbi’s blue dress appeared repeatedly throughout \u003cem>Broad City’\u003c/em>s five seasons — an on-screen reflection of the Millennial need to use the one nice thing they own over and over again in order to justify its purchase.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the show, Abbi first bought the dress to attend a fancy rooftop party without looking too “vanilla.” It reappeared at her birthday dinner at a snooty restaurant where she — to her absolute horror — “peed out a condom.” Next up, Abbi and her blue dress went on a yacht date with Ilana, Lincoln, Jaime and way too many lawyers to celebrate Jaime becoming an American citizen. By the time Abbi’s mom showed up and wore the dress on a night out, we all understood the pain of the moment. The blue dress got one last spin around the block when Abbi first went on a date with Trey.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>At the time of writing, Abbi’s blue dress had received 27 bids and was sitting at $5,010. Other items in the TUSC auction include \u003ca href=\"https://givebutter.com/c/TUSCauction/auction/items/144742\">a ceramic vase\u003c/a> made by Seth Rogen, \u003ca href=\"https://givebutter.com/c/TUSCauction/auction/items/148464\">a “private hang” with Woody Harrelson\u003c/a>, \u003ca href=\"https://givebutter.com/c/TUSCauction/auction/items/144740\">blankets hand-knitted by Justine Bateman\u003c/a>, a bikini \u003ca href=\"https://givebutter.com/c/TUSCauction/auction/items/149994\">hand-knit by Lena Dunham\u003c/a> and \u003ca href=\"https://givebutter.com/c/TUSCauction/auction/items/144799\">a writing workshop with Amber Tamblyn\u003c/a>. The dress has far and away the highest bid of any lot in the auction so far, but the price is bound to increase further. The auction is running until 4 p.m. on Aug. 5.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>You can \u003ca href=\"https://givebutter.com/c/TUSCauction/auction/items/144792\">bid on the blue dress here\u003c/a> or check out \u003ca href=\"https://givebutter.com/c/TUSCauction/auction\">all of TUSC’s auction\u003c/a> items here.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Exploring TV Reboot Hits and Misses, From ‘Justified’ to ‘And Just Like That...’",
"headTitle": "Exploring TV Reboot Hits and Misses, From ‘Justified’ to ‘And Just Like That…’ | KQED",
"content": "\u003cp>As a stone \u003cem>Justified\u003c/em> fan, I’m just not sure what to make of FX’s new limited series revival, \u003cem>Justified: City Primeval\u003c/em>.\u003c/p>\n\u003cp>On the surface, it offers what any good revival does: The bracing, nostalgia-laced return of a beloved character — Timothy Olyphant’s modern-day, Stetson-wearing lawman Raylan Givens — in a new adventure. This time, it’s based on a novel by the legendary author who created Givens, Elmore Leonard, set in Detroit, instead of the Kentucky hollers and small towns where the original \u003cem>Justified\u003c/em> series took place.\u003c/p>\n\u003cp>But Leonard’s 1980 book \u003cem>City Primeval\u003c/em> features a different protagonist, not Givens. So it’s not surprising that FX’s version feels like they lifted poor Raylan out of an environment where he makes sense and plopped him into a place where his charm, street savvy, Southern roots and drive to do the job is blunted and less appealing.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=N6KEgWSFfaE\u003c/p>\n\u003cp>Which highlights the particular challenges of the modern-day TV revival/reboot/reimagining. The best of these evoke a sense of the original but offer a fresh perspective and, if possible, corrects and improves on the shortcomings of the original series.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='arts_13931005']Most of all, they have to answer a simple, yet telling question: Why is this happening now?\u003c/p>\n\u003cp>Some answers are just about business. A media company has intellectual property it wants to exploit. Stars of the show are willing to return for one more payday. Fans have bought enough ancillary products to show there’s a market.\u003c/p>\n\u003cp>But there’s only one answer that leads to a great series: Someone has found an amazing new story which must be told with these popular characters. And, for me, \u003cem>Justifed: City Primeval\u003c/em>, good as it is in spots, just doesn’t quite reach that pinnacle.\u003c/p>\n\u003cp>\u003cstrong>When a TV revival really works (or doesn’t)\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13931775\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931775\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/jcp_101_1750r-copy_custom-c8b3591f5d460f2b9a0fe12edaf4fb5605e515f2-scaled-e1689716335383-800x534.jpg\" alt=\"A middle-aged man with grey hair stand next to an open car trunk, wearing a plaid shirt and bullet proof vest. Behind him are three police officers: a white man, a Black man and a white women with red hair.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/jcp_101_1750r-copy_custom-c8b3591f5d460f2b9a0fe12edaf4fb5605e515f2-scaled-e1689716335383-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/jcp_101_1750r-copy_custom-c8b3591f5d460f2b9a0fe12edaf4fb5605e515f2-scaled-e1689716335383-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/jcp_101_1750r-copy_custom-c8b3591f5d460f2b9a0fe12edaf4fb5605e515f2-scaled-e1689716335383-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/jcp_101_1750r-copy_custom-c8b3591f5d460f2b9a0fe12edaf4fb5605e515f2-scaled-e1689716335383-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/jcp_101_1750r-copy_custom-c8b3591f5d460f2b9a0fe12edaf4fb5605e515f2-scaled-e1689716335383-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/jcp_101_1750r-copy_custom-c8b3591f5d460f2b9a0fe12edaf4fb5605e515f2-scaled-e1689716335383.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Timothy Olyphant, Norbert Leo Butz, Victor Williams and Marin Ireland. \u003ccite>(Chuck Hodes/FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>City Primeval \u003c/em>makes a few odd choices for a revival. For most of the episodes, there is only one character from the original series in the new story (I don’t count Givens’ daughter, who was a baby in the original series and is a teen played by Olyphant’s real-life daughter in the revival). He’s chasing around a charismatic killer in Detroit, where Raylan’s “old soul in the modern age” vibe doesn’t wear as well.\u003c/p>\n\u003cp>[aside postid='arts_13931297']And the issues we see Givens weighing in the revival are the same ones he navigated in the previous series — his drive to take on psychopathic lawbreakers and the toll it takes on him and those who love him. It makes for a passable enough drama for those jonesing to see Givens in action again. But for those of us who remember the original series’ sharp wit and eye for compelling, original characters the question surfaces again: Why are we seeing this now?\u003c/p>\n\u003cp>Another revival which struggled with this question recently is the \u003cem>Sex and the City\u003c/em> spinoff, \u003cem>And Just Like That..\u003c/em>. So much of the original series’ appeal was rooted in how we felt about sex, gender, wealth, privilege, race and class back in the late 1990s and early 2000s. The update, now available on the Max streaming service, hasn’t provided a great answer for why we should check in on these characters nearly 20 years later — besides getting to see a few non-white and gay characters bask in the privilege that Carrie and her cohorts blithely enjoyed back in the day.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=iHh1SkiptEk\u003c/p>\n\u003cp>They’re still status-obsessed, unaware of their privilege and shoehorning characters of color into their storylines to avoid criticism (but mostly without one of the show’s coolest characters, Kim Cattrall’s Samantha Jones, courtesy of Cattrall’s \u003ca href=\"https://www.cosmopolitan.com/entertainment/tv/a35246263/kim-cattrall-sarah-jessica-parker-drama-timeline/?utm_source=google&utm_medium=cpc&utm_campaign=arb_ga_cos_md_pmx_us_urlx_18419138764&gclid=Cj0KCQjwtamlBhD3ARIsAARoaEzfw5V8ZoMGs_6Vr_0NBGCrPGgNcuSIgmj5zUyWeS2D768pHatQ7rkaAiDQEALw_wcB\">ongoing feud \u003c/a>with the rest of the cast). Fans eager to see these characters in new adventures may not care about these criticisms. But the rest of us are left scratching our heads and wondering why this show exists at all.\u003c/p>\n\u003cp>[aside postid='arts_13908472']As a card-carrying sci fi nerd, I know I’m biased. But I think the third season of \u003cem>Star Trek: Picard\u003c/em> was a much better example of a revival hitting on all cylinders. The season, which dropped earlier this year, reunited most major characters from \u003cem>Star Trek: The Next Generation\u003c/em> in a new adventure which allowed old characters to show fresh sides in a show with amped-up, modern special effects.\u003c/p>\n\u003cp>Maternal ship’s doctor Beverly Crusher came back as a butt-kicking, altruistic action hero with a secret past she’d hidden from her former flame, a wizened Admiral Jean-Luc Picard. Stalwart second-in-command Will Riker was a captain struggling to reconnect with his own family. Formerly blind engineer Geordi La Forge, now outfitted with awesome artificial eyes, was a parent himself. The new threat facing the galaxy was bound up in their shared history, but also revealed new depths to the characters that fans loved.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DI9hty_iT4Q\u003c/p>\n\u003cp>Nearly 30 years after the original series stopped making new episodes, the Picard revival was so successful it \u003ca href=\"https://trekmovie.com/2023/06/14/akiva-goldsman-says-appetite-for-star-trek-legacy-spinoff-from-picard-is-undeniable/\">sparked an online petition \u003c/a>by fans to continue the story in a new series based on a beloved video game, \u003cem>Star Trek: Legacy.\u003c/em>\u003c/p>\n\u003cp>In \u003cem>Trek\u003c/em>‘s case, that central question — why now? — had a powerful answer.\u003c/p>\n\u003cp>\u003cstrong>When a TV reimagining really works\u003c/strong>\u003c/p>\n\u003cp>The original 1988 version of \u003cem>The Wonder Years\u003c/em> always stuck in my craw a bit. It was set at a time that was pivotal for race relations and Black people — two decades earlier, in 1968 — but featured no Black characters.\u003c/p>\n\u003cp>So ABC’s rejiggering of the show, centered this time on an all-Black family, felt a little bit like an apology. It’s also why this version — a heartwarming, gently funny tale featuring Don Cheadle as the grown-up voice of 12-year-old protagonist Dean Williams — works so nicely. Not only do we meet an authentic, entertaining family who couldn’t be more different than Fred Savage’s Kevin Arnold and his relations in suburbia, we see the show’s unique flashback formula used to tell new stories about a Black kid coming of age during times which affected black families very differently.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-LOGo_RRF28\u003c/p>\n\u003cp>Instead of recreating the show as the Arnolds in blackface, ABC reimagined \u003cem>The Wonder Years\u003c/em> as a new tale set at the same time, focused on a different family. And because period pieces are always about the times when they are made rather than the times they depict, all the issues they present are handled far differently than they would have been in the late 1980s.\u003c/p>\n\u003cp>\u003cstrong>When a TV reboot (kind of ) works\u003c/strong>\u003c/p>\n\u003cp>For the purposes of this story, I’ve defined a TV reboot in slightly stricter terms than usual — as a new version of an old program featuring the same characters in the same setting. Think of the History channel’s remake of the classic 1970s-era miniseries \u003cem>Roots\u003c/em> in 2016. Or Netflix’s series version of Spike Lee’s first major film, \u003cem>She’s Gotta Have It\u003c/em>, in 2017. Stretch it a bit, and you might even include other Netflix standouts like \u003cem>Lost in Space\u003c/em> and \u003cem>Wednesday\u003c/em> (which is really just a reboot of \u003cem>The Addams Family\u003c/em>).\u003c/p>\n\u003cp>[aside postid='arts_13928702']In these cases, new actors played the same characters from the original program; they’re not older or younger versions, so they’re essentially rewriting — or, rebooting — stories featuring the core characters.\u003c/p>\n\u003cp>Often, it’s toughest for these kinds of shows to answer that central question. History’s \u003cem>Roots\u003c/em>, developed to reach a new generation, had lots of advantages: better effects and photography, upgraded historical facts, and Black characters who fought harder against exploitation. But it couldn’t match the impact of the original \u003cem>Roots\u003c/em>, which essentially created the TV miniseries format by presenting the most explicit vision of slavery’s cruelty yet seen on the small screen.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Sometimes, even with the best development and intentions, recreating a TV classic is like trying to catch lightning in a bottle for a second time — a longshot that won’t yield the dividends you expect, even when you get it mostly right.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 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=TV+reboots+have+to+answer+one+question%3A+Why+now%3F+Just+look+at+%27Justified%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As a stone \u003cem>Justified\u003c/em> fan, I’m just not sure what to make of FX’s new limited series revival, \u003cem>Justified: City Primeval\u003c/em>.\u003c/p>\n\u003cp>On the surface, it offers what any good revival does: The bracing, nostalgia-laced return of a beloved character — Timothy Olyphant’s modern-day, Stetson-wearing lawman Raylan Givens — in a new adventure. This time, it’s based on a novel by the legendary author who created Givens, Elmore Leonard, set in Detroit, instead of the Kentucky hollers and small towns where the original \u003cem>Justified\u003c/em> series took place.\u003c/p>\n\u003cp>But Leonard’s 1980 book \u003cem>City Primeval\u003c/em> features a different protagonist, not Givens. So it’s not surprising that FX’s version feels like they lifted poor Raylan out of an environment where he makes sense and plopped him into a place where his charm, street savvy, Southern roots and drive to do the job is blunted and less appealing.\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/N6KEgWSFfaE'\n title='//www.youtube.com/embed/N6KEgWSFfaE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Which highlights the particular challenges of the modern-day TV revival/reboot/reimagining. The best of these evoke a sense of the original but offer a fresh perspective and, if possible, corrects and improves on the shortcomings of the original series.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Most of all, they have to answer a simple, yet telling question: Why is this happening now?\u003c/p>\n\u003cp>Some answers are just about business. A media company has intellectual property it wants to exploit. Stars of the show are willing to return for one more payday. Fans have bought enough ancillary products to show there’s a market.\u003c/p>\n\u003cp>But there’s only one answer that leads to a great series: Someone has found an amazing new story which must be told with these popular characters. And, for me, \u003cem>Justifed: City Primeval\u003c/em>, good as it is in spots, just doesn’t quite reach that pinnacle.\u003c/p>\n\u003cp>\u003cstrong>When a TV revival really works (or doesn’t)\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13931775\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931775\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/jcp_101_1750r-copy_custom-c8b3591f5d460f2b9a0fe12edaf4fb5605e515f2-scaled-e1689716335383-800x534.jpg\" alt=\"A middle-aged man with grey hair stand next to an open car trunk, wearing a plaid shirt and bullet proof vest. Behind him are three police officers: a white man, a Black man and a white women with red hair.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/jcp_101_1750r-copy_custom-c8b3591f5d460f2b9a0fe12edaf4fb5605e515f2-scaled-e1689716335383-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/jcp_101_1750r-copy_custom-c8b3591f5d460f2b9a0fe12edaf4fb5605e515f2-scaled-e1689716335383-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/jcp_101_1750r-copy_custom-c8b3591f5d460f2b9a0fe12edaf4fb5605e515f2-scaled-e1689716335383-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/jcp_101_1750r-copy_custom-c8b3591f5d460f2b9a0fe12edaf4fb5605e515f2-scaled-e1689716335383-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/jcp_101_1750r-copy_custom-c8b3591f5d460f2b9a0fe12edaf4fb5605e515f2-scaled-e1689716335383-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/jcp_101_1750r-copy_custom-c8b3591f5d460f2b9a0fe12edaf4fb5605e515f2-scaled-e1689716335383.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Timothy Olyphant, Norbert Leo Butz, Victor Williams and Marin Ireland. \u003ccite>(Chuck Hodes/FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>City Primeval \u003c/em>makes a few odd choices for a revival. For most of the episodes, there is only one character from the original series in the new story (I don’t count Givens’ daughter, who was a baby in the original series and is a teen played by Olyphant’s real-life daughter in the revival). He’s chasing around a charismatic killer in Detroit, where Raylan’s “old soul in the modern age” vibe doesn’t wear as well.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And the issues we see Givens weighing in the revival are the same ones he navigated in the previous series — his drive to take on psychopathic lawbreakers and the toll it takes on him and those who love him. It makes for a passable enough drama for those jonesing to see Givens in action again. But for those of us who remember the original series’ sharp wit and eye for compelling, original characters the question surfaces again: Why are we seeing this now?\u003c/p>\n\u003cp>Another revival which struggled with this question recently is the \u003cem>Sex and the City\u003c/em> spinoff, \u003cem>And Just Like That..\u003c/em>. So much of the original series’ appeal was rooted in how we felt about sex, gender, wealth, privilege, race and class back in the late 1990s and early 2000s. The update, now available on the Max streaming service, hasn’t provided a great answer for why we should check in on these characters nearly 20 years later — besides getting to see a few non-white and gay characters bask in the privilege that Carrie and her cohorts blithely enjoyed back in the day.\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/iHh1SkiptEk'\n title='//www.youtube.com/embed/iHh1SkiptEk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>They’re still status-obsessed, unaware of their privilege and shoehorning characters of color into their storylines to avoid criticism (but mostly without one of the show’s coolest characters, Kim Cattrall’s Samantha Jones, courtesy of Cattrall’s \u003ca href=\"https://www.cosmopolitan.com/entertainment/tv/a35246263/kim-cattrall-sarah-jessica-parker-drama-timeline/?utm_source=google&utm_medium=cpc&utm_campaign=arb_ga_cos_md_pmx_us_urlx_18419138764&gclid=Cj0KCQjwtamlBhD3ARIsAARoaEzfw5V8ZoMGs_6Vr_0NBGCrPGgNcuSIgmj5zUyWeS2D768pHatQ7rkaAiDQEALw_wcB\">ongoing feud \u003c/a>with the rest of the cast). Fans eager to see these characters in new adventures may not care about these criticisms. But the rest of us are left scratching our heads and wondering why this show exists at all.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As a card-carrying sci fi nerd, I know I’m biased. But I think the third season of \u003cem>Star Trek: Picard\u003c/em> was a much better example of a revival hitting on all cylinders. The season, which dropped earlier this year, reunited most major characters from \u003cem>Star Trek: The Next Generation\u003c/em> in a new adventure which allowed old characters to show fresh sides in a show with amped-up, modern special effects.\u003c/p>\n\u003cp>Maternal ship’s doctor Beverly Crusher came back as a butt-kicking, altruistic action hero with a secret past she’d hidden from her former flame, a wizened Admiral Jean-Luc Picard. Stalwart second-in-command Will Riker was a captain struggling to reconnect with his own family. Formerly blind engineer Geordi La Forge, now outfitted with awesome artificial eyes, was a parent himself. The new threat facing the galaxy was bound up in their shared history, but also revealed new depths to the characters that fans loved.\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/DI9hty_iT4Q'\n title='//www.youtube.com/embed/DI9hty_iT4Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Nearly 30 years after the original series stopped making new episodes, the Picard revival was so successful it \u003ca href=\"https://trekmovie.com/2023/06/14/akiva-goldsman-says-appetite-for-star-trek-legacy-spinoff-from-picard-is-undeniable/\">sparked an online petition \u003c/a>by fans to continue the story in a new series based on a beloved video game, \u003cem>Star Trek: Legacy.\u003c/em>\u003c/p>\n\u003cp>In \u003cem>Trek\u003c/em>‘s case, that central question — why now? — had a powerful answer.\u003c/p>\n\u003cp>\u003cstrong>When a TV reimagining really works\u003c/strong>\u003c/p>\n\u003cp>The original 1988 version of \u003cem>The Wonder Years\u003c/em> always stuck in my craw a bit. It was set at a time that was pivotal for race relations and Black people — two decades earlier, in 1968 — but featured no Black characters.\u003c/p>\n\u003cp>So ABC’s rejiggering of the show, centered this time on an all-Black family, felt a little bit like an apology. It’s also why this version — a heartwarming, gently funny tale featuring Don Cheadle as the grown-up voice of 12-year-old protagonist Dean Williams — works so nicely. Not only do we meet an authentic, entertaining family who couldn’t be more different than Fred Savage’s Kevin Arnold and his relations in suburbia, we see the show’s unique flashback formula used to tell new stories about a Black kid coming of age during times which affected black families very differently.\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/-LOGo_RRF28'\n title='//www.youtube.com/embed/-LOGo_RRF28'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Instead of recreating the show as the Arnolds in blackface, ABC reimagined \u003cem>The Wonder Years\u003c/em> as a new tale set at the same time, focused on a different family. And because period pieces are always about the times when they are made rather than the times they depict, all the issues they present are handled far differently than they would have been in the late 1980s.\u003c/p>\n\u003cp>\u003cstrong>When a TV reboot (kind of ) works\u003c/strong>\u003c/p>\n\u003cp>For the purposes of this story, I’ve defined a TV reboot in slightly stricter terms than usual — as a new version of an old program featuring the same characters in the same setting. Think of the History channel’s remake of the classic 1970s-era miniseries \u003cem>Roots\u003c/em> in 2016. Or Netflix’s series version of Spike Lee’s first major film, \u003cem>She’s Gotta Have It\u003c/em>, in 2017. Stretch it a bit, and you might even include other Netflix standouts like \u003cem>Lost in Space\u003c/em> and \u003cem>Wednesday\u003c/em> (which is really just a reboot of \u003cem>The Addams Family\u003c/em>).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In these cases, new actors played the same characters from the original program; they’re not older or younger versions, so they’re essentially rewriting — or, rebooting — stories featuring the core characters.\u003c/p>\n\u003cp>Often, it’s toughest for these kinds of shows to answer that central question. History’s \u003cem>Roots\u003c/em>, developed to reach a new generation, had lots of advantages: better effects and photography, upgraded historical facts, and Black characters who fought harder against exploitation. But it couldn’t match the impact of the original \u003cem>Roots\u003c/em>, which essentially created the TV miniseries format by presenting the most explicit vision of slavery’s cruelty yet seen on the small screen.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sometimes, even with the best development and intentions, recreating a TV classic is like trying to catch lightning in a bottle for a second time — a longshot that won’t yield the dividends you expect, even when you get it mostly right.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 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=TV+reboots+have+to+answer+one+question%3A+Why+now%3F+Just+look+at+%27Justified%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "In Appreciation of Allan: The Unsung Hero of the ‘Barbie’ Movie",
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"content": "\u003cp>In the seven months since the first trailer for Greta Gerwig’s \u003cem>Barbie\u003c/em> dropped, audiences have come to expect a few things from the relentlessly promoted film: to be dazzled by the campy pink landscapes, charmed by Margot Robbie and Ryan Gosling, and deeply conflicted — at best — about what amounts to a feature-length Mattel commercial. (According to \u003ca href=\"https://www.forbes.com/sites/qai/2023/07/06/barbie-owner-mattel-plans-45-more-toy-movies-as-ip-and-nostalgia-trend-continues/?sh=2189e8db3983\">some sources\u003c/a>, the company has \u003cem>up to 45 more movies based on toys\u003c/em> in the works.) Walking into the theater, I anticipated some laughs, some cringing, some feminist ambivalence.\u003c/p>\n\u003cp>What I did not expect was to walk out obsessed with a character I previously barely knew existed: Allan.\u003c/p>\n\u003cp>[aside postid='arts_13931677']Allan has been an under-appreciated hero in the world of Barbie from the very beginning. Introduced as “Ken’s buddy” in 1964, the doll’s main selling point was that he could wear all of Ken’s clothes. Allan’s other job was being the groom to \u003ca href=\"https://en.wikipedia.org/wiki/Midge_(Barbie)\">Midge\u003c/a> — Barbie’s less glamorous best friend — and a father to their three children. When Ken was busy at the beach or sunning himself by the pool, Allan was just out there being a solid partner and a good dad. And what thanks did he get? He was around for just two years after Mattel introduced him, and brought back only briefly in 1991 and 2002.\u003c/p>\n\u003cp>It makes sense, then, that Allan is very much a side character in \u003cem>Barbie\u003c/em>. But in Michael Cera’s hands, he routinely steals the show. Just as Margot Robbie’s beauty and inherent likability make her the quintessential Barbie, and Ryan Gosling’s comedy chops and chiseled features make him a fantastic Ken, Cera is the right combination of cute-but-weird to make Allan make sense. There are a few things that miss the mark in the movie (including a weird, overstrung ending)\u003cstrong>,\u003c/strong> but casting is most definitely not one of them.\u003c/p>\n\u003cfigure id=\"attachment_13931759\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931759\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-18-at-12.18.03-PM-800x725.png\" alt=\"A young man with a waxy complexion and neatly combed brown hair, smiles broadly, mid-dance move. He is wearing a multicolored striped shirt with white collar.\" width=\"800\" height=\"725\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-18-at-12.18.03-PM-800x725.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-18-at-12.18.03-PM-1020x925.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-18-at-12.18.03-PM-160x145.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-18-at-12.18.03-PM-768x696.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-18-at-12.18.03-PM.png 1310w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">There is only one Allan, and that’s why he’s so splendid. \u003ccite>(Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The crux of \u003cem>Barbie\u003c/em>‘s plot goes like this: Barbie and all her Barbie friends are living in Barbieland, having the best day ever, every single day. The Kens are around and fun companions, but it’s the Barbies who are running things. This is a world where every night is girls’ night, the Supreme Court looks like a Miss America pageant, and no one knows where the Kens even live.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One day, Robbie’s “stereotypical Barbie” starts having dark thoughts that disrupt her perfect existence. She is forced to go on a quest to the real world to try and fix whatever is wrong so she can return to oblivious joy. Along the way, there are lessons about female solidarity, the insidiousness of the patriarchy and the complicated cultural deprogramming women must do in order to thrive.\u003c/p>\n\u003cp>Allan is around throughout, but he doesn’t entirely fit in with either the Barbies or the Kens. That element is established early. As we see Barbie’s day unfold on screen for the very first time, all of the Barbies and all of the Kens are at the beach, taking the time to enthusiastically greet each other one-by-one. This goes on for some time. Then he appears, resplendent in his multicolored striped shirt and blue shorts, somewhat off to one side.\u003c/p>\n\u003cp>“Hi Barbie!” Allan calls.\u003c/p>\n\u003cp>“Oh, hi Allan!” Barbie smiles back.\u003c/p>\n\u003cp>And then a Helen Mirren voiceover pipes up to let the audience know: “There are no multiples of Allan. He’s just Allan.”\u003c/p>\n\u003cp>“Yeah,” Allan says, shifting awkwardly. “I’m confused about that.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gvZccmVDl9Y\u003c/p>\n\u003cp>Introducing Allan this way initially implies that his primary function in \u003cem>Barbie\u003c/em> will be to serve up comic relief on the side, a little slice of understated in a relentlessly bright, shiny world. (Make no mistake, \u003cem>Barbie\u003c/em> is very funny at times. Gags about \u003cem>The Godfather\u003c/em>, Stephen Malkmus and Matchbox Twenty’s “Push” are worth the ticket price alone.) What becomes clear as the movie progresses, however, is that Allan isn’t just a consistent scene-stealer — he’s the movie’s moral center. And a lot of that is due to the fact that there’s only one Allan.\u003c/p>\n\u003cp>[aside postid='arts_13931981']At its core, \u003cem>Barbie\u003c/em> is a movie consumed with ideas around self-determination and independence. Each of the characters, at one time or another, has to carve out their own path and find autonomy — all except for Allan. Because Allan starts out as one of a kind, he already knows exactly who he is. He never wavers from doing what he knows is right, never swayed by the status or power of others.\u003c/p>\n\u003cp>While the Kens are fighting one another, Allan helps the Barbies with an important task. When the Kens learn how to be sexist, Allan — immediately uncomfortable around performative and toxic masculinity — decides to team up with the Barbies to put a stop to it. Allan is a lover, not a fighter, but he’s tougher than all of the Kens put together when an emergency situation calls for it. Allan gives a lot, but asks for nothing. He’s independently minded. Above all, Allan is an ally.\u003c/p>\n\u003cfigure id=\"attachment_13931830\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931830\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/rev-1-BAR-TT2-002_High_Res_JPEG-scaled-e1689798457667-800x397.jpeg\" alt=\"Four women in pink jumpsuits and sunglasses peak out of the back doors of a van. Partially obscured in the back is a man in the same pink jumpsuit.\" width=\"800\" height=\"397\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/rev-1-BAR-TT2-002_High_Res_JPEG-scaled-e1689798457667-800x397.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/rev-1-BAR-TT2-002_High_Res_JPEG-scaled-e1689798457667-1020x506.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/rev-1-BAR-TT2-002_High_Res_JPEG-scaled-e1689798457667-160x79.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/rev-1-BAR-TT2-002_High_Res_JPEG-scaled-e1689798457667-768x381.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/rev-1-BAR-TT2-002_High_Res_JPEG-scaled-e1689798457667-1536x762.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/rev-1-BAR-TT2-002_High_Res_JPEG-scaled-e1689798457667.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Allan, almost invisible, in the back of a van, wearing a pink jumpsuit, helping out two Barbies and a couple of human women. Because that’s what Allan does, dammit. \u003ccite>(Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a movie that is often frustratingly heavy-handed with its lessons, Allan’s awesomeness somehow manages to slip under the radar, always providing the best examples of how to behave without directly signposting it. So when you do finally see \u003cem>Barbie\u003c/em>, just go into the theater knowing that Allan is the one to watch. Because in an ego-driven world of Barbies and Kens, being an Allan — one-of-a-kind when everyone around you defaults to following the crowd — is simply the coolest way to go.\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>‘Barbie’ hits theaters nationwide on Friday, July 21, 2023.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the seven months since the first trailer for Greta Gerwig’s \u003cem>Barbie\u003c/em> dropped, audiences have come to expect a few things from the relentlessly promoted film: to be dazzled by the campy pink landscapes, charmed by Margot Robbie and Ryan Gosling, and deeply conflicted — at best — about what amounts to a feature-length Mattel commercial. (According to \u003ca href=\"https://www.forbes.com/sites/qai/2023/07/06/barbie-owner-mattel-plans-45-more-toy-movies-as-ip-and-nostalgia-trend-continues/?sh=2189e8db3983\">some sources\u003c/a>, the company has \u003cem>up to 45 more movies based on toys\u003c/em> in the works.) Walking into the theater, I anticipated some laughs, some cringing, some feminist ambivalence.\u003c/p>\n\u003cp>What I did not expect was to walk out obsessed with a character I previously barely knew existed: Allan.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Allan has been an under-appreciated hero in the world of Barbie from the very beginning. Introduced as “Ken’s buddy” in 1964, the doll’s main selling point was that he could wear all of Ken’s clothes. Allan’s other job was being the groom to \u003ca href=\"https://en.wikipedia.org/wiki/Midge_(Barbie)\">Midge\u003c/a> — Barbie’s less glamorous best friend — and a father to their three children. When Ken was busy at the beach or sunning himself by the pool, Allan was just out there being a solid partner and a good dad. And what thanks did he get? He was around for just two years after Mattel introduced him, and brought back only briefly in 1991 and 2002.\u003c/p>\n\u003cp>It makes sense, then, that Allan is very much a side character in \u003cem>Barbie\u003c/em>. But in Michael Cera’s hands, he routinely steals the show. Just as Margot Robbie’s beauty and inherent likability make her the quintessential Barbie, and Ryan Gosling’s comedy chops and chiseled features make him a fantastic Ken, Cera is the right combination of cute-but-weird to make Allan make sense. There are a few things that miss the mark in the movie (including a weird, overstrung ending)\u003cstrong>,\u003c/strong> but casting is most definitely not one of them.\u003c/p>\n\u003cfigure id=\"attachment_13931759\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931759\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-18-at-12.18.03-PM-800x725.png\" alt=\"A young man with a waxy complexion and neatly combed brown hair, smiles broadly, mid-dance move. He is wearing a multicolored striped shirt with white collar.\" width=\"800\" height=\"725\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-18-at-12.18.03-PM-800x725.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-18-at-12.18.03-PM-1020x925.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-18-at-12.18.03-PM-160x145.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-18-at-12.18.03-PM-768x696.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-18-at-12.18.03-PM.png 1310w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">There is only one Allan, and that’s why he’s so splendid. \u003ccite>(Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The crux of \u003cem>Barbie\u003c/em>‘s plot goes like this: Barbie and all her Barbie friends are living in Barbieland, having the best day ever, every single day. The Kens are around and fun companions, but it’s the Barbies who are running things. This is a world where every night is girls’ night, the Supreme Court looks like a Miss America pageant, and no one knows where the Kens even live.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One day, Robbie’s “stereotypical Barbie” starts having dark thoughts that disrupt her perfect existence. She is forced to go on a quest to the real world to try and fix whatever is wrong so she can return to oblivious joy. Along the way, there are lessons about female solidarity, the insidiousness of the patriarchy and the complicated cultural deprogramming women must do in order to thrive.\u003c/p>\n\u003cp>Allan is around throughout, but he doesn’t entirely fit in with either the Barbies or the Kens. That element is established early. As we see Barbie’s day unfold on screen for the very first time, all of the Barbies and all of the Kens are at the beach, taking the time to enthusiastically greet each other one-by-one. This goes on for some time. Then he appears, resplendent in his multicolored striped shirt and blue shorts, somewhat off to one side.\u003c/p>\n\u003cp>“Hi Barbie!” Allan calls.\u003c/p>\n\u003cp>“Oh, hi Allan!” Barbie smiles back.\u003c/p>\n\u003cp>And then a Helen Mirren voiceover pipes up to let the audience know: “There are no multiples of Allan. He’s just Allan.”\u003c/p>\n\u003cp>“Yeah,” Allan says, shifting awkwardly. “I’m confused about that.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/gvZccmVDl9Y'\n title='//www.youtube.com/embed/gvZccmVDl9Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Introducing Allan this way initially implies that his primary function in \u003cem>Barbie\u003c/em> will be to serve up comic relief on the side, a little slice of understated in a relentlessly bright, shiny world. (Make no mistake, \u003cem>Barbie\u003c/em> is very funny at times. Gags about \u003cem>The Godfather\u003c/em>, Stephen Malkmus and Matchbox Twenty’s “Push” are worth the ticket price alone.) What becomes clear as the movie progresses, however, is that Allan isn’t just a consistent scene-stealer — he’s the movie’s moral center. And a lot of that is due to the fact that there’s only one Allan.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>At its core, \u003cem>Barbie\u003c/em> is a movie consumed with ideas around self-determination and independence. Each of the characters, at one time or another, has to carve out their own path and find autonomy — all except for Allan. Because Allan starts out as one of a kind, he already knows exactly who he is. He never wavers from doing what he knows is right, never swayed by the status or power of others.\u003c/p>\n\u003cp>While the Kens are fighting one another, Allan helps the Barbies with an important task. When the Kens learn how to be sexist, Allan — immediately uncomfortable around performative and toxic masculinity — decides to team up with the Barbies to put a stop to it. Allan is a lover, not a fighter, but he’s tougher than all of the Kens put together when an emergency situation calls for it. Allan gives a lot, but asks for nothing. He’s independently minded. Above all, Allan is an ally.\u003c/p>\n\u003cfigure id=\"attachment_13931830\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931830\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/rev-1-BAR-TT2-002_High_Res_JPEG-scaled-e1689798457667-800x397.jpeg\" alt=\"Four women in pink jumpsuits and sunglasses peak out of the back doors of a van. Partially obscured in the back is a man in the same pink jumpsuit.\" width=\"800\" height=\"397\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/rev-1-BAR-TT2-002_High_Res_JPEG-scaled-e1689798457667-800x397.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/rev-1-BAR-TT2-002_High_Res_JPEG-scaled-e1689798457667-1020x506.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/rev-1-BAR-TT2-002_High_Res_JPEG-scaled-e1689798457667-160x79.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/rev-1-BAR-TT2-002_High_Res_JPEG-scaled-e1689798457667-768x381.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/rev-1-BAR-TT2-002_High_Res_JPEG-scaled-e1689798457667-1536x762.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/rev-1-BAR-TT2-002_High_Res_JPEG-scaled-e1689798457667.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Allan, almost invisible, in the back of a van, wearing a pink jumpsuit, helping out two Barbies and a couple of human women. Because that’s what Allan does, dammit. \u003ccite>(Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a movie that is often frustratingly heavy-handed with its lessons, Allan’s awesomeness somehow manages to slip under the radar, always providing the best examples of how to behave without directly signposting it. So when you do finally see \u003cem>Barbie\u003c/em>, just go into the theater knowing that Allan is the one to watch. Because in an ego-driven world of Barbies and Kens, being an Allan — one-of-a-kind when everyone around you defaults to following the crowd — is simply the coolest way to go.\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>‘Barbie’ hits theaters nationwide on Friday, July 21, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The very online showdown between Greta Gerwig’s \u003cem>Barbie\u003c/em> and Christopher Nolan’s \u003cem>Oppenheimer\u003c/em> all started with a date: July 21.\u003c/p>\n\u003cp>It’s not uncommon for studios to counterprogram films in different genres on a big weekend, but the stark differences between an intense, serious-minded picture about the man who oversaw the development of the atomic bomb and a lighthearted, candy-colored anthropomorphizing of a childhood doll quickly became the stuff of viral fodder.\u003c/p>\n\u003cp>https://twitter.com/paperssil/status/1677313645565427713\u003c/p>\n\u003cp>There’s even some disagreement over whether it’s “Barbieheimer” or “Barbenheimer” or “Boppenheimer” or yet another tortured portmanteau — a phenomenon on which the AP Stylebook has yet to offer guidance, but for the purposes of this article will be “Barbenheimer.”\u003c/p>\n\u003cp>It didn’t hurt that both Nolan and Gerwig have very passionate and very online fandoms eager to join in. Never mind that many of those fans overlap — the memes, allegiances, and T-shirts were just too fun.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/stevereevesart/status/1678808000566530048\u003c/p>\n\u003cp>https://twitter.com/balumcarnes/status/1679397880753258500\u003c/p>\n\u003cp>https://twitter.com/alex_icon/status/1678969487469555712\u003c/p>\n\u003cp>Both movies often trend on social media when the other releases a new asset — a trailer, a picture, an interview. On one level, it’s a marketing department’s dream. Awareness could not be higher, the conversation couldn’t be louder, and neither film even has official reviews out yet.\u003c/p>\n\u003cp>“‘Barbenheimer’ is a marketing gift borne out of social media and I think it’s benefiting both films,” said Paul Dergarabedian, the senior media analyst for analytics firm Comscore. “You’re certainly aware of both movies in a more profound and compelling way than I think might have otherwise happened had they been released on different weekends.”\u003c/p>\n\u003cp>AMC Theaters reported that 20,000 of its AMC Stubs members had purchased tickets for a double feature. If you’re counting, that’s 294 minutes of moviewatching. Even Margot Robbie — Barbie herself — and Tom Cruise, the star of another summer blockbuster, have started plotting the ideal “Barbenheimer” day.\u003c/p>\n\u003cp>“It’s a perfect double bill,” said Robbie at her movie’s London premiere Wednesday. “I think actually start your day with \u003cem>Barbie\u003c/em>, then go straight into \u003cem>Oppenheimer\u003c/em> and then a \u003cem>Barbie\u003c/em> chaser.”\u003c/p>\n\u003cp>[aside postid='arts_13931577']Cruise — whose \u003cem>Mission: Impossible – Dead Reckoning Part One\u003c/em> opened a little over a week before the “Barbenheimer” showdown — said at his premiere he’d plan to see both on their opening day, likely starting with \u003cem>Oppenheimer\u003c/em>, which seems to be the internet’s preferred viewing order as well.\u003c/p>\n\u003cp>\u003cem>Barbie\u003c/em> actor Issa Rae thinks there’s a reason for that.\u003c/p>\n\u003cp>“I think that there’s a very specific order that if you see them in. If you see \u003cem>Oppenheimer\u003c/em> last then you might be a bit of a psychopath,” she diagnosed at the London premiere.\u003c/p>\n\u003cp>The showdown has made armchair marketing experts out of everyone, quick to scrutinize every move by Warner Bros. and Universal — as though it’s possible to compare two extraordinarily different campaigns.\u003c/p>\n\u003cp>One has infinite opportunities for very pink, sparkly photo opportunities, whimsical brand partnerships for seemingly everything from underwear to pool floats, large-scale fan events with autograph signings and pop stars like Billie Eilish posting about the soundtrack. In other words, the \u003cem>Barbie\u003c/em> campaign can go nuclear.\u003c/p>\n\u003cp>https://www.instagram.com/p/Cum6kABPqMl/\u003c/p>\n\u003cp>\u003cem>Oppenheimer\u003c/em> has the bomb, the alluring mystery and the big screen hook, but it’s not the kind of movie that lends itself to, say, a frozen yogurt collaboration.\u003c/p>\n\u003cp>Is the competition real, though, or just a meme? Some in Hollywood wondered if Warner Bros. plopped \u003cem>Barbie\u003c/em> on the weekend as a slight to Nolan, who had opened many films for the studio in that corridor including \u003cem>Inception\u003c/em> and \u003cem>Dunkirk\u003c/em>. He left Warner Bros. amid its controversial decision to send a year’s worth of movies to streaming and made \u003cem>Oppenheimer\u003c/em> with Universal instead. But a pointed box office war doesn’t exactly make sense for a studio that has talked recently about wanting to lure Nolan back.\u003c/p>\n\u003cp>[aside postid='arts_13931227']There is an unspoken code of conduct: Never badmouth another studio’s film, publicly at least. This is partly decorum, especially when it comes to “box office showdowns” which all will say are a creation of the press and sideline spectators. But it’s also rooted in some truth: The conventional thinking is that having eyes on one movie is good for other movies — you see their posters and trailers and on some level everyone benefits.\u003c/p>\n\u003cp>And social media has allowed movie stars to get in on the game, too. Following reports that Cruise was irked the latest \u003cem>Mission: Impossible\u003c/em> was going to lose its IMAX screens to \u003cem>Oppenheimer\u003c/em> after only a week, Cruise posted photos of himself and director Christopher McQuarrie standing in front of posters for \u003cem>Indiana Jones and the Dial of Destiny\u003c/em>, \u003cem>Barbie\u003c/em> and \u003cem>Oppenheimer\u003c/em>, holding tickets for each.\u003c/p>\n\u003cp>“This summer is full of amazing movies to see in theaters. These are just a few that we can’t wait to see on the big screen,” Cruise’s Instagram caption read.\u003c/p>\n\u003cfigure id=\"attachment_13931683\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931683\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/ER3_1530-scaled-e1689369223843-800x533.jpg\" alt=\"A beautiful blonde woman smiles in the sunshine on a red carpet, wearing a black strapless dress, long gloves and pearl necklace. Behind her is a pink and white Barbie logo.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/ER3_1530-scaled-e1689369223843-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/ER3_1530-scaled-e1689369223843-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/ER3_1530-scaled-e1689369223843-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/ER3_1530-scaled-e1689369223843-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/ER3_1530-scaled-e1689369223843-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/ER3_1530-scaled-e1689369223843.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Margot Robbie at the world premiere of ‘Barbie’ in Los Angeles. \u003ccite>(Eric Charbonneau/ Warner Bros. Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The official accounts for \u003cem>Indiana Jones\u003c/em>, \u003cem>Barbie\u003c/em> and \u003cem>Oppenheimer\u003c/em> responded with supportive notes. Gerwig and Robbie even followed with a similar photo series a few days later, which the official \u003cem>Oppenheimer\u003c/em> Instagram account reposted in its stories. Charged with playing Oppenheimer, Cillian Murphy told the AP at his movie’s London premiere that “of course” he’d be seeing \u003cem>Barbie\u003c/em>. The sporting cross-promotion between four studios — Universal, Warner Bros., Disney and Paramount — is something the film business has not quite seen before.\u003c/p>\n\u003cp>“Not only is Tom Cruise the biggest box office star in the world, but he’s also an incredible ambassador for the movie theater, for the movie theater experience and boosting other movies,” Dergarabedian said. “And that collegial atmosphere within the framework of what is seen as the very competitive box office derby is kind of a nice thing.”\u003c/p>\n\u003cp>Still, everyone likes a No. 1 debut, and both \u003cem>Barbie\u003c/em> and \u003cem>Oppenheimer\u003c/em> reportedly carry $100 million production price tags (not including the millions spent on marketing). As far as box office tracking goes, \u003cem>Barbie\u003c/em> has it in the bag with forecasts showing that it could open above $90 million in North America. \u003cem>Oppenheimer\u003c/em> meanwhile is tracking in the $40 million range. Then there’s the wild card of \u003cem>Mission: Impossible 7\u003c/em>’s second weekend, which could snag second place.\u003c/p>\n\u003cfigure id=\"attachment_13931687\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931687\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/CM-800x514.png\" alt=\"A white man with chiseled features stands in an office hallway wearing a grey suit and tie and gazing off to one side.\" width=\"800\" height=\"514\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/CM-800x514.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/CM-1020x656.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/CM-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/CM-768x494.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/CM-1536x987.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/CM.png 1652w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cillian Murphy, starring in ‘Oppenheimer.’ \u003ccite>(Syncopy/ Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still even with a second- or third-place start, \u003cem>Oppenheimer\u003c/em> could be destined for a long, steady, profitable run into awards season. Adult audiences for R-rated movies are not often the ones who pack theaters the first weekend.\u003c/p>\n\u003cp>[aside postid='arts_13931287']Back in 2008, in the midst of the recession, Warner Bros. and Universal faced off on the same July weekend with another Nolan film that went up against a lighthearted confection: \u003cem>The Dark Knight\u003c/em> and \u003cem>Mamma Mia!\u003c/em> — both of which went on to be enormously profitable (though Nolan did win the first weekend).\u003c/p>\n\u003cp>The bigger worry is that what’s been heralded as Hollywood’s post-pandemic comeback summer has had more ups and downs than anyone might have hoped. That’s putting quite a bit of pressure on “Barbenheimer” to overperform and boost the lagging summer box office, which pales in comparison to the bigger issues facing the industry as actors join the writers on strike.\u003c/p>\n\u003cp>But with just over a week to go, it’s still a source of amusement. Even \u003cem>Barbie\u003c/em> co-star Will Ferrell threw the gauntlet in his winking way at the London premiere.\u003c/p>\n\u003cp>“I think the world maybe wants to see \u003cem>Barbie\u003c/em> a little bit more right now,” Ferrell said. “Just saying!”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Copyright 2023 Associated Press. To see more, \u003ca href=\"https://apnews.com/\" rel=\"noopener\">visit AP\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The very online showdown between Greta Gerwig’s \u003cem>Barbie\u003c/em> and Christopher Nolan’s \u003cem>Oppenheimer\u003c/em> all started with a date: July 21.\u003c/p>\n\u003cp>It’s not uncommon for studios to counterprogram films in different genres on a big weekend, but the stark differences between an intense, serious-minded picture about the man who oversaw the development of the atomic bomb and a lighthearted, candy-colored anthropomorphizing of a childhood doll quickly became the stuff of viral fodder.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>There’s even some disagreement over whether it’s “Barbieheimer” or “Barbenheimer” or “Boppenheimer” or yet another tortured portmanteau — a phenomenon on which the AP Stylebook has yet to offer guidance, but for the purposes of this article will be “Barbenheimer.”\u003c/p>\n\u003cp>It didn’t hurt that both Nolan and Gerwig have very passionate and very online fandoms eager to join in. Never mind that many of those fans overlap — the memes, allegiances, and T-shirts were just too fun.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Both movies often trend on social media when the other releases a new asset — a trailer, a picture, an interview. On one level, it’s a marketing department’s dream. Awareness could not be higher, the conversation couldn’t be louder, and neither film even has official reviews out yet.\u003c/p>\n\u003cp>“‘Barbenheimer’ is a marketing gift borne out of social media and I think it’s benefiting both films,” said Paul Dergarabedian, the senior media analyst for analytics firm Comscore. “You’re certainly aware of both movies in a more profound and compelling way than I think might have otherwise happened had they been released on different weekends.”\u003c/p>\n\u003cp>AMC Theaters reported that 20,000 of its AMC Stubs members had purchased tickets for a double feature. If you’re counting, that’s 294 minutes of moviewatching. Even Margot Robbie — Barbie herself — and Tom Cruise, the star of another summer blockbuster, have started plotting the ideal “Barbenheimer” day.\u003c/p>\n\u003cp>“It’s a perfect double bill,” said Robbie at her movie’s London premiere Wednesday. “I think actually start your day with \u003cem>Barbie\u003c/em>, then go straight into \u003cem>Oppenheimer\u003c/em> and then a \u003cem>Barbie\u003c/em> chaser.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Cruise — whose \u003cem>Mission: Impossible – Dead Reckoning Part One\u003c/em> opened a little over a week before the “Barbenheimer” showdown — said at his premiere he’d plan to see both on their opening day, likely starting with \u003cem>Oppenheimer\u003c/em>, which seems to be the internet’s preferred viewing order as well.\u003c/p>\n\u003cp>\u003cem>Barbie\u003c/em> actor Issa Rae thinks there’s a reason for that.\u003c/p>\n\u003cp>“I think that there’s a very specific order that if you see them in. If you see \u003cem>Oppenheimer\u003c/em> last then you might be a bit of a psychopath,” she diagnosed at the London premiere.\u003c/p>\n\u003cp>The showdown has made armchair marketing experts out of everyone, quick to scrutinize every move by Warner Bros. and Universal — as though it’s possible to compare two extraordinarily different campaigns.\u003c/p>\n\u003cp>One has infinite opportunities for very pink, sparkly photo opportunities, whimsical brand partnerships for seemingly everything from underwear to pool floats, large-scale fan events with autograph signings and pop stars like Billie Eilish posting about the soundtrack. In other words, the \u003cem>Barbie\u003c/em> campaign can go nuclear.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Oppenheimer\u003c/em> has the bomb, the alluring mystery and the big screen hook, but it’s not the kind of movie that lends itself to, say, a frozen yogurt collaboration.\u003c/p>\n\u003cp>Is the competition real, though, or just a meme? Some in Hollywood wondered if Warner Bros. plopped \u003cem>Barbie\u003c/em> on the weekend as a slight to Nolan, who had opened many films for the studio in that corridor including \u003cem>Inception\u003c/em> and \u003cem>Dunkirk\u003c/em>. He left Warner Bros. amid its controversial decision to send a year’s worth of movies to streaming and made \u003cem>Oppenheimer\u003c/em> with Universal instead. But a pointed box office war doesn’t exactly make sense for a studio that has talked recently about wanting to lure Nolan back.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There is an unspoken code of conduct: Never badmouth another studio’s film, publicly at least. This is partly decorum, especially when it comes to “box office showdowns” which all will say are a creation of the press and sideline spectators. But it’s also rooted in some truth: The conventional thinking is that having eyes on one movie is good for other movies — you see their posters and trailers and on some level everyone benefits.\u003c/p>\n\u003cp>And social media has allowed movie stars to get in on the game, too. Following reports that Cruise was irked the latest \u003cem>Mission: Impossible\u003c/em> was going to lose its IMAX screens to \u003cem>Oppenheimer\u003c/em> after only a week, Cruise posted photos of himself and director Christopher McQuarrie standing in front of posters for \u003cem>Indiana Jones and the Dial of Destiny\u003c/em>, \u003cem>Barbie\u003c/em> and \u003cem>Oppenheimer\u003c/em>, holding tickets for each.\u003c/p>\n\u003cp>“This summer is full of amazing movies to see in theaters. These are just a few that we can’t wait to see on the big screen,” Cruise’s Instagram caption read.\u003c/p>\n\u003cfigure id=\"attachment_13931683\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931683\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/ER3_1530-scaled-e1689369223843-800x533.jpg\" alt=\"A beautiful blonde woman smiles in the sunshine on a red carpet, wearing a black strapless dress, long gloves and pearl necklace. Behind her is a pink and white Barbie logo.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/ER3_1530-scaled-e1689369223843-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/ER3_1530-scaled-e1689369223843-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/ER3_1530-scaled-e1689369223843-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/ER3_1530-scaled-e1689369223843-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/ER3_1530-scaled-e1689369223843-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/ER3_1530-scaled-e1689369223843.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Margot Robbie at the world premiere of ‘Barbie’ in Los Angeles. \u003ccite>(Eric Charbonneau/ Warner Bros. Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The official accounts for \u003cem>Indiana Jones\u003c/em>, \u003cem>Barbie\u003c/em> and \u003cem>Oppenheimer\u003c/em> responded with supportive notes. Gerwig and Robbie even followed with a similar photo series a few days later, which the official \u003cem>Oppenheimer\u003c/em> Instagram account reposted in its stories. Charged with playing Oppenheimer, Cillian Murphy told the AP at his movie’s London premiere that “of course” he’d be seeing \u003cem>Barbie\u003c/em>. The sporting cross-promotion between four studios — Universal, Warner Bros., Disney and Paramount — is something the film business has not quite seen before.\u003c/p>\n\u003cp>“Not only is Tom Cruise the biggest box office star in the world, but he’s also an incredible ambassador for the movie theater, for the movie theater experience and boosting other movies,” Dergarabedian said. “And that collegial atmosphere within the framework of what is seen as the very competitive box office derby is kind of a nice thing.”\u003c/p>\n\u003cp>Still, everyone likes a No. 1 debut, and both \u003cem>Barbie\u003c/em> and \u003cem>Oppenheimer\u003c/em> reportedly carry $100 million production price tags (not including the millions spent on marketing). As far as box office tracking goes, \u003cem>Barbie\u003c/em> has it in the bag with forecasts showing that it could open above $90 million in North America. \u003cem>Oppenheimer\u003c/em> meanwhile is tracking in the $40 million range. Then there’s the wild card of \u003cem>Mission: Impossible 7\u003c/em>’s second weekend, which could snag second place.\u003c/p>\n\u003cfigure id=\"attachment_13931687\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931687\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/CM-800x514.png\" alt=\"A white man with chiseled features stands in an office hallway wearing a grey suit and tie and gazing off to one side.\" width=\"800\" height=\"514\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/CM-800x514.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/CM-1020x656.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/CM-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/CM-768x494.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/CM-1536x987.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/CM.png 1652w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cillian Murphy, starring in ‘Oppenheimer.’ \u003ccite>(Syncopy/ Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still even with a second- or third-place start, \u003cem>Oppenheimer\u003c/em> could be destined for a long, steady, profitable run into awards season. Adult audiences for R-rated movies are not often the ones who pack theaters the first weekend.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Back in 2008, in the midst of the recession, Warner Bros. and Universal faced off on the same July weekend with another Nolan film that went up against a lighthearted confection: \u003cem>The Dark Knight\u003c/em> and \u003cem>Mamma Mia!\u003c/em> — both of which went on to be enormously profitable (though Nolan did win the first weekend).\u003c/p>\n\u003cp>The bigger worry is that what’s been heralded as Hollywood’s post-pandemic comeback summer has had more ups and downs than anyone might have hoped. That’s putting quite a bit of pressure on “Barbenheimer” to overperform and boost the lagging summer box office, which pales in comparison to the bigger issues facing the industry as actors join the writers on strike.\u003c/p>\n\u003cp>But with just over a week to go, it’s still a source of amusement. Even \u003cem>Barbie\u003c/em> co-star Will Ferrell threw the gauntlet in his winking way at the London premiere.\u003c/p>\n\u003cp>“I think the world maybe wants to see \u003cem>Barbie\u003c/em> a little bit more right now,” Ferrell said. “Just saying!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2023 Associated Press. To see more, \u003ca href=\"https://apnews.com/\" rel=\"noopener\">visit AP\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>You know that feeling you get every time a Fox News presenter uses the word “woke”? That full-body cringe? You probably also experience it every time your dad says “on fleek” or your aunt talks about getting a “glow up.” And I’m fairly certain everyone who watched the \u003ca href=\"https://www.kqed.org/arts/13925510/senators-are-calling-on-the-justice-department-to-look-into-ticketmasters-practices\">Ticketmaster Senate hearing\u003c/a> last January knows exactly what I’m talking about. (Thanks for all the forced Taylor Swift references, politicians!)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Z347R_2R0HM\u003c/p>\n\u003cp>It’s become virtually impossible to avoid these kinds of pandering pop culture references and cringeworthy puns, even in what should be the dullest corners of the internet. There have lately been some major offenders! Let us now collectively point in their direction and judge them.\u003c/p>\n\u003ch2>The FBI Wants You to ‘Speak Now’\u003c/h2>\n\u003cp>Let’s take a moment to think this one through, because honestly, it boggles the mind on multiple levels.\u003c/p>\n\u003cp>Three days after Taylor Swift released her much-hyped \u003cem>Speak Now (Taylor’s Version) \u003c/em>album, someone at the actual Federal Bureau of Investigation noticed, had an incredibly misguided ‘ah-ha’ moment, then came up with … this.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/FBIWFO/status/1678524780230656000\u003c/p>\n\u003cp>Because, sure, one of the best ways to get federal crime tips is to wink at a bunch of Taylor Swift fans on Twitter and expect them to immediately spill the many felony-related secrets they’ve been harboring.\u003c/p>\n\u003cp>Snitching: Apparently just one well-placed “Better Than Revenge” reference away!\u003c/p>\n\u003ch2>H&R Block Goes to ‘Taxchella’\u003c/h2>\n\u003cp>Remember that nerdy kid from math club who decided one summer they were going to be cool next year? So they showed up Sophomore year wearing a brand new, stiff-as-all-get-out leather jacket over their regular nerd clothes, and thought that would do the trick? This H&R Block tweet reminds me of that kid.\u003c/p>\n\u003cp>https://twitter.com/HRBlock/status/1646875959537147906\u003c/p>\n\u003cp>I think we can all agree that Portugal, the Tax Pro is a real low point here.\u003c/p>\n\u003ch2>Velveeta Gets in on the Stupid Coachella Thing\u003c/h2>\n\u003cp>Say what you want about H&R Block’s abomination, but at least it was timed to coincide with the first day of Coachella. Velveeta (you heard me) waited two full months to hit the internet with this — a fake festival lineup full of dairy puns that uses the word “drip” repeatedly and still expects us to want to eat cheese afterwards.\u003c/p>\n\u003cp>https://www.instagram.com/p/CuUsRBiSyiA/\u003c/p>\n\u003cp>Really, Velveeta social media person? You’re just gonna go ahead and leave Cheesy XCX sitting there right above Cheesy XX? For shame.\u003c/p>\n\u003ch2>The State of New Jersey Knows a Song\u003c/h2>\n\u003cp>The scene: An over-decorated corner of an office block in Trenton, NJ. Two social media employees smile at each other, fresh from Photoshopping the state of New Jersey onto a picture of Baby Yoda.\u003c/p>\n\u003cp>Susan: Man. We are killing it, bro.\u003cbr>\nDave: I know, dude. What’s next?\u003cbr>\nSusan: I mean… I’ve got this GIF of a pier at sunset?\u003cbr>\nDave: Should we Photoshop Baby Yoda onto it?\u003cbr>\nSusan: Hold my Snapple, friend, because I’ve got an even better idea.\u003cbr>\nDave: Is the idea just “Lizzo”?\u003cbr>\nSusan: Yes!\u003cbr>\nDave: Isn’t she from Detroit though?\u003cbr>\nSusan: Yeah, but… That’s close enough though, right?\u003cbr>\nDave: Totally, dude. Still a genius idea. Just make sure you do the text in lowercase like The Kids do it.\u003cbr>\nSusan: Done!\u003cbr>\nDave and Susan: *high five*\u003c/p>\n\u003cp>https://twitter.com/NJGov/status/1227975614742876160\u003c/p>\n\u003cp>“How Deep is the Ocean?” by Frank Sinatra — who actually \u003cem>is\u003c/em> from New Jersey — was right there, Susan. Right friggin’ there.\u003c/p>\n\u003ch2>The IRS Wants You to Think It Gets Nintendo\u003c/h2>\n\u003cp>Someone at the IRS thinks that if you need a six-month extension on filing your taxes, you’re probably a Super Mario Bros. fan. (Gamers, amiright?)\u003c/p>\n\u003cp>Check out these killer and not at all boxy graphics!\u003c/p>\n\u003cp>https://www.instagram.com/p/CqrEcdsLZUR/?img_index=1\u003c/p>\n\u003cp>“No fire will come your way”? Really, IRS? This is not as seamless as you think it was.\u003c/p>\n\u003ch2>New York City’s Conflicts of Interest Board Has a Full-Blown Meltdown\u003c/h2>\n\u003cp>Not gonna lie, I did have to look up what the New York Conflicts of Interest Board does exactly. If you also don’t know — and to put it as briefly as possible — it’s a government agency that “seeks to prevent ethics questions from becoming ethics problems for public servants.”\u003c/p>\n\u003cp>Less easy to understand is why on God’s green Earth these tweets happened:\u003c/p>\n\u003cp>https://twitter.com/NYCCOIB/status/1228399887588392960\u003c/p>\n\u003cp>What just happened? I mean… What. Just. Happened?\u003c/p>\n\u003ch2>United Tries to Do a ‘Barbie’ Something\u003c/h2>\n\u003cp>Thanks, United. This makes no sense. No sense at all.\u003c/p>\n\u003cp>https://www.instagram.com/p/Cqq271EuOrh/?hl=en\u003c/p>\n\u003cp>The laziness is brazen.\u003c/p>\n\u003ch2>The TSA Turns ‘Barbie’ Into a Slasher Movie\u003c/h2>\n\u003cp>What is it with air travel-related accounts and Greta Gerwig’s friggin’ \u003cem>Barbie\u003c/em> movie?\u003c/p>\n\u003cp>Not to be outdone by United, someone at the TSA took it upon themselves to transform an amusing, tongue-in-cheek \u003cem>Barbie\u003c/em> publicity image into a Cronenberg-ian nightmare that:\u003c/p>\n\u003col>\n\u003cli>Extracts any and all semblance of humor from the image\u003c/li>\n\u003cli>Severs Barbie’s legs from her torso (!)\u003c/li>\n\u003cli>Jams Barbie’s body full of knives (!!)\u003c/li>\n\u003cli>Punishes anyone foolish enough to keep looking at this with a list of godawful puns\u003c/li>\n\u003c/ol>\n\u003cp>https://www.instagram.com/p/CqtMDJtP1AX/?img_index=1\u003c/p>\n\u003cp>This feels like an HR violation.\u003c/p>\n\u003ch2>Parks and … what the heck?\u003c/h2>\n\u003cp>New York City’s Parks Department is prone to leaning into hip-hop culture, posting recent clips of rappers Sean Combs, Fat Joe and Jim Jones. One still has to wonder what its social media team was trying to say when it posted \u003ca href=\"https://www.instagram.com/p/CMQwnSXgY2U/?hl=en\">this clip from 1991’s \u003cem>New Jack City\u003c/em>\u003c/a>:\u003c/p>\n\u003cp>https://www.instagram.com/p/CMQwnSXgY2U/?hl=en\u003c/p>\n\u003cp>Perhaps “Come hang out at our New York City playgrounds where guns are plentiful, men are intimidating and women wear terrible hats?” Slow clap, Parks and Rec department. Slow clap.\u003c/p>\n\u003ch2>Product Safety Folks Do … Whatever This is\u003c/h2>\n\u003cp>If you are a dull entity insisting on making pop culture references in your social media posts, the least you can do is reference things that normal people understand.\u003c/p>\n\u003cp>Let us ponder the wonder contained in this U.S. Consumer Product Safety Commission post:\u003c/p>\n\u003cp>https://twitter.com/USCPSC/status/1230277447859474433\u003c/p>\n\u003cp>I tried hard to understand what the bejesus was going on here and, beyond the obvious laser cat meme, all I managed to figure out is “Should have sent a poet” is a quote from (*checks notes*) the 1997 Jodie Foster alien movie \u003cem>Contact.\u003c/em> (Way to keep it current, guys!) Who Franklin and Dr. Jackson are remains a mystery that not even Google can solve.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Good luck out there.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The laziness is brazen.\u003c/p>\n\u003ch2>The TSA Turns ‘Barbie’ Into a Slasher Movie\u003c/h2>\n\u003cp>What is it with air travel-related accounts and Greta Gerwig’s friggin’ \u003cem>Barbie\u003c/em> movie?\u003c/p>\n\u003cp>Not to be outdone by United, someone at the TSA took it upon themselves to transform an amusing, tongue-in-cheek \u003cem>Barbie\u003c/em> publicity image into a Cronenberg-ian nightmare that:\u003c/p>\n\u003col>\n\u003cli>Extracts any and all semblance of humor from the image\u003c/li>\n\u003cli>Severs Barbie’s legs from her torso (!)\u003c/li>\n\u003cli>Jams Barbie’s body full of knives (!!)\u003c/li>\n\u003cli>Punishes anyone foolish enough to keep looking at this with a list of godawful puns\u003c/li>\n\u003c/ol>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This feels like an HR violation.\u003c/p>\n\u003ch2>Parks and … what the heck?\u003c/h2>\n\u003cp>New York City’s Parks Department is prone to leaning into hip-hop culture, posting recent clips of rappers Sean Combs, Fat Joe and Jim Jones. One still has to wonder what its social media team was trying to say when it posted \u003ca href=\"https://www.instagram.com/p/CMQwnSXgY2U/?hl=en\">this clip from 1991’s \u003cem>New Jack City\u003c/em>\u003c/a>:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Perhaps “Come hang out at our New York City playgrounds where guns are plentiful, men are intimidating and women wear terrible hats?” Slow clap, Parks and Rec department. Slow clap.\u003c/p>\n\u003ch2>Product Safety Folks Do … Whatever This is\u003c/h2>\n\u003cp>If you are a dull entity insisting on making pop culture references in your social media posts, the least you can do is reference things that normal people understand.\u003c/p>\n\u003cp>Let us ponder the wonder contained in this U.S. Consumer Product Safety Commission post:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>I tried hard to understand what the bejesus was going on here and, beyond the obvious laser cat meme, all I managed to figure out is “Should have sent a poet” is a quote from (*checks notes*) the 1997 Jodie Foster alien movie \u003cem>Contact.\u003c/em> (Way to keep it current, guys!) Who Franklin and Dr. Jackson are remains a mystery that not even Google can solve.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "In ‘Oppenheimer,’ Christopher Nolan Builds a Thrilling, Serious Blockbuster for Adults",
"headTitle": "In ‘Oppenheimer,’ Christopher Nolan Builds a Thrilling, Serious Blockbuster for Adults | KQED",
"content": "\u003cp>Christopher Nolan has never been one to take the easy or straightforward route while making a movie.\u003c/p>\n\u003cp>He shoots on large-format film with large, cumbersome cameras to get the best possible cinematic image. He prefers practical effects over computer-generated ones and real locations over soundstages — even when that means recreating an atomic explosion in the harsh winds of the New Mexico desert in the middle of the night for \u003cem>Oppenheimer\u003c/em>, out July 21.\u003c/p>\n\u003cp>Though, despite internet rumors, they did not detonate an actual nuclear weapon.\u003c/p>\n\u003cp>[aside postid='arts_13931543']And as for the biography that inspired his newest film, Kai Bird and Martin J. Sherwin’s riveting, linear narrative \u003cem>American Prometheus\u003c/em> was simply the starting point from which Nolan crafted a beguiling labyrinth of suspense and drama.\u003c/p>\n\u003cp>It’s why, in his two decades working in Hollywood, Nolan has become a franchise unto himself — the rare auteur writer-director who makes films that are both intellectually stimulating and commercial, accounting for more than $5 billion in box office receipts. That combination is part of the reason why he’s able to attract Oscar winners and movie stars not just to headline his films, but also to turn out for just a scene or two.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We’ve all been so intoxicated by his films,” said Emily Blunt, who plays J. Robert Oppenheimer’s wife, Kitty. “That exploration of huge themes in an entertaining way doesn’t happen. It just doesn’t happen. That depth, the depth of the material, and yet on this massive epic scale.”\u003c/p>\n\u003cp>In the vast and complex story of the brilliant theoretical physicist who oversaw the Manhattan Project and the development of the atomic bomb during World War II, Nolan saw exciting possibilities to play with genre and form. There was the race to develop it before the Germans did, espionage, romance, domestic turmoil, a courtroom drama, bruised egos, political machinations, communist panic, and the burden of having created something that could destroy the world.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=uYPbbksJxIg\u003c/p>\n\u003cp>And then there was the man himself, beloved by most but hated by enough, who, after achieving icon status in American society, saw his reputation and sense of self annihilated by the very institutions that built him.\u003c/p>\n\u003cp>“It’s such an ambitious story to tell,” said Matt Damon, who plays Gen. Leslie Groves Jr. “Reading the script, I had the same feeling I had when I read \u003cem>Interstellar\u003c/em>, which was: ‘This is great. How the hell is he going to do this?’”\u003c/p>\n\u003cp>It’s not so disconnected from Nolan’s other films, either. As critic Tom Shone noted in his book about the director, “Looked at one way, Nolan’s films are all allegories of men who first find their salvation in structure only to find themselves betrayed or engulfed by it.”\u003c/p>\n\u003cp>[aside postid='arts_13931287']Nolan turned to Cillian Murphy to take on the gargantuan task of portraying Oppenheimer. Murphy had already acted in five Nolan films, including the Batman trilogy, \u003cem>Dunkirk\u003c/em> and \u003cem>Inception\u003c/em>, but this would be his first time as a lead — something he had secretly pined for.\u003c/p>\n\u003cp>“You feel a responsibility, but then a great hunger and excitement to try and do it, to see where you can get,” said Murphy, who prepped extensively for six months before filming, working closely with Nolan throughout. “It was an awful lot of work, but I loved it. There is this kind of frisson, this energy when you’re on a Chris Nolan set about the potential for what you’re going to achieve.”\u003c/p>\n\u003cfigure id=\"attachment_13931579\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931579\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.16-AM-800x518.png\" alt=\"A man in a grey hat and suit looks off to one side. He is standing outside, wooden buildings visible behind him. \" width=\"800\" height=\"518\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.16-AM-800x518.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.16-AM-1020x661.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.16-AM-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.16-AM-768x497.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.16-AM-1536x995.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.16-AM.png 1868w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cillian Murphy in ‘Oppenheimer.’ \u003ccite>(Syncopy/ Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It would be an all-consuming role that would require some physical transformation to approximate that famously thin silhouette. A complex, contradictory figure, Oppenheimer emerged from a somewhat awkward youth to become a renaissance man who seemed to carry equal passion for the Bhagavad Gita, Proust, physics, languages, New Mexico, philosophical questions about disarmament and the perfectly mixed martini. But Murphy knew he was in safe hands with Nolan.\u003c/p>\n\u003cp>“He’s the most natural director I’ve ever worked with. And the notes that he gives to an actor are quite remarkable. How he can gently bring you to a different place with your performance is quite stunning in such a subtle, low-key, understated way,” Murphy said. “It can have a profound effect on the way you look at a scene from one take to another take.”\u003c/p>\n\u003cp>Nolan wrote the main timeline of the film in the first person, to represent Oppenheimer’s subjective experience.\u003c/p>\n\u003cp>[aside postid='arts_13931189']“We want to see everything through Oppenheimer’s point of view,” Nolan said. “That’s a huge challenge for an actor to take on because they’re having to worry about the performance, the truth of the performance, but also make sure that that’s always open to the audience.”\u003c/p>\n\u003cp>The other timeline, filmed in black and white, is more objective and focused on Lewis Strauss (Robert Downey Jr.), a founding member of the Atomic Energy Commission and a supporter of the development of the more destructive hydrogen bomb.\u003c/p>\n\u003cp>\u003cem>Oppenheimer\u003c/em> is Nolan’s first R-rated film since 2002’s \u003cem>Insomnia\u003c/em>, which after years of working exclusively in PG-13, he’s comfortable with. It fits the gravity of the material.\u003c/p>\n\u003cp>“We’re dealing with the most serious and adult story you could imagine — very important, dramatic events that changed the world and defined the world we live in today,” Nolan said. “You don’t want to compromise in any way.”\u003c/p>\n\u003cp>Much of the filming took place in New Mexico, including at the real Los Alamos laboratory where thousands of scientists, technicians and their families lived and worked for two years in the effort to develop the bomb. Nolan enlisted many of his frequent behind-the-scenes collaborators, including his wife and producer Emma Thomas, cinematographer Hoyte Van Hoytema, composer Ludwig Göransson and special effects supervisors Scott Fisher and Andrew Jackson, as well as some newcomers like production designer Ruth de Jong and costume designer Ellen Mirojnick to help bring this world to life.\u003c/p>\n\u003cp>“It was a very focused set — fun set as well, not too serious. But the work was serious, the sweating of the details was serious,” Blunt said. “Everyone needs to kind of match Chris’ excellence, or want to.”\u003c/p>\n\u003cfigure id=\"attachment_13931581\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931581\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/matt-damon-800x496.png\" alt=\"A white man with a mustache sits in an office chair. He is wearing a military uniform, tie slightly undone.\" width=\"800\" height=\"496\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/matt-damon-800x496.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/matt-damon-1020x633.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/matt-damon-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/matt-damon-768x476.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/matt-damon-1536x952.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/matt-damon.png 1890w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Matt Damon playing Gen. Leslie Groves Jr. in ‘Oppenheimer.’ \u003ccite>(Syncopy/ Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When it came to recreating the Trinity test, Oppenheimer’s chosen name for the first nuclear detonation, art and life blended in a visceral way.\u003c/p>\n\u003cp>“We wanted to put the audience there in that bunker,” Nolan said. “That meant really trying to make these things as beautiful and frightening and awe inspiring as they would have been to the people at the time.”\u003c/p>\n\u003cp>Though no real nukes were used, they did stage a lot of real explosions to approximate the blindingly bright atomic fire and mushroom cloud.\u003c/p>\n\u003cp>[aside postid='arts_13931405']“To do those safely in a real environment out in the nighttime desert, there’s a degree of discipline and focus and adrenaline and just executing that for the film that echoes and mirrors what these guys went through on the grandest scale in a really interesting way,” Nolan said. “I felt everybody had that very, very tight sense of tension and focus around all those shooting nights.”\u003c/p>\n\u003cp>The weather also “did what it needed to do, as per history,” Murphy said, as the wind picked up and whipped around the set.\u003c/p>\n\u003cp>“I’m rumored to be very lucky with the weather and it’s not the case. It’s just that we decide to shoot whatever the weather,” Nolan said. “In the case of the Trinity test, it was essential, central to the story that this big storm rolls in with tremendous drama. And it did. That really made the sequence come to life.”\u003c/p>\n\u003cp>He added: “The extremity of it put me very much in the mindset of what it must have been like for these guys. It really felt like we were out in it.”\u003c/p>\n\u003cp>Then, of course, there is the experience of watching \u003cem>Oppenheimer\u003c/em>.\u003c/p>\n\u003cp>“When you’re making a movie, I feel like you’re on the inside looking out,” Blunt said. “It’s really overwhelming to see it reflected back at you, especially one of this magnitude. … I just felt like my breastplate was going to shatter, it was so intense.”\u003c/p>\n\u003cfigure id=\"attachment_13931580\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931580\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/emily-blunt-800x504.png\" alt=\"A woman in casual 1940s shirt and cardigan sweeps hair away from her face. Behind her is a laundry line covered in sheets.\" width=\"800\" height=\"504\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/emily-blunt-800x504.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/emily-blunt-1020x642.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/emily-blunt-160x101.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/emily-blunt-768x484.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/emily-blunt-1536x967.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/emily-blunt.png 1566w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emily Blunt stars as Kitty Oppenheimer. \u003ccite>(Syncopy/ Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The hope is that when \u003cem>Oppenheimer\u003c/em> is unleashed on the world, audiences will be as invested and will seek it out on the biggest screen they can find. The film has a run in IMAX theaters around the country, not something often afforded serious-minded, R-rated movies in the middle of the busy summer season. But this is also the essential Nolan impossibility. As more and more auteurs have had to compromise — to either go smaller or team with streamers to get the kind of budget they might once have had at studios, like even Ridley Scott and Martin Scorsese have had to do this year — Nolan continues to make his movies on the grandest scale.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Each of his films has been revolutionary in their own way,” Murphy said. “It’s an event every time he releases a film, and rightly so.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And as for the biography that inspired his newest film, Kai Bird and Martin J. Sherwin’s riveting, linear narrative \u003cem>American Prometheus\u003c/em> was simply the starting point from which Nolan crafted a beguiling labyrinth of suspense and drama.\u003c/p>\n\u003cp>It’s why, in his two decades working in Hollywood, Nolan has become a franchise unto himself — the rare auteur writer-director who makes films that are both intellectually stimulating and commercial, accounting for more than $5 billion in box office receipts. That combination is part of the reason why he’s able to attract Oscar winners and movie stars not just to headline his films, but also to turn out for just a scene or two.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We’ve all been so intoxicated by his films,” said Emily Blunt, who plays J. Robert Oppenheimer’s wife, Kitty. “That exploration of huge themes in an entertaining way doesn’t happen. It just doesn’t happen. That depth, the depth of the material, and yet on this massive epic scale.”\u003c/p>\n\u003cp>In the vast and complex story of the brilliant theoretical physicist who oversaw the Manhattan Project and the development of the atomic bomb during World War II, Nolan saw exciting possibilities to play with genre and form. There was the race to develop it before the Germans did, espionage, romance, domestic turmoil, a courtroom drama, bruised egos, political machinations, communist panic, and the burden of having created something that could destroy the world.\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/uYPbbksJxIg'\n title='//www.youtube.com/embed/uYPbbksJxIg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And then there was the man himself, beloved by most but hated by enough, who, after achieving icon status in American society, saw his reputation and sense of self annihilated by the very institutions that built him.\u003c/p>\n\u003cp>“It’s such an ambitious story to tell,” said Matt Damon, who plays Gen. Leslie Groves Jr. “Reading the script, I had the same feeling I had when I read \u003cem>Interstellar\u003c/em>, which was: ‘This is great. How the hell is he going to do this?’”\u003c/p>\n\u003cp>It’s not so disconnected from Nolan’s other films, either. As critic Tom Shone noted in his book about the director, “Looked at one way, Nolan’s films are all allegories of men who first find their salvation in structure only to find themselves betrayed or engulfed by it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Nolan turned to Cillian Murphy to take on the gargantuan task of portraying Oppenheimer. Murphy had already acted in five Nolan films, including the Batman trilogy, \u003cem>Dunkirk\u003c/em> and \u003cem>Inception\u003c/em>, but this would be his first time as a lead — something he had secretly pined for.\u003c/p>\n\u003cp>“You feel a responsibility, but then a great hunger and excitement to try and do it, to see where you can get,” said Murphy, who prepped extensively for six months before filming, working closely with Nolan throughout. “It was an awful lot of work, but I loved it. There is this kind of frisson, this energy when you’re on a Chris Nolan set about the potential for what you’re going to achieve.”\u003c/p>\n\u003cfigure id=\"attachment_13931579\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931579\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.16-AM-800x518.png\" alt=\"A man in a grey hat and suit looks off to one side. He is standing outside, wooden buildings visible behind him. \" width=\"800\" height=\"518\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.16-AM-800x518.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.16-AM-1020x661.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.16-AM-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.16-AM-768x497.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.16-AM-1536x995.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.16-AM.png 1868w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cillian Murphy in ‘Oppenheimer.’ \u003ccite>(Syncopy/ Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It would be an all-consuming role that would require some physical transformation to approximate that famously thin silhouette. A complex, contradictory figure, Oppenheimer emerged from a somewhat awkward youth to become a renaissance man who seemed to carry equal passion for the Bhagavad Gita, Proust, physics, languages, New Mexico, philosophical questions about disarmament and the perfectly mixed martini. But Murphy knew he was in safe hands with Nolan.\u003c/p>\n\u003cp>“He’s the most natural director I’ve ever worked with. And the notes that he gives to an actor are quite remarkable. How he can gently bring you to a different place with your performance is quite stunning in such a subtle, low-key, understated way,” Murphy said. “It can have a profound effect on the way you look at a scene from one take to another take.”\u003c/p>\n\u003cp>Nolan wrote the main timeline of the film in the first person, to represent Oppenheimer’s subjective experience.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“We want to see everything through Oppenheimer’s point of view,” Nolan said. “That’s a huge challenge for an actor to take on because they’re having to worry about the performance, the truth of the performance, but also make sure that that’s always open to the audience.”\u003c/p>\n\u003cp>The other timeline, filmed in black and white, is more objective and focused on Lewis Strauss (Robert Downey Jr.), a founding member of the Atomic Energy Commission and a supporter of the development of the more destructive hydrogen bomb.\u003c/p>\n\u003cp>\u003cem>Oppenheimer\u003c/em> is Nolan’s first R-rated film since 2002’s \u003cem>Insomnia\u003c/em>, which after years of working exclusively in PG-13, he’s comfortable with. It fits the gravity of the material.\u003c/p>\n\u003cp>“We’re dealing with the most serious and adult story you could imagine — very important, dramatic events that changed the world and defined the world we live in today,” Nolan said. “You don’t want to compromise in any way.”\u003c/p>\n\u003cp>Much of the filming took place in New Mexico, including at the real Los Alamos laboratory where thousands of scientists, technicians and their families lived and worked for two years in the effort to develop the bomb. Nolan enlisted many of his frequent behind-the-scenes collaborators, including his wife and producer Emma Thomas, cinematographer Hoyte Van Hoytema, composer Ludwig Göransson and special effects supervisors Scott Fisher and Andrew Jackson, as well as some newcomers like production designer Ruth de Jong and costume designer Ellen Mirojnick to help bring this world to life.\u003c/p>\n\u003cp>“It was a very focused set — fun set as well, not too serious. But the work was serious, the sweating of the details was serious,” Blunt said. “Everyone needs to kind of match Chris’ excellence, or want to.”\u003c/p>\n\u003cfigure id=\"attachment_13931581\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931581\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/matt-damon-800x496.png\" alt=\"A white man with a mustache sits in an office chair. He is wearing a military uniform, tie slightly undone.\" width=\"800\" height=\"496\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/matt-damon-800x496.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/matt-damon-1020x633.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/matt-damon-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/matt-damon-768x476.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/matt-damon-1536x952.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/matt-damon.png 1890w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Matt Damon playing Gen. Leslie Groves Jr. in ‘Oppenheimer.’ \u003ccite>(Syncopy/ Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When it came to recreating the Trinity test, Oppenheimer’s chosen name for the first nuclear detonation, art and life blended in a visceral way.\u003c/p>\n\u003cp>“We wanted to put the audience there in that bunker,” Nolan said. “That meant really trying to make these things as beautiful and frightening and awe inspiring as they would have been to the people at the time.”\u003c/p>\n\u003cp>Though no real nukes were used, they did stage a lot of real explosions to approximate the blindingly bright atomic fire and mushroom cloud.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“To do those safely in a real environment out in the nighttime desert, there’s a degree of discipline and focus and adrenaline and just executing that for the film that echoes and mirrors what these guys went through on the grandest scale in a really interesting way,” Nolan said. “I felt everybody had that very, very tight sense of tension and focus around all those shooting nights.”\u003c/p>\n\u003cp>The weather also “did what it needed to do, as per history,” Murphy said, as the wind picked up and whipped around the set.\u003c/p>\n\u003cp>“I’m rumored to be very lucky with the weather and it’s not the case. It’s just that we decide to shoot whatever the weather,” Nolan said. “In the case of the Trinity test, it was essential, central to the story that this big storm rolls in with tremendous drama. And it did. That really made the sequence come to life.”\u003c/p>\n\u003cp>He added: “The extremity of it put me very much in the mindset of what it must have been like for these guys. It really felt like we were out in it.”\u003c/p>\n\u003cp>Then, of course, there is the experience of watching \u003cem>Oppenheimer\u003c/em>.\u003c/p>\n\u003cp>“When you’re making a movie, I feel like you’re on the inside looking out,” Blunt said. “It’s really overwhelming to see it reflected back at you, especially one of this magnitude. … I just felt like my breastplate was going to shatter, it was so intense.”\u003c/p>\n\u003cfigure id=\"attachment_13931580\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931580\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/emily-blunt-800x504.png\" alt=\"A woman in casual 1940s shirt and cardigan sweeps hair away from her face. Behind her is a laundry line covered in sheets.\" width=\"800\" height=\"504\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/emily-blunt-800x504.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/emily-blunt-1020x642.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/emily-blunt-160x101.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/emily-blunt-768x484.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/emily-blunt-1536x967.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/emily-blunt.png 1566w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emily Blunt stars as Kitty Oppenheimer. \u003ccite>(Syncopy/ Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The hope is that when \u003cem>Oppenheimer\u003c/em> is unleashed on the world, audiences will be as invested and will seek it out on the biggest screen they can find. The film has a run in IMAX theaters around the country, not something often afforded serious-minded, R-rated movies in the middle of the busy summer season. But this is also the essential Nolan impossibility. As more and more auteurs have had to compromise — to either go smaller or team with streamers to get the kind of budget they might once have had at studios, like even Ridley Scott and Martin Scorsese have had to do this year — Nolan continues to make his movies on the grandest scale.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Each of his films has been revolutionary in their own way,” Murphy said. “It’s an event every time he releases a film, and rightly so.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "oakland-filmmaker-cheryl-dunye-watermelon-woman-criterion-collection",
"title": "Oakland-Based Filmmaker Cheryl Dunye Advises: 'Put Yourself Out Where You Belong'",
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"headTitle": "Oakland-Based Filmmaker Cheryl Dunye Advises: ‘Put Yourself Out Where You Belong’ | KQED",
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"content": "\u003cp>Growing up in Philadelphia, Cheryl Dunye says she was fascinated by the stories reflected in her mother’s scrapbook photos. She studied filmmaking in college and graduate school but didn’t see people who looked like her on screen.\u003c/p>\n\u003cp>Dunye changed that with her 1996 debut, \u003cem>The Watermelon Woman.\u003c/em> It is the first feature-length film written and directed by a Black lesbian. In it, Dunye plays a fictionalized version of her 25-year-old self, a video store clerk aspiring to become a filmmaker. In her off hours, she watches films from the 1930s and ’40s with Black actresses such as Hattie McDaniel and Louise Beavers. However, they’re often relegated to racially stereotyped roles; some aren’t even listed in the credits.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=uwJc6hVgMDk\u003c/p>\n\u003cp>Cheryl decides to make a documentary about an actress who’d been typecast as a mammy in a movie called \u003cem>Plantation Memories\u003c/em> and credited as “the watermelon woman.” Her quest mirrored that of the real life Dunye, who says archival records about Black actresses of that era were hard to come by. Even then, she often came up empty-handed.\u003c/p>\n\u003cfigure id=\"attachment_13931448\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931448\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.07.48-PM-800x607.png\" alt='A hand holding up a pile of photos. The top image shows a Black woman facing the camera with a startled expression. Handwriting underneath the image says \"Woman holding flowers (full frame).\"' width=\"800\" height=\"607\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.07.48-PM-800x607.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.07.48-PM-1020x774.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.07.48-PM-160x121.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.07.48-PM-768x583.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.07.48-PM.png 1294w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In ‘The Watermelon Woman,’ Dunye reconstructs the story of Fae Richards through personal photos, home movies, and the memories of those who knew her. \u003ccite>(The Criterion Collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the film, Cheryl reconstructs the actress’ story through personal photos, home movies, and the memories of those who knew her. We learn that Fae Richards, like Cheryl, was from Philadelphia. She had a fraught relationship with the white female director of \u003cem>Plantation Memories\u003c/em>. Her acting career stymied by racism, Faye later found lasting love with a Black woman named June. In a letter written from her hospital bed at the end of her life, June encourages Cheryl to “make our history before we are all dead and gone.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The experience leads Cheryl to take stock of her relationship with a white woman \u003ca href=\"https://www.youtube.com/watch?v=pq22qx9dJhY\">she met at the video store \u003c/a>and what she’s learned about herself while searching for Fae. Speaking into the camera at the close of the film, she says, “Most importantly, what I understand is that I’m gonna be the one who says ‘I am a Black lesbian filmmaker who’s just beginning, but I’m gonna say a lot more and have a lot more work to do.'”\u003c/p>\n\u003cfigure id=\"attachment_13931449\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931449\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.13.47-PM-800x608.png\" alt=\"A Black woman with very short hair sits in front of a wall of images, pins messily to a wall. She is in the middle of talking.\" width=\"800\" height=\"608\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.13.47-PM-800x608.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.13.47-PM-1020x775.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.13.47-PM-160x122.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.13.47-PM-768x583.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.13.47-PM.png 1290w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from Cheryl Dunye’s film ‘The Watermelon Woman.’ \u003ccite>(The Criterion Collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After presenting what she discovered about Fae, a title card reveals that the watermelon woman is a fiction invented to tell a true story about the invisibility and erasure of Black lesbian lives. (In real life, Dunye conjured Fae Richards with the help of \u003ca href=\"https://digitalcollections.saic.edu/islandora/object/islandora%3Ajfabc_9041\">a faux archive\u003c/a> co-created by the photographer Zoe Leonard, parts of which were sold to raise money for the completion of the film.)\u003c/p>\n\u003cp>[aside postid='arts_13894145']Filmmaker and historian \u003ca href=\"http://yvonnewelbon.com/\">Yvonne Welbon\u003c/a> says Dunye’s film reflected history and possibility. “There’s so many ways that we are seeing Black women. We are seeing this Black woman as a filmmaker, and we know the film is made by a Black woman who is searching for a Black woman in film on the other side of the camera, and so it’s reminding us all along about Cheryl’s agency as a director. It just really drives home the point that sometimes we have to take it upon ourselves to tell our own stories.”\u003c/p>\n\u003cp>But Welbon points out that even today, only about \u003ca href=\"https://assets.uscannenberg.org/docs/aii-inclusion-directors-chair-2022.pdf\">10% of directors are women\u003c/a>. “Then you drill down to our other identities around race and around our orientation,” she says. “Cheryl put herself in the film so that filmmakers could see what a \u003ca href=\"http://sistersinthelife.com/\">Black queer media maker \u003c/a>looked like. I don’t know if that’s why she did it, but we could see her, and in seeing her, it made it possible for other people to believe that they could be just like her.”\u003c/p>\n\u003cp>When \u003cem>The Watermelon Woman\u003c/em> premiered in 1996 at the Berlin International Film Festival, it won the prestigious \u003ca href=\"https://www.berlinale.de/en/festival/awards-and-juries/further-prizes.html\">Teddy Prize\u003c/a>. It went on to win awards at Italy’s Torino Film Festival, France’s Cretéil International Women’s Film Festival, and LA’s OutFest. \u003cem>Newsday\u003c/em> called Dunye “the lesbian Spike Lee,” but the culture wars were raging, and in 1997 Michigan Republican Congressman Pete Hoekstra derided \u003cem>The Watermelon Woman\u003c/em> as “possibly pornographic.” \u003ca href=\"https://www.c-span.org/video/?c4722291/user-clip-house-debate-cheryl-dunyes-watermelon-woman\">During a House debate\u003c/a> on an appropriations bill, he decried that the film had been funded by taxpayers — referring to a $31,500 NEA grant that made up roughly a tenth of its shoestring budget.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931450 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.18.52-PM.png\" alt=\"The pink cover of 'The Watermelon Woman,' showing a Black woman's face obscured by an image of another Black woman wearing a headscarf. \" width=\"556\" height=\"694\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.18.52-PM.png 556w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.18.52-PM-160x200.png 160w\" sizes=\"(max-width: 556px) 100vw, 556px\">\u003c/p>\n\u003cp>Most of Dunye’s subsequent films — \u003ca href=\"https://www.imdb.com/name/nm0243109/\">including nearly a half dozen features\u003c/a> — were made outside Hollywood. Yet \u003cem>The Watermelon Woman\u003c/em> was often screened at festivals and colleges, leading to its \u003ca href=\"https://firstrunfeatures.com/watermelonwomandvd.html\">20th anniversary restoration and re-release\u003c/a>. Columbia University film Professor \u003ca href=\"https://www.racquelgates.com/\">Racquel J. Gates\u003c/a> says its staying power is a testament to Dunye’s voice and vision: “She’s talking about issues of lesbian identity, but she’s also thinking through the politics of race and interracial relationships and friendships, generational differences within lesbian communities, and she’s also interweaving that with an interesting, speculative history of Black representation in Hollywood.”\u003c/p>\n\u003cp>[aside postid='arts_13930047']As opportunities opened in cable and streaming, Ava Duvernay tapped Dunye to direct episodes of \u003cem>Queen Sugar\u003c/em> in 2017. Since then, she’s worked on scores of other TV shows, including \u003cem>The Chi\u003c/em>, \u003cem>Lovecraft Country\u003c/em> and \u003cem>David Makes Man\u003c/em>. Series creator \u003ca href=\"https://www.drama.yale.edu/bios/tarell-mccraney-2/\">Tarell Alvin McCraney\u003c/a> says Dunye expanded how Black LGBTQ+ stories are told and by whom, building a legacy for future generations. “She gave me this shirt that is a replica of \u003ca href=\"https://www.youtube.com/watch?v=qyVmaX4uQNU\">\u003cem>Brother to Brother\u003c/em>\u003c/a>, which is also a seminal documentary about queer Black love. Whenever I’m on a set, or I have a meeting, I just wear that shirt because it feels like I’m connected to something bigger than myself. I’m connected to a community of artists who have my back from time immemorial.”\u003c/p>\n\u003cp>Added to \u003ca href=\"https://www.moma.org/collection/works/312266\">the permanent collection of New York’s Museum of Modern Art\u003c/a>, and inducted into the \u003ca href=\"https://www.loc.gov/programs/national-film-preservation-board/film-registry/inductee-gallery/\">National Film Registry\u003c/a>, \u003cem>The Watermelon Woman\u003c/em> is now coming to the \u003ca href=\"https://www.criterion.com/films/30705-the-watermelon-woman\">Criterion Collection\u003c/a>. McCraney says becoming part of the canon of films past and present is more than symbolic, particularly in light of the current political climate. “It’s making sure that our stories are being told and our voices are still being heard, and that a thread in the fabric is not being unwoven or cut out.”\u003c/p>\n\u003cp>Dunye says her upcoming plans include directing a feature film based on Audre Lorde’s 1982 biomythography \u003ca href=\"https://www.penguinrandomhouse.com/books/198090/zami-a-new-spelling-of-my-name-by-audre-lorde/\">\u003cem>Zami: A New Spelling of My Name\u003c/em>\u003c/a> and collaborating with \u003ca href=\"http://jewellegomez.com/\">Jewelle Gomez\u003c/a> to adapt \u003ca href=\"http://jewellegomez.com/506-2/the-gilda-stories/\">\u003cem>The Gilda Stories\u003c/em>\u003c/a>, Gomez’s trailblazing 1991 novel about a Black lesbian vampire who travels through 200 years of American history, as an episodic television series.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Citing both authors as inspirations for her own journey, Dunye says they also carry a message for others. “Making work is a privilege, a right,” Dunye says. “Getting that out there is just connecting with people and community. You have to constantly keep putting yourself out where you belong. There’s a loop to it.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 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=Some+advice+from+filmmaker+Cheryl+Dunye%3A+%27Keep+putting+yourself+out+where+you+belong%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Growing up in Philadelphia, Cheryl Dunye says she was fascinated by the stories reflected in her mother’s scrapbook photos. She studied filmmaking in college and graduate school but didn’t see people who looked like her on screen.\u003c/p>\n\u003cp>Dunye changed that with her 1996 debut, \u003cem>The Watermelon Woman.\u003c/em> It is the first feature-length film written and directed by a Black lesbian. In it, Dunye plays a fictionalized version of her 25-year-old self, a video store clerk aspiring to become a filmmaker. In her off hours, she watches films from the 1930s and ’40s with Black actresses such as Hattie McDaniel and Louise Beavers. However, they’re often relegated to racially stereotyped roles; some aren’t even listed in the credits.\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/uwJc6hVgMDk'\n title='//www.youtube.com/embed/uwJc6hVgMDk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Cheryl decides to make a documentary about an actress who’d been typecast as a mammy in a movie called \u003cem>Plantation Memories\u003c/em> and credited as “the watermelon woman.” Her quest mirrored that of the real life Dunye, who says archival records about Black actresses of that era were hard to come by. Even then, she often came up empty-handed.\u003c/p>\n\u003cfigure id=\"attachment_13931448\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931448\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.07.48-PM-800x607.png\" alt='A hand holding up a pile of photos. The top image shows a Black woman facing the camera with a startled expression. Handwriting underneath the image says \"Woman holding flowers (full frame).\"' width=\"800\" height=\"607\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.07.48-PM-800x607.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.07.48-PM-1020x774.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.07.48-PM-160x121.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.07.48-PM-768x583.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.07.48-PM.png 1294w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In ‘The Watermelon Woman,’ Dunye reconstructs the story of Fae Richards through personal photos, home movies, and the memories of those who knew her. \u003ccite>(The Criterion Collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the film, Cheryl reconstructs the actress’ story through personal photos, home movies, and the memories of those who knew her. We learn that Fae Richards, like Cheryl, was from Philadelphia. She had a fraught relationship with the white female director of \u003cem>Plantation Memories\u003c/em>. Her acting career stymied by racism, Faye later found lasting love with a Black woman named June. In a letter written from her hospital bed at the end of her life, June encourages Cheryl to “make our history before we are all dead and gone.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The experience leads Cheryl to take stock of her relationship with a white woman \u003ca href=\"https://www.youtube.com/watch?v=pq22qx9dJhY\">she met at the video store \u003c/a>and what she’s learned about herself while searching for Fae. Speaking into the camera at the close of the film, she says, “Most importantly, what I understand is that I’m gonna be the one who says ‘I am a Black lesbian filmmaker who’s just beginning, but I’m gonna say a lot more and have a lot more work to do.'”\u003c/p>\n\u003cfigure id=\"attachment_13931449\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931449\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.13.47-PM-800x608.png\" alt=\"A Black woman with very short hair sits in front of a wall of images, pins messily to a wall. She is in the middle of talking.\" width=\"800\" height=\"608\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.13.47-PM-800x608.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.13.47-PM-1020x775.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.13.47-PM-160x122.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.13.47-PM-768x583.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.13.47-PM.png 1290w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from Cheryl Dunye’s film ‘The Watermelon Woman.’ \u003ccite>(The Criterion Collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After presenting what she discovered about Fae, a title card reveals that the watermelon woman is a fiction invented to tell a true story about the invisibility and erasure of Black lesbian lives. (In real life, Dunye conjured Fae Richards with the help of \u003ca href=\"https://digitalcollections.saic.edu/islandora/object/islandora%3Ajfabc_9041\">a faux archive\u003c/a> co-created by the photographer Zoe Leonard, parts of which were sold to raise money for the completion of the film.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Filmmaker and historian \u003ca href=\"http://yvonnewelbon.com/\">Yvonne Welbon\u003c/a> says Dunye’s film reflected history and possibility. “There’s so many ways that we are seeing Black women. We are seeing this Black woman as a filmmaker, and we know the film is made by a Black woman who is searching for a Black woman in film on the other side of the camera, and so it’s reminding us all along about Cheryl’s agency as a director. It just really drives home the point that sometimes we have to take it upon ourselves to tell our own stories.”\u003c/p>\n\u003cp>But Welbon points out that even today, only about \u003ca href=\"https://assets.uscannenberg.org/docs/aii-inclusion-directors-chair-2022.pdf\">10% of directors are women\u003c/a>. “Then you drill down to our other identities around race and around our orientation,” she says. “Cheryl put herself in the film so that filmmakers could see what a \u003ca href=\"http://sistersinthelife.com/\">Black queer media maker \u003c/a>looked like. I don’t know if that’s why she did it, but we could see her, and in seeing her, it made it possible for other people to believe that they could be just like her.”\u003c/p>\n\u003cp>When \u003cem>The Watermelon Woman\u003c/em> premiered in 1996 at the Berlin International Film Festival, it won the prestigious \u003ca href=\"https://www.berlinale.de/en/festival/awards-and-juries/further-prizes.html\">Teddy Prize\u003c/a>. It went on to win awards at Italy’s Torino Film Festival, France’s Cretéil International Women’s Film Festival, and LA’s OutFest. \u003cem>Newsday\u003c/em> called Dunye “the lesbian Spike Lee,” but the culture wars were raging, and in 1997 Michigan Republican Congressman Pete Hoekstra derided \u003cem>The Watermelon Woman\u003c/em> as “possibly pornographic.” \u003ca href=\"https://www.c-span.org/video/?c4722291/user-clip-house-debate-cheryl-dunyes-watermelon-woman\">During a House debate\u003c/a> on an appropriations bill, he decried that the film had been funded by taxpayers — referring to a $31,500 NEA grant that made up roughly a tenth of its shoestring budget.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931450 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.18.52-PM.png\" alt=\"The pink cover of 'The Watermelon Woman,' showing a Black woman's face obscured by an image of another Black woman wearing a headscarf. \" width=\"556\" height=\"694\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.18.52-PM.png 556w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.18.52-PM-160x200.png 160w\" sizes=\"(max-width: 556px) 100vw, 556px\">\u003c/p>\n\u003cp>Most of Dunye’s subsequent films — \u003ca href=\"https://www.imdb.com/name/nm0243109/\">including nearly a half dozen features\u003c/a> — were made outside Hollywood. Yet \u003cem>The Watermelon Woman\u003c/em> was often screened at festivals and colleges, leading to its \u003ca href=\"https://firstrunfeatures.com/watermelonwomandvd.html\">20th anniversary restoration and re-release\u003c/a>. Columbia University film Professor \u003ca href=\"https://www.racquelgates.com/\">Racquel J. Gates\u003c/a> says its staying power is a testament to Dunye’s voice and vision: “She’s talking about issues of lesbian identity, but she’s also thinking through the politics of race and interracial relationships and friendships, generational differences within lesbian communities, and she’s also interweaving that with an interesting, speculative history of Black representation in Hollywood.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As opportunities opened in cable and streaming, Ava Duvernay tapped Dunye to direct episodes of \u003cem>Queen Sugar\u003c/em> in 2017. Since then, she’s worked on scores of other TV shows, including \u003cem>The Chi\u003c/em>, \u003cem>Lovecraft Country\u003c/em> and \u003cem>David Makes Man\u003c/em>. Series creator \u003ca href=\"https://www.drama.yale.edu/bios/tarell-mccraney-2/\">Tarell Alvin McCraney\u003c/a> says Dunye expanded how Black LGBTQ+ stories are told and by whom, building a legacy for future generations. “She gave me this shirt that is a replica of \u003ca href=\"https://www.youtube.com/watch?v=qyVmaX4uQNU\">\u003cem>Brother to Brother\u003c/em>\u003c/a>, which is also a seminal documentary about queer Black love. Whenever I’m on a set, or I have a meeting, I just wear that shirt because it feels like I’m connected to something bigger than myself. I’m connected to a community of artists who have my back from time immemorial.”\u003c/p>\n\u003cp>Added to \u003ca href=\"https://www.moma.org/collection/works/312266\">the permanent collection of New York’s Museum of Modern Art\u003c/a>, and inducted into the \u003ca href=\"https://www.loc.gov/programs/national-film-preservation-board/film-registry/inductee-gallery/\">National Film Registry\u003c/a>, \u003cem>The Watermelon Woman\u003c/em> is now coming to the \u003ca href=\"https://www.criterion.com/films/30705-the-watermelon-woman\">Criterion Collection\u003c/a>. McCraney says becoming part of the canon of films past and present is more than symbolic, particularly in light of the current political climate. “It’s making sure that our stories are being told and our voices are still being heard, and that a thread in the fabric is not being unwoven or cut out.”\u003c/p>\n\u003cp>Dunye says her upcoming plans include directing a feature film based on Audre Lorde’s 1982 biomythography \u003ca href=\"https://www.penguinrandomhouse.com/books/198090/zami-a-new-spelling-of-my-name-by-audre-lorde/\">\u003cem>Zami: A New Spelling of My Name\u003c/em>\u003c/a> and collaborating with \u003ca href=\"http://jewellegomez.com/\">Jewelle Gomez\u003c/a> to adapt \u003ca href=\"http://jewellegomez.com/506-2/the-gilda-stories/\">\u003cem>The Gilda Stories\u003c/em>\u003c/a>, Gomez’s trailblazing 1991 novel about a Black lesbian vampire who travels through 200 years of American history, as an episodic television series.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Citing both authors as inspirations for her own journey, Dunye says they also carry a message for others. “Making work is a privilege, a right,” Dunye says. “Getting that out there is just connecting with people and community. You have to constantly keep putting yourself out where you belong. There’s a loop to it.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 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=Some+advice+from+filmmaker+Cheryl+Dunye%3A+%27Keep+putting+yourself+out+where+you+belong%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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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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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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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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"here-and-now": {
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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",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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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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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
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