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"content": "\u003cp>Let us now take you back in time to another world. A world where face masks are just kooky accessories and cell phones exist but nobody uses them. A world where Napster has been invented but CD sales are \u003ca href=\"https://www.statista.com/statistics/186772/album-shipments-in-the-us-music-industry-since-1999/\" target=\"_blank\" rel=\"noopener noreferrer\">at an all-time high\u003c/a>. It’s a post-internet, pre-social media world, which means everyone feels futuristic but still has to leave the house to see other people. And so they do. They crowd into small cars and sweaty rooms and dance their faces off at raves until dawn, unimpeded by selfies, sobriety or—*checks notes*—sheltering in place.\u003c/p>\n\u003cp>[aside postid='arts_13883181']How can we transport you back to this land that time forgot, you ask? Via three movies—\u003cem>Groove, \u003c/em>\u003cem>Human Traffic \u003c/em>and \u003cem>Go. \u003c/em>Each of which provides a perfect snapshot of rave culture as the new millennium approached. Back then, dance culture was big enough to be internationally popular but small enough to remain independent and scrappy.\u003c/p>\n\u003cp>\u003cem>Go\u003c/em> was by far the shiniest of the bunch. To start with, \u003cem>Human Traffic, \u003c/em>set in working class Wales, and \u003cem>Groove, \u003c/em>set in San Francisco’s pre-condo “warehouse district,” are both indies. But they also both offer grittier realities, in which no one would ever confuse aspirin for ecstasy, as green teens do in \u003cem>Go\u003c/em>. What all three movies \u003cem>do\u003c/em> have in common, however, is a thirst for escapism, a passion for irresponsible behavior and—we mention this up front so you have the option to leave if you wish—a very cavalier attitude towards illegal drug-taking.\u003c/p>\n\u003cp>That was not unusual for the time. Between 1998 and 2001, dance culture brought with it the first open, mass acceptance of hard drug use since the Summer of Love 30 years before. According to an in-depth \u003ca href=\"https://www.ncbi.nlm.nih.gov/pmc/articles/PMC2967577/#R6\" target=\"_blank\" rel=\"noopener noreferrer\">2011 study\u003c/a>, ecstasy use during those years “rose sharply [and] doubled among 12th graders, college students, and young adults, and nearly doubled in the lower grades. In 2000 even the 8th graders showed a significant increase in use. Among young adults, the increase in use occurred primarily among those under age 29.”\u003c/p>\n\u003cp>\u003cem>Human Traffic\u003c/em> doesn’t just reflect that period, it actively endorses it. In one scene at the club, a voiceover from protagonist Jip dreamily states: “We forget all the pain and the hurt in life. We want to go somewhere else. All our insecurities have evaporated. We’re in the clouds now. We’re spacemen orbiting the earth. We risk sanity for moments of temporary enlightenment. We embrace an overwhelming feeling of love. We flow in unison. We’re together.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HAPK6ZYq_p0\u003c/p>\n\u003cp>In another, when a doctor warns that ecstasy use can cause depression, sexual dysfunction and heatstroke, Jip argues: “Statistically you’re more likely to die from choking on a cabbage leaf or an argument in the pub than you are from dropping an E. Alcohol kills 30,000 people a year alone in Britain. But that’s alright because it’s a good taxable drug nonetheless.” At the end of the night, he and best friend Koop talk philosophy over lines of cocaine. Despite all of the drugs he’s taken, no one worries about Jip driving everyone home at sunrise.\u003c/p>\n\u003cp>\u003cem>Groove\u003c/em> was equally unconcerned about driving under the influence, and equally happy to promote ecstasy use. “Pop and beer, they fuck you up,” Cliff, full-time teacher’s assistant and part-time drug dealer, advises. “This enhances you. It heightens your awareness, especially touch. The feeling of connection, openness, honesty. It’s like being a kid…”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1k9pAL8Qg-I\u003c/p>\n\u003cp>Mostly though, \u003cem>Groove\u003c/em> focused on the sheer effort and organizational clout it took to throw unlicensed parties back then, as well as emphasizing how worthwhile it all was. The film follows several groups of dance enthusiasts who battle power cuts, unreliable DJs, bad directions, sticker-wielding candy ravers and a cop (played by a pre-fame Nick Offerman) in order to have their party—but party they do, against all odds. (Talk about a mid-pandemic fantasy!)\u003c/p>\n\u003cp>Success is hard won in \u003cem>Go\u003c/em> too—a movie that uses a Christmas rave in L.A. as the backdrop for intertwining tales about three broke teenagers, their obnoxious British co-worker, two gay soap opera actors and a gun-toting ecstasy dealer. The Mary X-Mas dance party is a laser-blasted, blacklit spectacular full of glowsticks, bucket hats, mini backpacks and the kinds of space bun hairdos that disappeared with the last century.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WSOBdkzG1YI&t=87s\u003c/p>\n\u003cp>In the end, \u003cem>Human Traffic\u003c/em>, \u003cem>Groove\u003c/em> and \u003cem>Go\u003c/em> all captured lightning in a bottle. Partly because of good timing, partly because they were all made by people who understood the culture they were documenting.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[aside postid='arts_13877402']More importantly for us, escapism looms large over all of them. In \u003cem>Human Traffic\u003c/em>, for Jip and Nina, clubbing makes selling popcorn and jeans all week a little more bearable. In \u003cem>Groove\u003c/em>, when Harmony sees her fiancé making out with a man, she simply goes back to where the DJ is and lets loose. In \u003cem>Go\u003c/em>, the only time we see Ronna not stressing about her rent money is when she’s on the Mary X-Mas dance floor. As long as we no longer have the same means to escape our daily realities, it’s a surprisingly good time watching them do it.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Let us now take you back in time to another world. A world where face masks are just kooky accessories and cell phones exist but nobody uses them. A world where Napster has been invented but CD sales are \u003ca href=\"https://www.statista.com/statistics/186772/album-shipments-in-the-us-music-industry-since-1999/\" target=\"_blank\" rel=\"noopener noreferrer\">at an all-time high\u003c/a>. It’s a post-internet, pre-social media world, which means everyone feels futuristic but still has to leave the house to see other people. And so they do. They crowd into small cars and sweaty rooms and dance their faces off at raves until dawn, unimpeded by selfies, sobriety or—*checks notes*—sheltering in place.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>How can we transport you back to this land that time forgot, you ask? Via three movies—\u003cem>Groove, \u003c/em>\u003cem>Human Traffic \u003c/em>and \u003cem>Go. \u003c/em>Each of which provides a perfect snapshot of rave culture as the new millennium approached. Back then, dance culture was big enough to be internationally popular but small enough to remain independent and scrappy.\u003c/p>\n\u003cp>\u003cem>Go\u003c/em> was by far the shiniest of the bunch. To start with, \u003cem>Human Traffic, \u003c/em>set in working class Wales, and \u003cem>Groove, \u003c/em>set in San Francisco’s pre-condo “warehouse district,” are both indies. But they also both offer grittier realities, in which no one would ever confuse aspirin for ecstasy, as green teens do in \u003cem>Go\u003c/em>. What all three movies \u003cem>do\u003c/em> have in common, however, is a thirst for escapism, a passion for irresponsible behavior and—we mention this up front so you have the option to leave if you wish—a very cavalier attitude towards illegal drug-taking.\u003c/p>\n\u003cp>That was not unusual for the time. Between 1998 and 2001, dance culture brought with it the first open, mass acceptance of hard drug use since the Summer of Love 30 years before. According to an in-depth \u003ca href=\"https://www.ncbi.nlm.nih.gov/pmc/articles/PMC2967577/#R6\" target=\"_blank\" rel=\"noopener noreferrer\">2011 study\u003c/a>, ecstasy use during those years “rose sharply [and] doubled among 12th graders, college students, and young adults, and nearly doubled in the lower grades. In 2000 even the 8th graders showed a significant increase in use. Among young adults, the increase in use occurred primarily among those under age 29.”\u003c/p>\n\u003cp>\u003cem>Human Traffic\u003c/em> doesn’t just reflect that period, it actively endorses it. In one scene at the club, a voiceover from protagonist Jip dreamily states: “We forget all the pain and the hurt in life. We want to go somewhere else. All our insecurities have evaporated. We’re in the clouds now. We’re spacemen orbiting the earth. We risk sanity for moments of temporary enlightenment. We embrace an overwhelming feeling of love. We flow in unison. We’re together.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/HAPK6ZYq_p0'\n title='//www.youtube.com/embed/HAPK6ZYq_p0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In another, when a doctor warns that ecstasy use can cause depression, sexual dysfunction and heatstroke, Jip argues: “Statistically you’re more likely to die from choking on a cabbage leaf or an argument in the pub than you are from dropping an E. Alcohol kills 30,000 people a year alone in Britain. But that’s alright because it’s a good taxable drug nonetheless.” At the end of the night, he and best friend Koop talk philosophy over lines of cocaine. Despite all of the drugs he’s taken, no one worries about Jip driving everyone home at sunrise.\u003c/p>\n\u003cp>\u003cem>Groove\u003c/em> was equally unconcerned about driving under the influence, and equally happy to promote ecstasy use. “Pop and beer, they fuck you up,” Cliff, full-time teacher’s assistant and part-time drug dealer, advises. “This enhances you. It heightens your awareness, especially touch. The feeling of connection, openness, honesty. It’s like being a kid…”\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/1k9pAL8Qg-I'\n title='//www.youtube.com/embed/1k9pAL8Qg-I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Mostly though, \u003cem>Groove\u003c/em> focused on the sheer effort and organizational clout it took to throw unlicensed parties back then, as well as emphasizing how worthwhile it all was. The film follows several groups of dance enthusiasts who battle power cuts, unreliable DJs, bad directions, sticker-wielding candy ravers and a cop (played by a pre-fame Nick Offerman) in order to have their party—but party they do, against all odds. (Talk about a mid-pandemic fantasy!)\u003c/p>\n\u003cp>Success is hard won in \u003cem>Go\u003c/em> too—a movie that uses a Christmas rave in L.A. as the backdrop for intertwining tales about three broke teenagers, their obnoxious British co-worker, two gay soap opera actors and a gun-toting ecstasy dealer. The Mary X-Mas dance party is a laser-blasted, blacklit spectacular full of glowsticks, bucket hats, mini backpacks and the kinds of space bun hairdos that disappeared with the last century.\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/WSOBdkzG1YI'\n title='//www.youtube.com/embed/WSOBdkzG1YI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the end, \u003cem>Human Traffic\u003c/em>, \u003cem>Groove\u003c/em> and \u003cem>Go\u003c/em> all captured lightning in a bottle. Partly because of good timing, partly because they were all made by people who understood the culture they were documenting.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>More importantly for us, escapism looms large over all of them. In \u003cem>Human Traffic\u003c/em>, for Jip and Nina, clubbing makes selling popcorn and jeans all week a little more bearable. In \u003cem>Groove\u003c/em>, when Harmony sees her fiancé making out with a man, she simply goes back to where the DJ is and lets loose. In \u003cem>Go\u003c/em>, the only time we see Ronna not stressing about her rent money is when she’s on the Mary X-Mas dance floor. As long as we no longer have the same means to escape our daily realities, it’s a surprisingly good time watching them do it.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Why 'The Sixth Sense' Remains So Powerful, 20 Years After its Release",
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"content": "\u003cp>Twenty years ago this week, a strange little movie about a strange little boy hit movie theaters and promptly exploded in a way that no one could have predicted. Despite \u003cem>The Sixth Sense\u003c/em>‘s inherently dark subject matter—child is tortured by ghosts; recently traumatized psychologist tries to help—its appeal proved oddly universal, sitting at the top of the box office for five weeks, grossing $672.8 million in the U.S. alone.\u003c/p>\n\u003cp>Some of the reasons for the movie’s mass appeal were obvious. The jawdropping twist ending was water-cooler fodder for weeks after the movie’s release; Bruce Willis and Haley Joel Osment’s performances were both so authentic, their roles as Dr. Malcolm and Cole Sear became iconic overnight; and the grief-related side-plots (Cole’s mom and Dr. Malcolm’s wife both suffer from recent losses) brought a heart and soul to the proceedings that horror movies sometimes lack. The marks \u003cem>The Sixth Sense\u003c/em> left on pop culture weren’t just immediate, they’ve since proved impossible to erase.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lXO0he1WjYw\u003c/p>\n\u003cp>Against all the odds—and despite the \u003ca href=\"https://www.youtube.com/watch?v=-xKA27kJWmE\" target=\"_blank\" rel=\"noopener\">endless spoofs\u003c/a> it’s spawned over the last two decades—watching \u003cem>The Sixth Sense\u003c/em> today is just as affecting as it was in 1999. That timelessness is thanks in part to its universal themes around life and death, but ultimately the movie’s enduring watchability has far more to do with what Cole’s character really represents.\u003c/p>\n\u003cp>In the movie, Cole is a nine-year-old medium, isolated and bullied by peers because of a general inability to fit in. Cole isn’t picked on because other kids know he’s psychic, he’s picked on simply for being perceptibly different—a predicament painfully familiar to anyone who has suffered through a similarly miserable adolescence. Even when Cole tries his best—as when he recreates a magic trick shown to him by Dr. Malcolm for another child at a birthday party—he is out of step, through no fault of his own.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In its darkest moments, \u003cem>The Sixth Sense\u003c/em> allows Cole to represent not just misfits and minorities, but individuals in the process of surviving abuse. Though he has a loving mother (played stirringly by Toni Collette), Cole is dealing with abuse—both physical and mental—from disturbed spirits. Through his sixth sense he is also exposed to the horrors of domestic violence (\u003ca href=\"https://www.youtube.com/watch?v=7TLLJJllf_Q\" target=\"_blank\" rel=\"noopener\">the ghost\u003c/a> of a bruised and suicidal housewife appears in his kitchen), and the gory and tragic results of households that don’t keep their \u003ca href=\"https://www.youtube.com/watch?v=GK8CrMtyTdk\" target=\"_blank\" rel=\"noopener\">weapons and children separate\u003c/a>. Witnessing these scenes, Cole isn’t just one single kind of abuse survivor—he embodies all of them.\u003c/p>\n\u003cp>Forced to bear witness to these traumas, it’s impossible for him to interact on the same level as his unencumbered peers, and he suffers in silence, as so many real-life survivors do. In his second session with Dr. Malcolm, Cole confesses that after he drew a picture of a man attacking another man, his school held a meeting about it. “Mom started crying,” he says. “I don’t draw like that anymore … They don’t have meetings about rainbows.”\u003c/p>\n\u003cp>While Cole stays quiet to save his mother from getting hurt, to avoid causing disruption in school, and to prevent embarrassing personal scrutiny, he still has moments where the details can’t help but spill out. And he is often punished for this honesty. When he tells his mom he’s not the person who keeps moving a brooch that belonged to his grandmother, she shouts at him and sends him away from the dinner table. When he tells a teacher that their school, originally a courthouse, used to contain a gallows, his teacher tells him in no uncertain terms that it’s not true—despite the fact that Cole has seen otherwise with his own eyes.\u003c/p>\n\u003cp>In these scenes, \u003cem>The Sixth Sense\u003c/em> offers understanding to survivors who are hesitant to speak up, but much of the rest of the film is spent encouraging them to try anyway. Cole’s relationship with Dr. Malcolm—a symbol of rescue, redemption and recovery—is meticulously designed to demonstrate a specific message to abuse survivors: While not everyone will believe or understand what has happened to you, seeking assistance from outside sources remains worthwhile. One person who believes you, \u003cem>The Sixth Sense\u003c/em> tells us, is all it takes to get on the road to healing.\u003c/p>\n\u003cp>Remarkably, the movie also tells viewers, in explicit terms, to believe survivors—a concept that has only found mainstream, widespread acceptance in the age of #MeToo. (“How can you help me if you don’t believe me?” Cole asks at one point.) The tragic figure of Vincent Grey—the psychic man who shoots Dr. Malcolm and himself at the start of the movie—also acts as a stark warning about the damage wrought when survivors are not taken seriously.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ultimately, \u003cem>The Sixth Sense\u003c/em> is about gaining control and ownership over whatever hand you have been dealt. Dr. Malcolm finds personal healing while helping Cole, which, in turn, enables Cole to pay it forward. By accepting assistance, and learning to trust another person with his secrets, Cole stops running away from the things that scare him the most, and figures out how to turn them into a force for good. In the end, \u003cem>The Sixth Sense\u003c/em> is a guidebook on how to transform darkness into light, pain into healing, and trauma into love. Its impact was seismic in 1999, but, 20 years on, we need its lessons more than ever.\u003c/p>\n\n",
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"excerpt": "On the surface, M. Night Shyamalan's debut is a movie designed to comfort misfits everywhere. Go deeper though, and it's a guidebook on how to survive personal trauma and private abuse.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Twenty years ago this week, a strange little movie about a strange little boy hit movie theaters and promptly exploded in a way that no one could have predicted. Despite \u003cem>The Sixth Sense\u003c/em>‘s inherently dark subject matter—child is tortured by ghosts; recently traumatized psychologist tries to help—its appeal proved oddly universal, sitting at the top of the box office for five weeks, grossing $672.8 million in the U.S. alone.\u003c/p>\n\u003cp>Some of the reasons for the movie’s mass appeal were obvious. The jawdropping twist ending was water-cooler fodder for weeks after the movie’s release; Bruce Willis and Haley Joel Osment’s performances were both so authentic, their roles as Dr. Malcolm and Cole Sear became iconic overnight; and the grief-related side-plots (Cole’s mom and Dr. Malcolm’s wife both suffer from recent losses) brought a heart and soul to the proceedings that horror movies sometimes lack. The marks \u003cem>The Sixth Sense\u003c/em> left on pop culture weren’t just immediate, they’ve since proved impossible to erase.\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/lXO0he1WjYw'\n title='//www.youtube.com/embed/lXO0he1WjYw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Against all the odds—and despite the \u003ca href=\"https://www.youtube.com/watch?v=-xKA27kJWmE\" target=\"_blank\" rel=\"noopener\">endless spoofs\u003c/a> it’s spawned over the last two decades—watching \u003cem>The Sixth Sense\u003c/em> today is just as affecting as it was in 1999. That timelessness is thanks in part to its universal themes around life and death, but ultimately the movie’s enduring watchability has far more to do with what Cole’s character really represents.\u003c/p>\n\u003cp>In the movie, Cole is a nine-year-old medium, isolated and bullied by peers because of a general inability to fit in. Cole isn’t picked on because other kids know he’s psychic, he’s picked on simply for being perceptibly different—a predicament painfully familiar to anyone who has suffered through a similarly miserable adolescence. Even when Cole tries his best—as when he recreates a magic trick shown to him by Dr. Malcolm for another child at a birthday party—he is out of step, through no fault of his own.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In its darkest moments, \u003cem>The Sixth Sense\u003c/em> allows Cole to represent not just misfits and minorities, but individuals in the process of surviving abuse. Though he has a loving mother (played stirringly by Toni Collette), Cole is dealing with abuse—both physical and mental—from disturbed spirits. Through his sixth sense he is also exposed to the horrors of domestic violence (\u003ca href=\"https://www.youtube.com/watch?v=7TLLJJllf_Q\" target=\"_blank\" rel=\"noopener\">the ghost\u003c/a> of a bruised and suicidal housewife appears in his kitchen), and the gory and tragic results of households that don’t keep their \u003ca href=\"https://www.youtube.com/watch?v=GK8CrMtyTdk\" target=\"_blank\" rel=\"noopener\">weapons and children separate\u003c/a>. Witnessing these scenes, Cole isn’t just one single kind of abuse survivor—he embodies all of them.\u003c/p>\n\u003cp>Forced to bear witness to these traumas, it’s impossible for him to interact on the same level as his unencumbered peers, and he suffers in silence, as so many real-life survivors do. In his second session with Dr. Malcolm, Cole confesses that after he drew a picture of a man attacking another man, his school held a meeting about it. “Mom started crying,” he says. “I don’t draw like that anymore … They don’t have meetings about rainbows.”\u003c/p>\n\u003cp>While Cole stays quiet to save his mother from getting hurt, to avoid causing disruption in school, and to prevent embarrassing personal scrutiny, he still has moments where the details can’t help but spill out. And he is often punished for this honesty. When he tells his mom he’s not the person who keeps moving a brooch that belonged to his grandmother, she shouts at him and sends him away from the dinner table. When he tells a teacher that their school, originally a courthouse, used to contain a gallows, his teacher tells him in no uncertain terms that it’s not true—despite the fact that Cole has seen otherwise with his own eyes.\u003c/p>\n\u003cp>In these scenes, \u003cem>The Sixth Sense\u003c/em> offers understanding to survivors who are hesitant to speak up, but much of the rest of the film is spent encouraging them to try anyway. Cole’s relationship with Dr. Malcolm—a symbol of rescue, redemption and recovery—is meticulously designed to demonstrate a specific message to abuse survivors: While not everyone will believe or understand what has happened to you, seeking assistance from outside sources remains worthwhile. One person who believes you, \u003cem>The Sixth Sense\u003c/em> tells us, is all it takes to get on the road to healing.\u003c/p>\n\u003cp>Remarkably, the movie also tells viewers, in explicit terms, to believe survivors—a concept that has only found mainstream, widespread acceptance in the age of #MeToo. (“How can you help me if you don’t believe me?” Cole asks at one point.) The tragic figure of Vincent Grey—the psychic man who shoots Dr. Malcolm and himself at the start of the movie—also acts as a stark warning about the damage wrought when survivors are not taken seriously.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ultimately, \u003cem>The Sixth Sense\u003c/em> is about gaining control and ownership over whatever hand you have been dealt. Dr. Malcolm finds personal healing while helping Cole, which, in turn, enables Cole to pay it forward. By accepting assistance, and learning to trust another person with his secrets, Cole stops running away from the things that scare him the most, and figures out how to turn them into a force for good. In the end, \u003cem>The Sixth Sense\u003c/em> is a guidebook on how to transform darkness into light, pain into healing, and trauma into love. Its impact was seismic in 1999, but, 20 years on, we need its lessons more than ever.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"id": "baycurious",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
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"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
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"source": "Commonwealth Club of California"
},
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"title": "Forum",
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"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
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"meta": {
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"source": "WNYC"
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"id": "fresh-air",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"jerrybrown": {
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
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"id": "latino-usa",
"title": "Latino USA",
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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