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"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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"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...’",
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"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",
"headTitle": "In Appreciation of Allan: The Unsung Hero of the ‘Barbie’ Movie | KQED",
"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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"title": "The Story Behind Barbenheimer, the Summer’s Most Online Movie Showdown",
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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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"title": "The FBI, IRS and Other Cringe-Makers Trying To Reach Gen Z on Social Media",
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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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"socialTitle": "The FBI Just Asked Taylor Swift Fans for Crime Tips %%page%% %%sep%% KQED",
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"description": "The FBI and IRS are among the many formal institutions trying to be Down With The Kids on social media. The results are beyond cringe. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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>\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/Z347R_2R0HM'\n title='//www.youtube.com/embed/Z347R_2R0HM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\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>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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>\u003c/p>\u003c/div>",
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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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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Good luck out there.\u003c/p>\n\n\u003c/div>\u003c/p>",
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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>\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>\u003c/p>\u003c/div>",
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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": "\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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"title": "Climate Change Is Our Reality — So Why Wouldn't It Appear on Reality TV?",
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"content": "\u003cp>When \u003ca href=\"https://www.nexstar.tv/the-cw-network-announces-slate-of-original-scripted-and-unscripted-programming-for-summer-2023/#:~:text=In%20each%20episode%20of%20RECIPE,in%20ways%20they%20never%20imagined.\">\u003cem>Recipe for Disaster\u003c/em>\u003c/a> premieres on the \u003ca href=\"https://www.cwtv.com/?utm_medium=ppc&utm_source=google&utm_campaign=da-non_brand-generic-search-exact&utm_content=genetic-na-copy1&%243p=a_google_adwords&%24always_deeplink=false&gclid=CjwKCAjwqZSlBhBwEiwAfoZUIBgYW3sRr-BKT3QJCnJUtoZ0rnRLQY_H3hlJ2iN3uRwmnxE76NllthoClawQAvD_BwE&lpurl=https%3A%2F%2Fwww.cwtv.com%2F%3Futm_medium%3Dcpc%26utm_source%3Dgoogle%26utm_campaign%3Dda-search-nb-web-generic%26utm_content%3Dgeneric-na-copy1%26utm_term%3Dstreaming%2520tv&~ad_set_id=127673001556&~campaign_id=14740285412&~channel=g&~keyword=streaming%20tv&~placement&_branch_match_id=1118927780865774800&_branch_referrer=H4sIAAAAAAAAAz2QXU%2FCMBSGf824MYPRwqYmi9kAo2gwoEbhZilt7Yb9su1W%2BfeuiCbn5jzvOe%2F5qJ3T9no0SoU%2FDpHWQ97Iz9HTPXs%2FXJEVEfubCEygzlHFlGKcVoh4ZYgd9Bhxj462IpTq0JV%2FIG7pgGHekHx28A%2Bz4uC%2Fds%2B8rEu%2FaHzxoXav9yXbvkG7MXH58ALXy5lcvjq1S4zcPK631R2s%2BRI0K9huvJDfiyxdce5qNePIr4tuXvVOA65bw%2FM6bB7BIgK3fXjvh9i7boiVCATetk5UgpKmFRGcY40jkAZkVWsw7dHvPWeKkdCoYbLnBMWWIoPrWO5jT%2Fcxo5Ka5q8fK%2BmodMHgl8cSxVjp4%2Fhc4KgJE60zFIlGsghMQeK6QZQtEKksdVX%2FnjHI0gwmyXg6TYPyN%2F%2BkTbJJAi6nkzE4STWSkvKcheSTHsP783%2F3C9f9AKYFoafDAQAA\">CW Network\u003c/a> next month, it’ll dish up plenty of the sugary and salty ingredients viewers have come to expect from cooking contests on reality TV. The show pairs professional chefs with a friend or family member who is hopeless in the kitchen. The contestants will “compete to make spectacular dishes while battling ridiculous disasters.”\u003c/p>\n\u003cp>But the show’s producers also mix in the reality TV equivalent of lean proteins and veggies. \u003cem>Recipe for Disaster\u003c/em> will feature chefs who cook with sustainable ingredients, compete to win meat and dairy-free cooking challenges, and even tell a joke about climate change being responsible for the sudden tropical rainstorm that soaks them as they try to cook.\u003c/p>\n\u003cfigure id=\"attachment_13931315\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931315\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-07-at-11.09.27-AM-800x539.png\" alt=\"Two pairs of people hover closely over cooking stations while holding transparent umbrellas over their heads.\" width=\"800\" height=\"539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-07-at-11.09.27-AM-800x539.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-07-at-11.09.27-AM-1020x687.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-07-at-11.09.27-AM-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-07-at-11.09.27-AM-768x517.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-07-at-11.09.27-AM.png 1372w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">On ‘Recipe for Disaster,’ contestants must “make spectacular dishes while battling ridiculous disasters.” It premieres in August on The CW. \u003ccite>(Alameda Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lately, the creators of everything from celebrity gabfests to car racing competitions — the realm of so-called “unscripted TV” — have been finding ways to slip information about human-caused climate change and sustainable living onto our screens.\u003c/p>\n\u003cp>Data from \u003ca href=\"https://www.statista.com/forecasts/229112/tv-viewers-who-typically-watch-dating-reality-shows-usa#:~:text=This%20statistic%20presents%20the%20share,in%202023%2C%20among%206%2C440%20respondents.\">Statistica\u003c/a> shows roughly a third of U.S. adults between 18 and 64 currently watch reality TV. But \u003cem>Recipe for Disaster \u003c/em>executive producer Cyle Zezo says even though climate change is very much part of everyone’s everyday reality, reality TV executives themselves have long shied away from the topic.\u003c/p>\n\u003cp>“A couple of years ago, if you’d brought up talking about climate on screen, people would think it was crazy and they wouldn’t even touch the subject,” Zezo told NPR at the recent \u003ca href=\"https://www.hollywoodclimatesummit.com/summit\">Hollywood Climate Summit\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But Zezo said attitudes have started to shift toward featuring climate change on shows.\u003c/p>\n\u003cp>“When you talk to buyers now, maybe they don’t exactly know how to do it, but the door is more open to it,” he said. “And I’m excited to follow that where it goes.”\u003c/p>\n\u003cp>Scenes modeling sustainable behaviors or highlighting the impact of climate change have been cropping up lately in shows as diverse as the paranormal reality series \u003ca href=\"https://www.travelchannel.com/shows/ghost-adventures\">\u003cem>Ghost Adventures\u003c/em>\u003c/a>\u003cem>, (\u003c/em>in one episode, an anthropologist suggests climate change might be responsible for the unexpected sighting of a massive unidentified sea creature); talk shows, such as Jane Fonda’s appearance a few months ago on \u003ca href=\"https://www.nbc.com/the-kelly-clarkson-show\">\u003cem>The Kelly Clarkson Show\u003c/em>\u003c/a>; and the business startup contest \u003ca href=\"https://abc.com/shows/shark-tank\">\u003cem>Shark Tank\u003c/em>\u003c/a> (for example, Gwyneth Paltrow buys into a sustainable diaper company).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=d3xdEGiypvc\u003c/p>\n\u003cp>According to a \u003ca href=\"https://www.usc.edu/\">University of Southern California\u003c/a> study shared with NPR ahead of its fall publish date, nearly 30,000 mentions of climate change-related keywords appeared across every category of unscripted TV between last August and this February.\u003c/p>\n\u003cp>“That included home shows, food shows, docuseries, even sports,” said Erica Rosenthal, director of research at the university’s \u003ca href=\"https://learcenter.org/\">Norman Lear Center\u003c/a>, the group behind the study. “So that was really a surprising and exciting finding.”\u003c/p>\n\u003ch3>An unlikely climate change reality star\u003c/h3>\n\u003cp>One unlikely example of the new openness to climate change programing is the car racing show \u003ca href=\"https://www.extreme-e.com/\">\u003cem>Extreme E\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>In the series, electric SUVs try to outpace each other in remote parts of the world hit hard by climate change. Season one included a race in Greenland that passed by a retreating glacier.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4Od4i1OGStE\u003c/p>\n\u003cp>The show also includes many direct mentions of the term “climate change,” such as, “In climate change, everyone needs to win, or we all lose.” Last year, according to the producer’s \u003ca href=\"https://www.extreme-e.com/en/news/768_Extreme-E-reveals-strong-audience-growth-in-second-season#:~:text=As%20pioneering%20electric%20racing%20series,its%20inaugural%20season%20in%202021\">audience growth report\u003c/a>, the show reached 135 million viewers across the globe.\u003c/p>\n\u003cp>[aside postid='arts_13931005']But unscripted shows like this one that center climate change as a topic — or even mention the term directly — are still relatively rare.\u003c/p>\n\u003cp>“What we’re seeing is plenty of fleeting mentions of terms that are climate-adjacent,” USC’s Rosenthal said. “But not necessarily explicitly climate change.”\u003c/p>\n\u003cp>Rosenthal said the most commonly used terms in the study were “vegan,” “vegetarian,” “insulation” and “solar.”\u003c/p>\n\u003cp>“The term ‘climate change’ itself represented just 4% of all of the keyword mentions we came across,” Rosenthal said, though he added that the term did make it into the top 10 of the keywords the study covered.\u003c/p>\n\u003cp>This baseline analysis of unscripted TV was created as a follow-up to \u003ca href=\"https://www.goodenergystories.com/playbook/research-findings-climate-silence-in-tv-and-film\">research published last year\u003c/a> on scripted TV and movies. As with this previous study, the new findings are based on the analysis of show scripts. This means it excludes most non-verbal references to sustainable behaviors or climate change depicted on screen, such as, for instance, \u003cem>Recipe for Disaster\u003c/em>‘s use of compost bins on set.\u003c/p>\n\u003cp>“When people are talking about climate change and global warming, they’re talking about it through other ways,” said University of Colorado Boulder environmental studies professor, \u003ca href=\"https://www.colorado.edu/envs/maxwell-boykoff\">Max Boykoff\u003c/a>.\u003c/p>\n\u003cp>Boykoff, who studies the intersection of mass media and climate change, said he’s not surprised that unscripted TV producers tend to sneak climate change-adjacent material into their shows, rather than address the topic head on.\u003c/p>\n\u003cp>[aside postid='arts_13930923']“Unscripted television is a way to get into the homes of people who otherwise may not take interest in climate change,” Boykoff said. “Those who otherwise may see it as yet another set of challenges that they just don’t want to have to deal with.”\u003c/p>\n\u003cp>But Boykoff said producers need to be bolder, since the medium has the power to reach so many people. Using that influence \u003cem>only\u003c/em> to focus on small behavioral changes isn’t enough.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Climate change is a collective action problem at a global scale,” Boykoff said. “We ought not get caught up in just using a mug instead of a paper cup and thinking that we’ve done our job.”\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=Climate+change+is+our+reality+%E2%80%94+so+why+wouldn%27t+it+appear+on+reality+TV%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When \u003ca href=\"https://www.nexstar.tv/the-cw-network-announces-slate-of-original-scripted-and-unscripted-programming-for-summer-2023/#:~:text=In%20each%20episode%20of%20RECIPE,in%20ways%20they%20never%20imagined.\">\u003cem>Recipe for Disaster\u003c/em>\u003c/a> premieres on the \u003ca href=\"https://www.cwtv.com/?utm_medium=ppc&utm_source=google&utm_campaign=da-non_brand-generic-search-exact&utm_content=genetic-na-copy1&%243p=a_google_adwords&%24always_deeplink=false&gclid=CjwKCAjwqZSlBhBwEiwAfoZUIBgYW3sRr-BKT3QJCnJUtoZ0rnRLQY_H3hlJ2iN3uRwmnxE76NllthoClawQAvD_BwE&lpurl=https%3A%2F%2Fwww.cwtv.com%2F%3Futm_medium%3Dcpc%26utm_source%3Dgoogle%26utm_campaign%3Dda-search-nb-web-generic%26utm_content%3Dgeneric-na-copy1%26utm_term%3Dstreaming%2520tv&~ad_set_id=127673001556&~campaign_id=14740285412&~channel=g&~keyword=streaming%20tv&~placement&_branch_match_id=1118927780865774800&_branch_referrer=H4sIAAAAAAAAAz2QXU%2FCMBSGf824MYPRwqYmi9kAo2gwoEbhZilt7Yb9su1W%2BfeuiCbn5jzvOe%2F5qJ3T9no0SoU%2FDpHWQ97Iz9HTPXs%2FXJEVEfubCEygzlHFlGKcVoh4ZYgd9Bhxj462IpTq0JV%2FIG7pgGHekHx28A%2Bz4uC%2Fds%2B8rEu%2FaHzxoXav9yXbvkG7MXH58ALXy5lcvjq1S4zcPK631R2s%2BRI0K9huvJDfiyxdce5qNePIr4tuXvVOA65bw%2FM6bB7BIgK3fXjvh9i7boiVCATetk5UgpKmFRGcY40jkAZkVWsw7dHvPWeKkdCoYbLnBMWWIoPrWO5jT%2Fcxo5Ka5q8fK%2BmodMHgl8cSxVjp4%2Fhc4KgJE60zFIlGsghMQeK6QZQtEKksdVX%2FnjHI0gwmyXg6TYPyN%2F%2BkTbJJAi6nkzE4STWSkvKcheSTHsP783%2F3C9f9AKYFoafDAQAA\">CW Network\u003c/a> next month, it’ll dish up plenty of the sugary and salty ingredients viewers have come to expect from cooking contests on reality TV. The show pairs professional chefs with a friend or family member who is hopeless in the kitchen. The contestants will “compete to make spectacular dishes while battling ridiculous disasters.”\u003c/p>\n\u003cp>But the show’s producers also mix in the reality TV equivalent of lean proteins and veggies. \u003cem>Recipe for Disaster\u003c/em> will feature chefs who cook with sustainable ingredients, compete to win meat and dairy-free cooking challenges, and even tell a joke about climate change being responsible for the sudden tropical rainstorm that soaks them as they try to cook.\u003c/p>\n\u003cfigure id=\"attachment_13931315\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931315\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-07-at-11.09.27-AM-800x539.png\" alt=\"Two pairs of people hover closely over cooking stations while holding transparent umbrellas over their heads.\" width=\"800\" height=\"539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-07-at-11.09.27-AM-800x539.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-07-at-11.09.27-AM-1020x687.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-07-at-11.09.27-AM-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-07-at-11.09.27-AM-768x517.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-07-at-11.09.27-AM.png 1372w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">On ‘Recipe for Disaster,’ contestants must “make spectacular dishes while battling ridiculous disasters.” It premieres in August on The CW. \u003ccite>(Alameda Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lately, the creators of everything from celebrity gabfests to car racing competitions — the realm of so-called “unscripted TV” — have been finding ways to slip information about human-caused climate change and sustainable living onto our screens.\u003c/p>\n\u003cp>Data from \u003ca href=\"https://www.statista.com/forecasts/229112/tv-viewers-who-typically-watch-dating-reality-shows-usa#:~:text=This%20statistic%20presents%20the%20share,in%202023%2C%20among%206%2C440%20respondents.\">Statistica\u003c/a> shows roughly a third of U.S. adults between 18 and 64 currently watch reality TV. But \u003cem>Recipe for Disaster \u003c/em>executive producer Cyle Zezo says even though climate change is very much part of everyone’s everyday reality, reality TV executives themselves have long shied away from the topic.\u003c/p>\n\u003cp>“A couple of years ago, if you’d brought up talking about climate on screen, people would think it was crazy and they wouldn’t even touch the subject,” Zezo told NPR at the recent \u003ca href=\"https://www.hollywoodclimatesummit.com/summit\">Hollywood Climate Summit\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But Zezo said attitudes have started to shift toward featuring climate change on shows.\u003c/p>\n\u003cp>“When you talk to buyers now, maybe they don’t exactly know how to do it, but the door is more open to it,” he said. “And I’m excited to follow that where it goes.”\u003c/p>\n\u003cp>Scenes modeling sustainable behaviors or highlighting the impact of climate change have been cropping up lately in shows as diverse as the paranormal reality series \u003ca href=\"https://www.travelchannel.com/shows/ghost-adventures\">\u003cem>Ghost Adventures\u003c/em>\u003c/a>\u003cem>, (\u003c/em>in one episode, an anthropologist suggests climate change might be responsible for the unexpected sighting of a massive unidentified sea creature); talk shows, such as Jane Fonda’s appearance a few months ago on \u003ca href=\"https://www.nbc.com/the-kelly-clarkson-show\">\u003cem>The Kelly Clarkson Show\u003c/em>\u003c/a>; and the business startup contest \u003ca href=\"https://abc.com/shows/shark-tank\">\u003cem>Shark Tank\u003c/em>\u003c/a> (for example, Gwyneth Paltrow buys into a sustainable diaper company).\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/d3xdEGiypvc'\n title='//www.youtube.com/embed/d3xdEGiypvc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>According to a \u003ca href=\"https://www.usc.edu/\">University of Southern California\u003c/a> study shared with NPR ahead of its fall publish date, nearly 30,000 mentions of climate change-related keywords appeared across every category of unscripted TV between last August and this February.\u003c/p>\n\u003cp>“That included home shows, food shows, docuseries, even sports,” said Erica Rosenthal, director of research at the university’s \u003ca href=\"https://learcenter.org/\">Norman Lear Center\u003c/a>, the group behind the study. “So that was really a surprising and exciting finding.”\u003c/p>\n\u003ch3>An unlikely climate change reality star\u003c/h3>\n\u003cp>One unlikely example of the new openness to climate change programing is the car racing show \u003ca href=\"https://www.extreme-e.com/\">\u003cem>Extreme E\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>In the series, electric SUVs try to outpace each other in remote parts of the world hit hard by climate change. Season one included a race in Greenland that passed by a retreating glacier.\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/4Od4i1OGStE'\n title='//www.youtube.com/embed/4Od4i1OGStE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The show also includes many direct mentions of the term “climate change,” such as, “In climate change, everyone needs to win, or we all lose.” Last year, according to the producer’s \u003ca href=\"https://www.extreme-e.com/en/news/768_Extreme-E-reveals-strong-audience-growth-in-second-season#:~:text=As%20pioneering%20electric%20racing%20series,its%20inaugural%20season%20in%202021\">audience growth report\u003c/a>, the show reached 135 million viewers across the globe.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But unscripted shows like this one that center climate change as a topic — or even mention the term directly — are still relatively rare.\u003c/p>\n\u003cp>“What we’re seeing is plenty of fleeting mentions of terms that are climate-adjacent,” USC’s Rosenthal said. “But not necessarily explicitly climate change.”\u003c/p>\n\u003cp>Rosenthal said the most commonly used terms in the study were “vegan,” “vegetarian,” “insulation” and “solar.”\u003c/p>\n\u003cp>“The term ‘climate change’ itself represented just 4% of all of the keyword mentions we came across,” Rosenthal said, though he added that the term did make it into the top 10 of the keywords the study covered.\u003c/p>\n\u003cp>This baseline analysis of unscripted TV was created as a follow-up to \u003ca href=\"https://www.goodenergystories.com/playbook/research-findings-climate-silence-in-tv-and-film\">research published last year\u003c/a> on scripted TV and movies. As with this previous study, the new findings are based on the analysis of show scripts. This means it excludes most non-verbal references to sustainable behaviors or climate change depicted on screen, such as, for instance, \u003cem>Recipe for Disaster\u003c/em>‘s use of compost bins on set.\u003c/p>\n\u003cp>“When people are talking about climate change and global warming, they’re talking about it through other ways,” said University of Colorado Boulder environmental studies professor, \u003ca href=\"https://www.colorado.edu/envs/maxwell-boykoff\">Max Boykoff\u003c/a>.\u003c/p>\n\u003cp>Boykoff, who studies the intersection of mass media and climate change, said he’s not surprised that unscripted TV producers tend to sneak climate change-adjacent material into their shows, rather than address the topic head on.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Unscripted television is a way to get into the homes of people who otherwise may not take interest in climate change,” Boykoff said. “Those who otherwise may see it as yet another set of challenges that they just don’t want to have to deal with.”\u003c/p>\n\u003cp>But Boykoff said producers need to be bolder, since the medium has the power to reach so many people. Using that influence \u003cem>only\u003c/em> to focus on small behavioral changes isn’t enough.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Climate change is a collective action problem at a global scale,” Boykoff said. “We ought not get caught up in just using a mug instead of a paper cup and thinking that we’ve done our job.”\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=Climate+change+is+our+reality+%E2%80%94+so+why+wouldn%27t+it+appear+on+reality+TV%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Richard E. Grant and Daryl McCormack Shine in Literary Thriller, ‘The Lesson’",
"headTitle": "Richard E. Grant and Daryl McCormack Shine in Literary Thriller, ‘The Lesson’ | KQED",
"content": "\u003cp>The egos are as vast and thorny as the gardens on the lush estate of a prominent author in \u003cem>The Lesson\u003c/em>, an entertaining and erudite chamber piece about a master, a tutor and a family after loss.\u003c/p>\n\u003cp>[aside postid='arts_13931189']This is a story that, in different hands, could have easily turned maudlin or melodramatic, but director Alice Troughton, writer Alex MacKeith and composer Isobel Waller-Bridge opted instead for wry lightness within the construct of a slow-burn thriller. It’s as though The Lesson, and everyone involved, is winking at the audience through the serious material that lingers, intentionally, on the fine line between pretentious and provocative.\u003c/p>\n\u003cp>Daryl McCormack, of \u003cem>Good Luck to You, Leo Grande\u003c/em> and \u003cem>Bad Sisters\u003c/em>, plays Liam Sommers, an aspiring writer who has accepted a job tutoring the son of world-famous author J.M. Sinclair (Richard E. Grant), who also happens to be his literary idol. But the film begins with Liam on a fancy stage, being interviewed about his novel about a fading patriarch and a grief-stricken family that the moderator calls one of the most striking debuts of the year. The movie is a memory prompted by that very standard interview question: What was your inspiration?\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=P0wnu-1_8-M\u003c/p>\n\u003cp>Anyone in the business of asking artists questions about inspiration knows, on a certain level, that at best you’re only getting a very brief version of one person’s highly sanitized truth. At worst it’s just a plausible sounding fabrication, safely constructed in the rearview mirror. J.M. Sinclair, in the YouTube interviews that Liam watches on repeat, coyly speaks about how all great writers steal but he’s not one, you imagine, who would publicly own any thievery. He is as precious about the singularity of his works and his talent as, in his words, the average writers who attempt originality and “fail universally” and the good writers who have the “sense to borrow.” But it all helps to plant the seed that you’re about to watch a literary heist unfold, though perhaps not the one you might expect.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Sinclair family is the picture of upper-class posturing, with a household staff and a feigned formality fitting of someone who is always in control of the narrative, even at the dinner table in the company of only his son, Bertie (Stephen McMillan), and wife, Hélène (Julie Delpy). When he queues up Rachmaninoff as their dining music and Bertie protests, he challenges his son to give him three good reasons why — a snobbish test that only shuts down the conversation. It’s also quite the introduction to an author whom Liam has worshipped. Never meet your idols, etc, etc.\u003c/p>\n\u003cfigure id=\"attachment_13931290\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931290\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Richard-e-g-800x523.png\" alt=\"A man in his sixties looks up sternly from a book, fist clenched. There is a book case full of encyclopdias behind him.\" width=\"800\" height=\"523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Richard-e-g-800x523.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Richard-e-g-1020x667.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Richard-e-g-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Richard-e-g-768x502.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Richard-e-g-1536x1004.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Richard-e-g.png 1744w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Richard E. Grant stars as a cold and controlling novelist in ‘The Lesson.’ \u003ccite>(Bleecker Street)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Liam is ostensibly there to help Bertie, a quiet and tortured Chalamet-type, prepare for entrance exams to study English literature at Oxford. But he has his own motives too — he’s writing a thesis about Sinclair and at work on his own book. Why would a family that insists on a nondisclosure agreement and utmost discretion hire someone with such a glaring conflict of interest? Well, that’s just one of the many mysteries for the audience to navigate in this maze of secrets, shame and scandals, including the somewhat recent suicide of the eldest Sinclair boy who was, it’s suggested, a more promising writer than Bertie.\u003c/p>\n\u003cp>[aside postid='arts_13930824']McCormack, Grant and Delpy are a deliriously captivating group to watch. Grant, so adept at comedy, is prickly and terrifying as this intellectual tyrant who is unafraid to crush anyone in his path with casual cruelty, as when he asks Liam for help because he’s “not a real writer.” And McCormack once again excels at playing a shrewd, underestimated outsider. Liam has a few Tom Ripley talents up his sleeve that he uses to his advantage at key moments.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As Liam says of Sinclair’s newest book, the third act in the film feels like a bit of a jarring departure from the fun escalating tension of the first two acts. But \u003cem>The Lesson\u003c/em> is worth a watch as a tightly crafted film made by and for adults unafraid of some rhododendron metaphors and casual Tchaikovsky talk.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This is a story that, in different hands, could have easily turned maudlin or melodramatic, but director Alice Troughton, writer Alex MacKeith and composer Isobel Waller-Bridge opted instead for wry lightness within the construct of a slow-burn thriller. It’s as though The Lesson, and everyone involved, is winking at the audience through the serious material that lingers, intentionally, on the fine line between pretentious and provocative.\u003c/p>\n\u003cp>Daryl McCormack, of \u003cem>Good Luck to You, Leo Grande\u003c/em> and \u003cem>Bad Sisters\u003c/em>, plays Liam Sommers, an aspiring writer who has accepted a job tutoring the son of world-famous author J.M. Sinclair (Richard E. Grant), who also happens to be his literary idol. But the film begins with Liam on a fancy stage, being interviewed about his novel about a fading patriarch and a grief-stricken family that the moderator calls one of the most striking debuts of the year. The movie is a memory prompted by that very standard interview question: What was your inspiration?\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/P0wnu-1_8-M'\n title='//www.youtube.com/embed/P0wnu-1_8-M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Anyone in the business of asking artists questions about inspiration knows, on a certain level, that at best you’re only getting a very brief version of one person’s highly sanitized truth. At worst it’s just a plausible sounding fabrication, safely constructed in the rearview mirror. J.M. Sinclair, in the YouTube interviews that Liam watches on repeat, coyly speaks about how all great writers steal but he’s not one, you imagine, who would publicly own any thievery. He is as precious about the singularity of his works and his talent as, in his words, the average writers who attempt originality and “fail universally” and the good writers who have the “sense to borrow.” But it all helps to plant the seed that you’re about to watch a literary heist unfold, though perhaps not the one you might expect.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Sinclair family is the picture of upper-class posturing, with a household staff and a feigned formality fitting of someone who is always in control of the narrative, even at the dinner table in the company of only his son, Bertie (Stephen McMillan), and wife, Hélène (Julie Delpy). When he queues up Rachmaninoff as their dining music and Bertie protests, he challenges his son to give him three good reasons why — a snobbish test that only shuts down the conversation. It’s also quite the introduction to an author whom Liam has worshipped. Never meet your idols, etc, etc.\u003c/p>\n\u003cfigure id=\"attachment_13931290\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931290\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Richard-e-g-800x523.png\" alt=\"A man in his sixties looks up sternly from a book, fist clenched. There is a book case full of encyclopdias behind him.\" width=\"800\" height=\"523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Richard-e-g-800x523.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Richard-e-g-1020x667.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Richard-e-g-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Richard-e-g-768x502.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Richard-e-g-1536x1004.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Richard-e-g.png 1744w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Richard E. Grant stars as a cold and controlling novelist in ‘The Lesson.’ \u003ccite>(Bleecker Street)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Liam is ostensibly there to help Bertie, a quiet and tortured Chalamet-type, prepare for entrance exams to study English literature at Oxford. But he has his own motives too — he’s writing a thesis about Sinclair and at work on his own book. Why would a family that insists on a nondisclosure agreement and utmost discretion hire someone with such a glaring conflict of interest? Well, that’s just one of the many mysteries for the audience to navigate in this maze of secrets, shame and scandals, including the somewhat recent suicide of the eldest Sinclair boy who was, it’s suggested, a more promising writer than Bertie.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>McCormack, Grant and Delpy are a deliriously captivating group to watch. Grant, so adept at comedy, is prickly and terrifying as this intellectual tyrant who is unafraid to crush anyone in his path with casual cruelty, as when he asks Liam for help because he’s “not a real writer.” And McCormack once again excels at playing a shrewd, underestimated outsider. Liam has a few Tom Ripley talents up his sleeve that he uses to his advantage at key moments.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As Liam says of Sinclair’s newest book, the third act in the film feels like a bit of a jarring departure from the fun escalating tension of the first two acts. But \u003cem>The Lesson\u003c/em> is worth a watch as a tightly crafted film made by and for adults unafraid of some rhododendron metaphors and casual Tchaikovsky talk.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Buckle Up: This Mile-a-Minute ‘Joy Ride’ Across China is a Raunchy Romp",
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"content": "\u003cp>There’s an early moment in \u003cem>Joy Ride \u003c/em>when you’ll know if you’re on board with this exuberantly raunchy comedy or not. On a neighborhood playground, a white kid tells a young Chinese American girl named Lolo that the place is off-limits to “ching chongs.”\u003c/p>\n\u003cp>Lolo then does something that maybe a lot of us who’ve been on the receiving end of racist bullying have fantasized about doing: She drops an F-bomb and punches him in the face. It’s an extreme response, but also a hilarious and, frankly, cathartic one — a blissfully efficient counter to every stereotype of the shy, docile Asian kid.\u003c/p>\n\u003cp>[aside postid='arts_13930824']Lolo soon becomes best friends with Audrey, one of the only other Asian American girls in their Washington state suburb. That aside, the two could hardly be more different: Where Lolo is unapologetically crude and outspoken, Audrey is quiet and eager-to-please. And while Lolo speaks Mandarin fluently and grew up steeped in Chinese culture, Audrey is more westernized, having been adopted as a baby in China and raised by white parents.\u003c/p>\n\u003cp>Years later, they’re still best friends and total opposites: Audrey, played by Ashley Park, is a lawyer on the fast track to making partner at her firm, while Lolo, played by Sherry Cola, is a broke artist who makes sexually explicit sculptures.\u003c/p>\n\u003cp>The story gets going when Audrey is sent on a business trip to Beijing to woo a potential client. Lolo comes along for fun, and to serve as Audrey’s translator. Lolo also brings along her K-pop-obsessed cousin, nicknamed Deadeye, who’s played by the non-binary actor Sabrina Wu.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The script, written by Cherry Chevapravatdumrong and Teresa Hsiao, is heavy on contrivance: Thanks to Lolo’s meddling, Audrey winds up putting her work on hold and trying to track down her birth mother. But the director Adele Lim keeps the twists and the laughs coming so swiftly that it’s hard not to get swept up in the adventure.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=UCtE8zur6CM\u003c/p>\n\u003cp>The comedy kicks up a notch once Audrey looks up her old college pal Kat, who’s now a successful actor on a Chinese soap opera. Kat is played by \u003ca href=\"https://www.npr.org/2023/01/23/1150819757/oscar-nominee-stephanie-hsu-is-everywhere-all-at-once\">Stephanie Hsu\u003c/a>, who, after her melancholy breakout performance in \u003ca href=\"https://www.npr.org/2022/03/25/1088531021/everything-everywhere-all-at-once-movie-review\">\u003cem>Everything Everywhere All at Once\u003c/em>\u003c/a>, gets to show off some dazzling comedic chops here\u003cem>. \u003c/em>\u003c/p>\n\u003cp>Like Lolo, with whom she initially butts heads, Kat has had a lot of sex, something she’s trying to hide from her strictly Christian fiancé. But no one in \u003cem>Joy Ride\u003c/em> holds onto their secrets, or their inhibitions, for very long. As they make their way through the scenic countryside, Audrey, Lolo, Kat and Deadeye run afoul of a drug dealer, hook up with some hunky Chinese basketball players and disguise themselves as a fledgling K-pop group for reasons too outlandish to get into here.\u003c/p>\n\u003cp>In a way, \u003cem>Joy Ride\u003c/em> — which counts\u003ca href=\"https://www.npr.org/2021/05/18/997827530/seth-rogen-on-the-comedy-advice-he-got-at-12-that-he-still-thinks-about\"> Seth Rogen\u003c/a> as one its producers — marks the latest step in a logical progression for the mainstream Hollywood comedy. If \u003ca href=\"https://www.npr.org/2011/05/12/136145907/in-bridesmaids-a-divorce-from-chick-flick-norms\">\u003cem>Bridesmaids\u003c/em> \u003c/a>and \u003ca href=\"https://www.npr.org/2017/07/20/538152967/filthy-freewheeling-girls-trip-features-the-summers-breakout-performance\">\u003cem>Girls Trip\u003c/em>\u003c/a> set out to prove that women could be as gleefully gross as, say, the men in\u003ca href=\"https://www.npr.org/2009/06/04/104713733/the-hangover-a-night-to-not-remember\"> \u003cem>The Hangover\u003c/em>\u003c/a> movies, this one is clearly bent on doing the same for Asian American women and non-binary characters.\u003c/p>\n\u003cp>[aside postid='arts_13930502']Like many of those earlier models, \u003cem>Joy Ride\u003c/em> boasts mile-a-minute pop-culture references, filthy one-liners and a few priceless sight gags, including some strategic full-frontal nudity. Naturally, it also forces Audrey and Lolo to confront their differences in ways that put their friendship to the test.\u003c/p>\n\u003cp>If it doesn’t all work, the hit-to-miss ratio is still impressively high. \u003cem>Joy Ride\u003c/em> may be reworking a formula, but it does so with disarming energy and verve, plus a level of savvy about Asian culture that we still rarely see in Hollywood movies. Director Lim can stage a gross-out moment or a frisky montage as well as anyone. But she also gives the comedy a subversive edge, whether she’s pushing back on lazy assumptions about Asian masculinity or — in one queasily funny scene — making clear just how racist Asians can be toward other Asians.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The actors are terrific. Deadeye is named Deadeye for their seeming lack of expression, but Wu makes this character, in some ways, the emotional glue that holds the group together. You can hear Cola’s past stand-up experience in just about every one of Lolo’s foul-mouthed zingers. And Park gives the movie’s trickiest performance as Audrey, an insecure overachiever who, as the movie progresses, learns a lot about herself. Maybe that’s a cliché, too, but \u003cem>Joy Ride\u003c/em> gives it just the punch it needs.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Buckle+up%3A+This+mile-a-minute+%27Joy+Ride%27+across+China+is+a+raunchy+romp&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Lolo soon becomes best friends with Audrey, one of the only other Asian American girls in their Washington state suburb. That aside, the two could hardly be more different: Where Lolo is unapologetically crude and outspoken, Audrey is quiet and eager-to-please. And while Lolo speaks Mandarin fluently and grew up steeped in Chinese culture, Audrey is more westernized, having been adopted as a baby in China and raised by white parents.\u003c/p>\n\u003cp>Years later, they’re still best friends and total opposites: Audrey, played by Ashley Park, is a lawyer on the fast track to making partner at her firm, while Lolo, played by Sherry Cola, is a broke artist who makes sexually explicit sculptures.\u003c/p>\n\u003cp>The story gets going when Audrey is sent on a business trip to Beijing to woo a potential client. Lolo comes along for fun, and to serve as Audrey’s translator. Lolo also brings along her K-pop-obsessed cousin, nicknamed Deadeye, who’s played by the non-binary actor Sabrina Wu.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The script, written by Cherry Chevapravatdumrong and Teresa Hsiao, is heavy on contrivance: Thanks to Lolo’s meddling, Audrey winds up putting her work on hold and trying to track down her birth mother. But the director Adele Lim keeps the twists and the laughs coming so swiftly that it’s hard not to get swept up in the adventure.\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/UCtE8zur6CM'\n title='//www.youtube.com/embed/UCtE8zur6CM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The comedy kicks up a notch once Audrey looks up her old college pal Kat, who’s now a successful actor on a Chinese soap opera. Kat is played by \u003ca href=\"https://www.npr.org/2023/01/23/1150819757/oscar-nominee-stephanie-hsu-is-everywhere-all-at-once\">Stephanie Hsu\u003c/a>, who, after her melancholy breakout performance in \u003ca href=\"https://www.npr.org/2022/03/25/1088531021/everything-everywhere-all-at-once-movie-review\">\u003cem>Everything Everywhere All at Once\u003c/em>\u003c/a>, gets to show off some dazzling comedic chops here\u003cem>. \u003c/em>\u003c/p>\n\u003cp>Like Lolo, with whom she initially butts heads, Kat has had a lot of sex, something she’s trying to hide from her strictly Christian fiancé. But no one in \u003cem>Joy Ride\u003c/em> holds onto their secrets, or their inhibitions, for very long. As they make their way through the scenic countryside, Audrey, Lolo, Kat and Deadeye run afoul of a drug dealer, hook up with some hunky Chinese basketball players and disguise themselves as a fledgling K-pop group for reasons too outlandish to get into here.\u003c/p>\n\u003cp>In a way, \u003cem>Joy Ride\u003c/em> — which counts\u003ca href=\"https://www.npr.org/2021/05/18/997827530/seth-rogen-on-the-comedy-advice-he-got-at-12-that-he-still-thinks-about\"> Seth Rogen\u003c/a> as one its producers — marks the latest step in a logical progression for the mainstream Hollywood comedy. If \u003ca href=\"https://www.npr.org/2011/05/12/136145907/in-bridesmaids-a-divorce-from-chick-flick-norms\">\u003cem>Bridesmaids\u003c/em> \u003c/a>and \u003ca href=\"https://www.npr.org/2017/07/20/538152967/filthy-freewheeling-girls-trip-features-the-summers-breakout-performance\">\u003cem>Girls Trip\u003c/em>\u003c/a> set out to prove that women could be as gleefully gross as, say, the men in\u003ca href=\"https://www.npr.org/2009/06/04/104713733/the-hangover-a-night-to-not-remember\"> \u003cem>The Hangover\u003c/em>\u003c/a> movies, this one is clearly bent on doing the same for Asian American women and non-binary characters.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Like many of those earlier models, \u003cem>Joy Ride\u003c/em> boasts mile-a-minute pop-culture references, filthy one-liners and a few priceless sight gags, including some strategic full-frontal nudity. Naturally, it also forces Audrey and Lolo to confront their differences in ways that put their friendship to the test.\u003c/p>\n\u003cp>If it doesn’t all work, the hit-to-miss ratio is still impressively high. \u003cem>Joy Ride\u003c/em> may be reworking a formula, but it does so with disarming energy and verve, plus a level of savvy about Asian culture that we still rarely see in Hollywood movies. Director Lim can stage a gross-out moment or a frisky montage as well as anyone. But she also gives the comedy a subversive edge, whether she’s pushing back on lazy assumptions about Asian masculinity or — in one queasily funny scene — making clear just how racist Asians can be toward other Asians.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The actors are terrific. Deadeye is named Deadeye for their seeming lack of expression, but Wu makes this character, in some ways, the emotional glue that holds the group together. You can hear Cola’s past stand-up experience in just about every one of Lolo’s foul-mouthed zingers. And Park gives the movie’s trickiest performance as Audrey, an insecure overachiever who, as the movie progresses, learns a lot about herself. Maybe that’s a cliché, too, but \u003cem>Joy Ride\u003c/em> gives it just the punch it needs.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Buckle+up%3A+This+mile-a-minute+%27Joy+Ride%27+across+China+is+a+raunchy+romp&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "An Orson Welles Film Was Horribly Edited — Will Cinematic Justice Finally Be Done?",
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"content": "\u003cp>One of the greatest American directors of the 20th century is known for only a few films.\u003c/p>\n\u003cp>After Orson Welles made \u003ca href=\"https://www.npr.org/2011/09/13/140436786/citizen-kane-at-70-film-school-in-a-box-for-the-serious-cinephile\">his masterpiece \u003cem>Citizen Kane\u003c/em>\u003c/a> in 1941\u003cem>,\u003c/em> he fought bitterly with the studios that released his subsequent films — often after they bowdlerized Welles’ work. Films such as \u003cem>The Lady from Shanghai \u003c/em>and\u003cem> The Magnificent Ambersons \u003c/em>were drastically changed and cut, altering the auteur’s vision.\u003c/p>\n\u003cp>Now, a Welles superfan named \u003ca href=\"https://www.instagram.com/theambersonsproject/\">Brian Rose\u003c/a> — himself an accomplished filmmaker — has used animation and countless hours of painstaking research to recreate missing footage from \u003cem>The Magnificent Ambersons.\u003c/em>\u003c/p>\n\u003cp>https://www.instagram.com/reel/CqRu31tD2nh\u003c/p>\n\u003cp>Welles started filming what was intended to be his second masterpiece in 1941, hot from the success of \u003cem>Citizen Kane\u003c/em>. The movie is based on a Pulitzer Prize-winning novel by Booth Tarkington.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Welles, who had already adapted the novel for radio, wanted to tell a timeless story about Americans buffeted by unsettling new technology and economic decline through the fortunes of a small town’s richest family. He was given a princely budget and built an entire mansion with moveable walls for filming. But costs kept mounting and RKO studio executives disliked the film’s dark take on American aristocracy, especially in the jingoistic era before World War II.\u003c/p>\n\u003cp>[aside postid='futureofyou_202943']“The studio took his 131-minute version of \u003cem>The Magnificent Ambersons\u003c/em>. They cut it down to 88 minutes,” says \u003ca href=\"https://www.wellesnet.com/author/ray-kelly/\">Ray Kelly\u003c/a>, who runs \u003ca href=\"https://www.wellesnet.com/\">the Orson Welles fansite Wellesnet\u003c/a>. “Not only that, they took out the ending, which was rather bleak, and replaced it with a very Hollywood happy ending that doesn’t seem to fit the mood of the film in total.”\u003c/p>\n\u003cp>All in all, Kelly says, only 13 scenes out of 73 were left untouched. And despite all the studio’s re-editing and the unconvincing happy ending, \u003cem>The Magnificent Ambersons\u003c/em> was still a massive flop. RKO burned its silver nitrate negatives to salvage the silver and make space to store other movies.\u003c/p>\n\u003cp>“So Welles’ version has been lost to history,” Kelly says.\u003c/p>\n\u003cp>Not so fast, says filmmaker Brian Rose. “Fortunately, the film is remarkably well-documented for a film that was so badly altered,” he says. “There is quite a lot that can be inferred from the surviving materials.”\u003c/p>\n\u003cp>So that’s what he’s doing, using animation and voice actors to fill the gaps.\u003c/p>\n\u003cp>https://www.instagram.com/reel/CptsxGHj52l\u003c/p>\n\u003cp>Rose is not the first to attempt to reconstruct \u003cem>The Magnificent Ambersons\u003c/em>. Several other Welles enthusiasts have attempted to correct what Kelly calls “the challenge of undoing a cinematic injustice” through various means. But none have used animation.\u003c/p>\n\u003cp>[aside postid='arts_10134762']“A lot of it was based on photographs and on diagrams of camera placements and descriptions of scenes,” Rose explains. Plus, new technology.\u003c/p>\n\u003cp>“Basically, in a 3D environment, I rebuilt all the sets from diagrams and photographs,” he continues. “The challenge was populating them with characters. I took for inspiration the original storyboards, which were hand-drawn pencil and charcoal, very ethereal looking, kind of like the world of the Ambersons. They feel like there’s a haze over them. So even when I do take the artistic license of creating these scenes in animation, they still draw a reference to Welles’ original artistic vision.”\u003c/p>\n\u003cp>There is also a bit of a haze over this project regarding intellectual property rights and how legal it is to be animating this fan version of\u003cem> The Magnificent Ambersons\u003c/em>. “The thought was to beg forgiveness later,” Rose admits.\u003c/p>\n\u003cp>https://www.instagram.com/p/CcBDDb2uv8_/\u003c/p>\n\u003cp>The filmmaker is not going to get rich with this passion project. Indeed, he’s sunk a considerable amount of his own resources into what he hopes is a respectful and scholarly transformational work.\u003c/p>\n\u003cp>Rose hopes to eventually share his version of \u003cem>The Magnificent Ambersons \u003c/em>with other Orson Welles fanatics. A screening is planned \u003ca href=\"http://libwww.freelibrary.org/blog/post/5041\">as part of a series at the Free Library of Philadelphia\u003c/a>. And he’d love for it to be packaged as part of a Criterion Collection edition. In the era of TikTok, it’s an homage to a wounded film.\u003c/p>\n\u003cp>\u003cem>Edited by \u003c/em>\u003ca href=\"https://www.npr.org/people/881642560/ciera-crawford\">\u003cem>Ciera Crawford\u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Produced by \u003c/em>\u003ca href=\"https://www.npr.org/people/766798576/isabella-gomez-sarmiento\">\u003cem>Isabella Gomez Sarmiento \u003c/em>\u003c/a>\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=An+Orson+Welles+film+was+horribly+edited+%E2%80%94+will+cinematic+justice+finally+be+done%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of the greatest American directors of the 20th century is known for only a few films.\u003c/p>\n\u003cp>After Orson Welles made \u003ca href=\"https://www.npr.org/2011/09/13/140436786/citizen-kane-at-70-film-school-in-a-box-for-the-serious-cinephile\">his masterpiece \u003cem>Citizen Kane\u003c/em>\u003c/a> in 1941\u003cem>,\u003c/em> he fought bitterly with the studios that released his subsequent films — often after they bowdlerized Welles’ work. Films such as \u003cem>The Lady from Shanghai \u003c/em>and\u003cem> The Magnificent Ambersons \u003c/em>were drastically changed and cut, altering the auteur’s vision.\u003c/p>\n\u003cp>Now, a Welles superfan named \u003ca href=\"https://www.instagram.com/theambersonsproject/\">Brian Rose\u003c/a> — himself an accomplished filmmaker — has used animation and countless hours of painstaking research to recreate missing footage from \u003cem>The Magnificent Ambersons.\u003c/em>\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Welles started filming what was intended to be his second masterpiece in 1941, hot from the success of \u003cem>Citizen Kane\u003c/em>. The movie is based on a Pulitzer Prize-winning novel by Booth Tarkington.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“The studio took his 131-minute version of \u003cem>The Magnificent Ambersons\u003c/em>. They cut it down to 88 minutes,” says \u003ca href=\"https://www.wellesnet.com/author/ray-kelly/\">Ray Kelly\u003c/a>, who runs \u003ca href=\"https://www.wellesnet.com/\">the Orson Welles fansite Wellesnet\u003c/a>. “Not only that, they took out the ending, which was rather bleak, and replaced it with a very Hollywood happy ending that doesn’t seem to fit the mood of the film in total.”\u003c/p>\n\u003cp>All in all, Kelly says, only 13 scenes out of 73 were left untouched. And despite all the studio’s re-editing and the unconvincing happy ending, \u003cem>The Magnificent Ambersons\u003c/em> was still a massive flop. RKO burned its silver nitrate negatives to salvage the silver and make space to store other movies.\u003c/p>\n\u003cp>“So Welles’ version has been lost to history,” Kelly says.\u003c/p>\n\u003cp>Not so fast, says filmmaker Brian Rose. “Fortunately, the film is remarkably well-documented for a film that was so badly altered,” he says. “There is quite a lot that can be inferred from the surviving materials.”\u003c/p>\n\u003cp>So that’s what he’s doing, using animation and voice actors to fill the gaps.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“A lot of it was based on photographs and on diagrams of camera placements and descriptions of scenes,” Rose explains. Plus, new technology.\u003c/p>\n\u003cp>“Basically, in a 3D environment, I rebuilt all the sets from diagrams and photographs,” he continues. “The challenge was populating them with characters. I took for inspiration the original storyboards, which were hand-drawn pencil and charcoal, very ethereal looking, kind of like the world of the Ambersons. They feel like there’s a haze over them. So even when I do take the artistic license of creating these scenes in animation, they still draw a reference to Welles’ original artistic vision.”\u003c/p>\n\u003cp>There is also a bit of a haze over this project regarding intellectual property rights and how legal it is to be animating this fan version of\u003cem> The Magnificent Ambersons\u003c/em>. “The thought was to beg forgiveness later,” Rose admits.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The filmmaker is not going to get rich with this passion project. Indeed, he’s sunk a considerable amount of his own resources into what he hopes is a respectful and scholarly transformational work.\u003c/p>\n\u003cp>Rose hopes to eventually share his version of \u003cem>The Magnificent Ambersons \u003c/em>with other Orson Welles fanatics. A screening is planned \u003ca href=\"http://libwww.freelibrary.org/blog/post/5041\">as part of a series at the Free Library of Philadelphia\u003c/a>. And he’d love for it to be packaged as part of a Criterion Collection edition. In the era of TikTok, it’s an homage to a wounded film.\u003c/p>\n\u003cp>\u003cem>Edited by \u003c/em>\u003ca href=\"https://www.npr.org/people/881642560/ciera-crawford\">\u003cem>Ciera Crawford\u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Produced by \u003c/em>\u003ca href=\"https://www.npr.org/people/766798576/isabella-gomez-sarmiento\">\u003cem>Isabella Gomez Sarmiento \u003c/em>\u003c/a>\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=An+Orson+Welles+film+was+horribly+edited+%E2%80%94+will+cinematic+justice+finally+be+done%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Dylan Mulvaney Says Bud Light Didn’t Support Her During Transphobic Backlash",
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"content": "\u003cp>Transgender influencer Dylan Mulvaney says she felt abandoned by Bud Light after facing “more bullying and transphobia than I could have ever imagined” over her partnership with the beer giant.\u003c/p>\n\u003cp>In a video posted Thursday to Instagram and \u003ca href=\"https://www.tiktok.com/@dylanmulvaney/video/7250155134087449898?lang=en\">TikTok\u003c/a>, she said she “was waiting for the brand to reach out to me. But they never did.” She said she should have spoken out sooner but was afraid and hoped things would get better — but they didn’t.\u003c/p>\n\u003cp>https://www.instagram.com/reel/CuFQBdjRFFV/?hl=en\u003c/p>\n\u003cp>“For months now, I’ve been scared to leave my house,” Mulvaney said. “I have been ridiculed in public. I’ve been followed, and I have felt a loneliness that I wouldn’t wish on anyone.”\u003c/p>\n\u003cp>Anheuser-Busch didn’t directly respond to Mulvaney in a statement the company released Friday. But it said it remains “committed to the programs and partnerships we have forged over decades with organizations across a number of communities, including those in the LGBTQ+ community.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://apnews.com/article/bud-light-beer-dylan-mulvaney-transgender-d489fb60d04ebd02486f80169cfc4474\">A deluge of criticism and hate\u003c/a> erupted soon after Mulvaney cracked open a Bud Light in an Instagram video on April 1 as part of a promotional contest for the beer brand. She showed off a can emblazoned with her face that Bud Light sent to her — one of many corporate freebies she gets and shares with her millions of followers.\u003c/p>\n\u003cp>[aside postid='arts_13930824']Conservative figures and others called for a boycott of Bud Light, while Mulvaney’s supporters criticized the beer brand for not doing enough to support her.\u003c/p>\n\u003cp>Since then, two marketing executives at parent company Anheuser-Busch InBev took a leave of absence, Bud Light lost its decadeslong position as America’s best-selling beer.\u003c/p>\n\u003cp>In the four weeks ending June 17, Bud Light’s U.S. retail sales had slumped 26% compared with the same period a year ago, according to Bump Williams Consulting, which follows the industry. Sales of Modelo Especial, which recently supplanted Bud Light as the country’s best-selling beer in retail dollar sales, rose 9% in the same period. Modelo’s market share was 8.4%, while Bud Light’s was 7.1%.\u003c/p>\n\u003cp>The Human Rights Campaign, the country’s largest advocacy group for LGBTQ+ rights, also suspended its benchmark equality and inclusion rating for Anheuser-Busch, a subsidiary of Belgian brewer AB InBev.\u003c/p>\n\u003cp>“For a company to hire a trans person and then not publicly stand by them is worse, in my opinion, than not hiring a trans person at all — because it gives customers permission to be as transphobic and hateful as they want,” Mulvaney said, without naming Bud Light.\u003c/p>\n\u003cp>In its statement, Anheuser-Busch said it prioritizes the safety and privacy of its employees and partners and that moving forward, it will focus on brewing “beer for everyone and earning our place in moments that matter to our consumers.”\u003c/p>\n\u003cp>[aside postid='arts_13930083']Other companies, including Target and Starbucks, have recently come under fire for their efforts to appeal to the LGBTQ+ community, especially during June’s Pride celebrations, only to face more outcry when they tried to backpedal.\u003c/p>\n\u003cp>The clashes come amid a furious and fast-spreading debate over the rights of transgender people. At least 17 states have enacted laws restricting or banning gender-affirming care for minors, most since the start of this year.\u003c/p>\n\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",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Conservative figures and others called for a boycott of Bud Light, while Mulvaney’s supporters criticized the beer brand for not doing enough to support her.\u003c/p>\n\u003cp>Since then, two marketing executives at parent company Anheuser-Busch InBev took a leave of absence, Bud Light lost its decadeslong position as America’s best-selling beer.\u003c/p>\n\u003cp>In the four weeks ending June 17, Bud Light’s U.S. retail sales had slumped 26% compared with the same period a year ago, according to Bump Williams Consulting, which follows the industry. Sales of Modelo Especial, which recently supplanted Bud Light as the country’s best-selling beer in retail dollar sales, rose 9% in the same period. Modelo’s market share was 8.4%, while Bud Light’s was 7.1%.\u003c/p>\n\u003cp>The Human Rights Campaign, the country’s largest advocacy group for LGBTQ+ rights, also suspended its benchmark equality and inclusion rating for Anheuser-Busch, a subsidiary of Belgian brewer AB InBev.\u003c/p>\n\u003cp>“For a company to hire a trans person and then not publicly stand by them is worse, in my opinion, than not hiring a trans person at all — because it gives customers permission to be as transphobic and hateful as they want,” Mulvaney said, without naming Bud Light.\u003c/p>\n\u003cp>In its statement, Anheuser-Busch said it prioritizes the safety and privacy of its employees and partners and that moving forward, it will focus on brewing “beer for everyone and earning our place in moments that matter to our consumers.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Other companies, including Target and Starbucks, have recently come under fire for their efforts to appeal to the LGBTQ+ community, especially during June’s Pride celebrations, only to face more outcry when they tried to backpedal.\u003c/p>\n\u003cp>The clashes come amid a furious and fast-spreading debate over the rights of transgender people. At least 17 states have enacted laws restricting or banning gender-affirming care for minors, most since the start of this year.\u003c/p>\n\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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"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?",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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"tagline": "True-life supernatural stories",
"info": "",
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