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"content": "\u003cp>A new grant program announced Wednesday by the \u003ca href=\"https://annenberg.usc.edu/research/aii\" target=\"_blank\" rel=\"noopener noreferrer\">Annenberg Inclusion Initiative\u003c/a>, a think tank based at the University of Southern California that studies diversity and inclusion in the entertainment industry, aims to support undergraduate filmmakers whose work focuses on reproductive rights.\u003c/p>\n\u003cp>[aside postid='arts_13912860']According to a statement shared with NPR, the “Reproductive Rights Accelerator” program will provide a minimum of three students with $25,000 in funding each to support the script development and production of short films.\u003c/p>\n\u003cp>“There are too few stories focused on these topics, and they rarely come from young people,” the initiative’s founder Stacy Smith wrote in an email. “We want the generation who will be most affected by current policies around reproductive health to have the chance to illuminate how these policies affect them.”\u003c/p>\n\u003cp>Smith said her organization is planning to reach students through social media and outreach to film schools. She added that any senior studying film in the U.S. can apply for a grant. Applications will open in September and winners will be selected later in the fall.\u003c/p>\n\u003cp>“Undergraduates have important stories to tell but often have limited opportunities to tell them,” said Smith. “This program should help change that.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Films addressing abortion aren’t a new phenomenon. For example, the silent movie \u003cem>Where Are My Children \u003c/em>dealt with the topic way back in 1916. But the genre has exploded in recent times. The \u003ca href=\"https://www.npr.org/2022/01/28/1076360032/highlights-from-the-2022-sundance-film-festival\" target=\"_blank\" rel=\"noopener noreferrer\">Sundance Film Festival\u003c/a> identified films about reproductive rights as “\u003ca href=\"https://www.sundance.org/blogs/festival-blog/what-to-watch-at-the-2022-festival-films-that-examine-the-fight-for-reproductive-rights/\" target=\"_blank\" rel=\"noopener noreferrer\">a clear theme\u003c/a>” in 2022, with such movies as \u003cem>Happening\u003c/em>, \u003cem>Midwives \u003c/em>and \u003cem>The Janes\u003c/em> appearing on this year’s festival lineup. And the organization issued a statement on social media presaging more such films in response to the Supreme Court decision overturning the federal right to an abortion.\u003c/p>\n\u003cp>[aside postid='arts_13914530']Supporters of the grant program point to the importance of the entertainment industry as a tool for highlighting important issues around human rights.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The entertainment community plays a critical role in educating people about their sexual and reproductive health and rights, including abortion,” said Caren Spruch, national director of arts and entertainment engagement for Planned Parenthood Federation of America, in a statement. “With Roe v. Wade overturned and birth control, LGBQT+ and other rights threatened, this new Annenberg Inclusion Initiative project will provide an invaluable tool to ensure audiences are reached with medically and legislatively accurate storytelling about these issues.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+new+student+filmmaking+grant+will+focus+on+reproductive+rights&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A new grant program announced Wednesday by the \u003ca href=\"https://annenberg.usc.edu/research/aii\" target=\"_blank\" rel=\"noopener noreferrer\">Annenberg Inclusion Initiative\u003c/a>, a think tank based at the University of Southern California that studies diversity and inclusion in the entertainment industry, aims to support undergraduate filmmakers whose work focuses on reproductive rights.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>According to a statement shared with NPR, the “Reproductive Rights Accelerator” program will provide a minimum of three students with $25,000 in funding each to support the script development and production of short films.\u003c/p>\n\u003cp>“There are too few stories focused on these topics, and they rarely come from young people,” the initiative’s founder Stacy Smith wrote in an email. “We want the generation who will be most affected by current policies around reproductive health to have the chance to illuminate how these policies affect them.”\u003c/p>\n\u003cp>Smith said her organization is planning to reach students through social media and outreach to film schools. She added that any senior studying film in the U.S. can apply for a grant. Applications will open in September and winners will be selected later in the fall.\u003c/p>\n\u003cp>“Undergraduates have important stories to tell but often have limited opportunities to tell them,” said Smith. “This program should help change that.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Films addressing abortion aren’t a new phenomenon. For example, the silent movie \u003cem>Where Are My Children \u003c/em>dealt with the topic way back in 1916. But the genre has exploded in recent times. The \u003ca href=\"https://www.npr.org/2022/01/28/1076360032/highlights-from-the-2022-sundance-film-festival\" target=\"_blank\" rel=\"noopener noreferrer\">Sundance Film Festival\u003c/a> identified films about reproductive rights as “\u003ca href=\"https://www.sundance.org/blogs/festival-blog/what-to-watch-at-the-2022-festival-films-that-examine-the-fight-for-reproductive-rights/\" target=\"_blank\" rel=\"noopener noreferrer\">a clear theme\u003c/a>” in 2022, with such movies as \u003cem>Happening\u003c/em>, \u003cem>Midwives \u003c/em>and \u003cem>The Janes\u003c/em> appearing on this year’s festival lineup. And the organization issued a statement on social media presaging more such films in response to the Supreme Court decision overturning the federal right to an abortion.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Supporters of the grant program point to the importance of the entertainment industry as a tool for highlighting important issues around human rights.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The entertainment community plays a critical role in educating people about their sexual and reproductive health and rights, including abortion,” said Caren Spruch, national director of arts and entertainment engagement for Planned Parenthood Federation of America, in a statement. “With Roe v. Wade overturned and birth control, LGBQT+ and other rights threatened, this new Annenberg Inclusion Initiative project will provide an invaluable tool to ensure audiences are reached with medically and legislatively accurate storytelling about these issues.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+new+student+filmmaking+grant+will+focus+on+reproductive+rights&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Jo Koy’s Daly City-Set ‘Easter Sunday’ Puts Filipinos Front and Center",
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"content": "\u003cp>For a comedy, Jo Koy’s new movie \u003cem>Easter Sunday\u003c/em> had a lot of waterworks.\u003c/p>\n\u003cp>The film was no ordinary job for the comedian and the rest of the cast. The magnitude of being on a mostly Filipino set led to happy cry-fests, Koy said. Emotions really hit when co-star Tia Carrere pointed out this was her first time playing a Filipino character in her 40-year career.\u003c/p>\n\u003cp>“To be able to be right there in a scene with five other Filipino actors and just doing a scene about a family… She never saw that before,” Koy, 51, told The Associated Press. “We all just kind of like teared up and just celebrated together because it’s like ‘OK, this is going to be one of many moments up here.’”\u003c/p>\n\u003cp>Koy, who is half Filipino and half white, is making his feature film debut in a movie largely inspired by the material from his Netflix stand-up specials. DreamWorks/Universal is touting \u003cem>Easter Sunday\u003c/em>, which opened in theaters Aug. 5, as the first big studio movie with an all-Filipino ensemble. Koy plays Joe Valencia, a comic and aspiring actor who goes home to Daly City for the titular holiday. He attempts to bond with his teenage son while dealing with well-meaning but overbearing relatives. The production comes at a time when Filipino American food, history and advocacy are increasingly emerging into the zeitgeist.\u003c/p>\n\u003cp>“Finally our stories, our faces are front and center on the big screen,” said Carrere, 55, and known for movies like \u003ci>Wayne’s World\u003c/i>, \u003ci>True Lies\u003c/i> and \u003ci>Lilo & Stitch\u003c/i>. “I have to pinch myself that I’m still here, still in the business and invited to the party.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Jimmy O. Yang (\u003cem>Crazy Rich Asians\u003c/em>, \u003cem>Love Hard\u003c/em>), who has a cameo in \u003cem>Easter Sunday\u003c/em>, also served as a producer. That meant watching many, many audition tapes of actors of Filipino or Asian descent. Yang was blown away by the talent. It made casting 10 roles that much tougher. He thinks Hollywood claims that capable Asian actors are hard to find are just lazy excuses.\u003c/p>\n\u003cp>“As an actor, I’m like all of these guys are so good. How did I ever get a job?” Yang said. “Some of them I wanted to call them and be like ‘Hey, man! Please keep going OK? We just couldn’t hire you for this job but please keep going.’”\u003c/p>\n\u003cp>https://youtu.be/YIixb42aJPg\u003c/p>\n\u003cp>\u003cem>Easter Sunday\u003c/em>, directed by Jay Chandrasekhar, is set in the heavily Filipino suburb of Daly City where screenwriter Ken Cheng immigrated to as a kid. He envisioned a mix of Ice Cube’s \u003cem>Friday\u003c/em> and the holiday flick \u003cem>It’s a Wonderful Life\u003c/em>. A producer, too, Cheng wrote it in 2020 during lockdown. He then turned to Steven Spielberg, whose Amblin Partners is co-producing. Within a few hours the legendary director read it and gave his approval, according to Cheng.\u003c/p>\n\u003cp>“From that day to the first day we started shooting was something like five and a half months. And that’s like insanely fast,” Cheng said. “A lot of that is how enthusiastic everyone was about building a movie around Jo.”\u003c/p>\n\u003cp>Hollywood is populated with notable half-Filipino actors like Vanessa Hudgens and Darren Criss. But Koy is the one leaning into his heritage in his work. For example, he wanted a scene in \u003cem>Easter Sunday\u003c/em> showing the family packing customary balikbayan boxes. Filipinos, usually first-generation immigrants, typically send boxes with American goods to relatives in the Philippines. Mailing balikbayan boxes is practically its own industry.\u003c/p>\n\u003cp>“There’s this responsibility that they put on their shoulders when they make it to this country,” Koy said. “I see that with a lot of Filipino families and I wanted to show the world that’s how important this is to us.”\u003c/p>\n\u003cp>[aside postID='arts_13915581,arts_13913947,arts_13914762']Today, Filipinos make up over 4 million of the country’s 23 million-plus Asian population, according to the U.S. Census. Filipino culture and history have been gaining more mainstream visibility in recent years—mostly because of decades-long activism by Filipinos.\u003c/p>\n\u003cp>This year, a 30-foot tall gateway arch was unveiled in Los Angeles’ Historic Filipinotown and a street in New York City’s Queens was co-named Little Manila Avenue. A newly built San Jose park was named Delano Manongs Park for the Filipino American farmworkers who worked alongside Cesar Chavez to organize the Delano grape strike between 1965 and 1970. \u003c/p>\n\u003cp>\u003cem>Easter Sunday\u003c/em> is coming during “this really amazing moment in Asian American history and Filipino American history, where political, social, and economic capital has all come together,” said Eric Pido, an Asian American Studies professor at San Francisco State University with a background in Filipina/o American Studies. He predicts younger generations will raise Filipinos’ profiles in the next few years.\u003c/p>\n\u003cp>“I think Filipino Americans are no longer shying away from sort of taking a representational role in American politics, which will bring up all sorts of interesting things about Filipino American culture that lots of folks just don’t think about,” Pido said.\u003c/p>\n\u003cp>Last month, Koy and Cheng attended a screening of \u003cem>Easter Sunday\u003c/em> in Daly City. Among the attendees was the director of Pixar’s \u003cem>Turning Red\u003c/em>, Domee Shi. That animated film, about a Chinese Canadian teenage girl and her family, was a hit after its March release on Disney+. But a white film reviewer called the animated feature exhausting and only relatable for Shi’s Chinese family and friends. The review was later pulled over accusations of racism.\u003c/p>\n\u003cp>The idea that stories that focus on Asian characters and cultures are too specific to be appealing is just outdated, Koy said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The relationship between a mother and son is the same no matter what ethnicity,” Koy said. “I hate ignorant people that don’t move forward… There’s a lot of people that live in this country that need to be heard and it’s time to hear it.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For a comedy, Jo Koy’s new movie \u003cem>Easter Sunday\u003c/em> had a lot of waterworks.\u003c/p>\n\u003cp>The film was no ordinary job for the comedian and the rest of the cast. The magnitude of being on a mostly Filipino set led to happy cry-fests, Koy said. Emotions really hit when co-star Tia Carrere pointed out this was her first time playing a Filipino character in her 40-year career.\u003c/p>\n\u003cp>“To be able to be right there in a scene with five other Filipino actors and just doing a scene about a family… She never saw that before,” Koy, 51, told The Associated Press. “We all just kind of like teared up and just celebrated together because it’s like ‘OK, this is going to be one of many moments up here.’”\u003c/p>\n\u003cp>Koy, who is half Filipino and half white, is making his feature film debut in a movie largely inspired by the material from his Netflix stand-up specials. DreamWorks/Universal is touting \u003cem>Easter Sunday\u003c/em>, which opened in theaters Aug. 5, as the first big studio movie with an all-Filipino ensemble. Koy plays Joe Valencia, a comic and aspiring actor who goes home to Daly City for the titular holiday. He attempts to bond with his teenage son while dealing with well-meaning but overbearing relatives. The production comes at a time when Filipino American food, history and advocacy are increasingly emerging into the zeitgeist.\u003c/p>\n\u003cp>“Finally our stories, our faces are front and center on the big screen,” said Carrere, 55, and known for movies like \u003ci>Wayne’s World\u003c/i>, \u003ci>True Lies\u003c/i> and \u003ci>Lilo & Stitch\u003c/i>. “I have to pinch myself that I’m still here, still in the business and invited to the party.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Jimmy O. Yang (\u003cem>Crazy Rich Asians\u003c/em>, \u003cem>Love Hard\u003c/em>), who has a cameo in \u003cem>Easter Sunday\u003c/em>, also served as a producer. That meant watching many, many audition tapes of actors of Filipino or Asian descent. Yang was blown away by the talent. It made casting 10 roles that much tougher. He thinks Hollywood claims that capable Asian actors are hard to find are just lazy excuses.\u003c/p>\n\u003cp>“As an actor, I’m like all of these guys are so good. How did I ever get a job?” Yang said. “Some of them I wanted to call them and be like ‘Hey, man! Please keep going OK? We just couldn’t hire you for this job but please keep going.’”\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/YIixb42aJPg'\n title='//www.youtube.com/embed/YIixb42aJPg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Easter Sunday\u003c/em>, directed by Jay Chandrasekhar, is set in the heavily Filipino suburb of Daly City where screenwriter Ken Cheng immigrated to as a kid. He envisioned a mix of Ice Cube’s \u003cem>Friday\u003c/em> and the holiday flick \u003cem>It’s a Wonderful Life\u003c/em>. A producer, too, Cheng wrote it in 2020 during lockdown. He then turned to Steven Spielberg, whose Amblin Partners is co-producing. Within a few hours the legendary director read it and gave his approval, according to Cheng.\u003c/p>\n\u003cp>“From that day to the first day we started shooting was something like five and a half months. And that’s like insanely fast,” Cheng said. “A lot of that is how enthusiastic everyone was about building a movie around Jo.”\u003c/p>\n\u003cp>Hollywood is populated with notable half-Filipino actors like Vanessa Hudgens and Darren Criss. But Koy is the one leaning into his heritage in his work. For example, he wanted a scene in \u003cem>Easter Sunday\u003c/em> showing the family packing customary balikbayan boxes. Filipinos, usually first-generation immigrants, typically send boxes with American goods to relatives in the Philippines. Mailing balikbayan boxes is practically its own industry.\u003c/p>\n\u003cp>“There’s this responsibility that they put on their shoulders when they make it to this country,” Koy said. “I see that with a lot of Filipino families and I wanted to show the world that’s how important this is to us.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Today, Filipinos make up over 4 million of the country’s 23 million-plus Asian population, according to the U.S. Census. Filipino culture and history have been gaining more mainstream visibility in recent years—mostly because of decades-long activism by Filipinos.\u003c/p>\n\u003cp>This year, a 30-foot tall gateway arch was unveiled in Los Angeles’ Historic Filipinotown and a street in New York City’s Queens was co-named Little Manila Avenue. A newly built San Jose park was named Delano Manongs Park for the Filipino American farmworkers who worked alongside Cesar Chavez to organize the Delano grape strike between 1965 and 1970. \u003c/p>\n\u003cp>\u003cem>Easter Sunday\u003c/em> is coming during “this really amazing moment in Asian American history and Filipino American history, where political, social, and economic capital has all come together,” said Eric Pido, an Asian American Studies professor at San Francisco State University with a background in Filipina/o American Studies. He predicts younger generations will raise Filipinos’ profiles in the next few years.\u003c/p>\n\u003cp>“I think Filipino Americans are no longer shying away from sort of taking a representational role in American politics, which will bring up all sorts of interesting things about Filipino American culture that lots of folks just don’t think about,” Pido said.\u003c/p>\n\u003cp>Last month, Koy and Cheng attended a screening of \u003cem>Easter Sunday\u003c/em> in Daly City. Among the attendees was the director of Pixar’s \u003cem>Turning Red\u003c/em>, Domee Shi. That animated film, about a Chinese Canadian teenage girl and her family, was a hit after its March release on Disney+. But a white film reviewer called the animated feature exhausting and only relatable for Shi’s Chinese family and friends. The review was later pulled over accusations of racism.\u003c/p>\n\u003cp>The idea that stories that focus on Asian characters and cultures are too specific to be appealing is just outdated, Koy said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The relationship between a mother and son is the same no matter what ethnicity,” Koy said. “I hate ignorant people that don’t move forward… There’s a lot of people that live in this country that need to be heard and it’s time to hear it.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "There’s Only One Castro Theatre. Why Change It Now?",
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"content": "\u003cfigure id=\"attachment_13917427\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917427\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Castro.MAIN_-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.MAIN_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.MAIN_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.MAIN_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.MAIN_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.MAIN_-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.MAIN_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The interior of the Castro Theatre in San Francisco on Aug. 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em; float: left; line-height: 0.733em; padding: 0.05em 0.1em 0 0; font-family: times, serif, georgia;\">F\u003c/span>irst things first: Everybody loves the Castro Theatre.\u003c/p>\n\u003cp>That much should be evident during a town hall this Thursday, Aug. 11, hosted by \u003ca href=\"https://www.kqed.org/arts/13908311/castro-theatre-to-become-live-music-and-events-venue-after-renovation\" target=\"_blank\" rel=\"noopener noreferrer\">the theater’s new operators\u003c/a>, the live-music promoters \u003ca href=\"https://apeconcerts.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Another Planet Entertainment\u003c/a>. But love for the Castro Theatre may be where consensus ends on Thursday.\u003c/p>\n\u003cp>Another Planet Entertainment (APE) is proposing a restoration and renovation of the 100-year-old theater, which includes the ceiling, marquee, proscenium, dressing rooms, bathrooms, ADA compliance and more—upgrades widely welcomed. One part of APE’s proposal, however, has inspired over 5,000 opponents to sign \u003ca href=\"https://www.change.org/p/save-the-castro-theatre\" rel=\"noopener noreferrer\" target=\"_blank\">a petition\u003c/a> launched by the nonprofit Castro Theatre Conservancy, which names famous film directors like Martin Scorsese, Steven Spielberg and Francis Ford Coppola among its supporters.\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>\u003ca href=\"#castrotheatre\">Want to share your thoughts on the Castro Theatre with KQED?\u003c/a>\u003c/strong>\u003c/li>\n\u003c/ul>\n\u003cp>The controversy comes down to the raked theater floor and the Castro’s traditional orchestra-style theater seating, which APE has proposed replacing with removable seats on multi-level, flat platforms more conducive to standing-room concerts. (\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Plans-429-Castro-Street.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">The plans submitted\u003c/a> to San Francisco’s planning department \u003ca href=\"https://meyersound.com/wp-content/uploads/2016/12/fox_theater_7.jpg\" target=\"_blank\" rel=\"noopener noreferrer\">look similar to the Fox Theater in Oakland\u003c/a>, which APE helped restore and now operates.)\u003c/p>\n\u003cfigure id=\"attachment_13917433\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917433\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Castro.seating.jpg\" alt=\"\" width=\"800\" height=\"554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.seating.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.seating-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.seating-768x532.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail of plans for the Castro Theatre submitted to the Planning Department, showing concession/bar areas in the back of the theater and multi-level tiers, which would be equipped for removable seating. The building’s new operators call the plans “very, very preliminary.” \u003ccite>(San Francisco Planning Department)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Why in the world would anyone change a historic theater that everyone loves? In short, APE’s answer is that the Castro needs some TLC, which APE can offer, but only if it’s allowed to present more than just film, including live music. And in order to present live music in a profitable, sustainable way, APE believes it needs to install a multi-level floor, or else audiences won’t come and it won’t make enough money to keep the doors open.\u003c/p>\n\u003cp>If you’re wondering why a bunch of seats stir such passion, you can get an earful of answers on Thursday night, sitting in those very seats where a century of San Francisco moviegoers have gazed up at a flickering screen and had life-changing experiences. As APE sees it, they’re preserving a crown jewel of the neighborhood, and paving a way to keep it open for another 100 years. But to so many who love it, the Castro is church, and altering its seating would be like ripping out the pews at Grace Cathedral.\u003c/p>\n\u003cfigure id=\"attachment_13917424\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917424\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Castro.Seatsfromavobe-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Seatsfromavobe-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Seatsfromavobe-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Seatsfromavobe-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Seatsfromavobe-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Seatsfromavobe-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Seatsfromavobe.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The seats and carpet on the orchestra level of the Castro Theatre in San Francisco on Aug. 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em; float: left; line-height: 0.733em; padding: 0.05em 0.1em 0 0; font-family: times, serif, georgia;\">P\u003c/span>eter Pastreich is among the film congregation. “If they are able to flatten the floors and remove all of those seats, the building will no longer be suitable for film,” Pastreich says. “They’ll make it great for rock concerts and other events, and virtually unusable for all kinds of other things, particularly film.”\u003c/p>\n\u003cp>Pastreich is the executive director of the nonprofit \u003ca href=\"https://www.savethecastrotheatre.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Castro Theatre Conservancy\u003c/a>, formed in June, which opposes APE’s floor plans. He admits that it’s virtually impossible in the modern day to keep a large, single-screen movie theater running on movies alone, at least with a for-profit model. In 2020, he says, members of his group approached the owners of the theater—Bay Properties, Inc., run by the Nasser family, whose ancestors built the theater in 1922—with a proposal to operate the Castro as a nonprofit, similar to the Roxie Theater in San Francisco or Film Forum in New York City.\u003c/p>\n\u003cp>[aside postID='arts_13908311']“Instead, they made a deal with APE. Which isn’t really a problem, until APE converts the theater,” Pastreich says, noting that while APE plans to present film at the Castro, it operates no other venues that regularly show film.\u003c/p>\n\u003cp>“I’ve heard Gregg Perloff from Another Planet say, ‘The public will tell us what they want to see, and we will respond to that.’ Well, what that means, I fear, is if they can sell 1,400 tickets to Metallica, and only 300 tickets to a showing of \u003cem>Casablanca\u003c/em>, of course they’re going to bring in Metallica and not \u003cem>Casablanca\u003c/em>.”\u003c/p>\n\u003cfigure id=\"attachment_13917446\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917446\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The interior of the Castro Theatre in San Francisco on Aug. 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Conservancy is asking District 8 Supervisor Rafael Mandelman to amend his enhanced landmark designation for the theater, which preserves “the full historical, architectural, aesthetic and cultural interest and value of the Castro Theatre,” to specifically include preservation of the orchestra-style seating. (Mandelman did not reply to a request for comment.) They are joined by the Castro LGBTQ+ Cultural District, which warns against “the intangible assets that are in danger of being lost if film repertory programming is ended at the theater.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>They’re not alone in their worries, as evidenced by the \u003ca href=\"https://www.instagram.com/p/CY69fTPrI4G/\" target=\"_blank\" rel=\"noopener noreferrer\">online comments\u003c/a> on the announcement of the Castro’s new management. And the Conservancy boasts the support of legendary film directors including Martin Scorcese, Francis Ford Coppola, Joel Coen, Paul Thomas Anderson, Steven Spielberg, Barry Jenkins, Guillermo del Toro, Terry Zwigoff, and John Waters, as well as San Francisco figures like Art Agnos, Jello Biafra, Cleve Jones, Sister Roma and Rebecca Solnit.\u003c/p>\n\u003cp>As for Thursday’s town hall hosted by APE, Pastreich is dismayed at the lack of a livestreaming option, as well as the format. His group has been given just five minutes to present, he says. “And the Q&A is handled by [former Supervisor] Bevan Dufty, who’s on the APE payroll, so he can recognize or not recognize whomever he wishes.”\u003c/p>\n\u003cp>Still, he’s hoping for a minor miracle: that film fans will voice such overwhelming opposition that APE will change their plans. “And realize,” he says, “that they’ve miscalculated.”\u003c/p>\n\u003cfigure id=\"attachment_13917426\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917426\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Castro.Projector-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Projector-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Projector-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Projector-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Projector-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Projector-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Projector.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Century projector at the Castro Theatre in San Francisco on Aug. 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em; float: left; line-height: 0.733em; padding: 0.05em 0.1em 0 0; font-family: times, serif, georgia;\">O\u003c/span>n the phone, David Perry is adamant: “Film is, has been and always will be part of the Castro Theatre experience,” he says.\u003c/p>\n\u003cp>The owner of a public relations firm, Perry, like former Supervisor Dufty, was hired by APE this year specifically to manage controversy about the Castro Theatre. Like many, he recalls fondly his first visit to the theatre, in 1986. But in 2022, he says, “single-screen theaters around the country are on life support. That’s the reality in which we live.” A 1,400 seat theater, he says, needs to diversify its offerings to be sustainable.\u003c/p>\n\u003cp>Perry insists that the floor plans submitted to the city “are very, very much preliminary plans,” subject to input from sightline specialists, architects, and the film community. He denies the charge made by the Castro Theatre Conservancy that smaller film festivals and LGBTQ+ organizations will be “priced out” of using the Castro as a community resource, and clarifies that APE will keep the Castro’s rare 70mm projector that visiting filmmakers like Paul Thomas Anderson have utilized in the past.\u003c/p>\n\u003cfigure id=\"attachment_13917425\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917425\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Castro.Proscenium-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Proscenium-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Proscenium-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Proscenium-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Proscenium-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Proscenium-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Proscenium.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The original 1922 proscenium of the Castro Theatre in San Francisco on Aug. 10, 2022, which Another Planet plans to restore. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Perry takes issue with the criticism that APE is a giant, corporate promoter that’s out of step with the independent, community-focused history and spirit of the theater. (The company puts on the Outside Lands music festival every year, which \u003ca href=\"https://news.pollstar.com/2019/08/27/by-the-numbers-outside-lands-grosses-highest-yet-29-6-million/\" target=\"_blank\" rel=\"noopener noreferrer\">in 2019 grossed $29.6 million\u003c/a>.) Perry describes APE as a “small, local business” that “understands the Castro.”\u003c/p>\n\u003cp>Like the Paramount in Oakland or the Orpheum in Los Angeles, the Castro could theoretically host concerts, comedy, events and film with the theatre seating intact, as it’s already done for years. Asked why APE couldn’t simply keep the current seats—and consider removing the first five to eight rows for concerts—Perry defers to APE’s experience, and their “good sense of what it takes to program a multi-use venue.”\u003c/p>\n\u003cp>APE also has a good sense of what it takes to compete in the live music market. Their two direct rivals, Live Nation and Goldenvoice, operate multiple theaters and ballrooms in San Francisco: the Warfield (capacity 2,300), the Masonic Auditorium (3,481), the Fillmore (1,300), and the Regency Ballroom (1,400). APE, on the other hand, operates the small Independent (500) and the large Bill Graham Civic Auditorium (8,500), with no mid-sized options in between.\u003c/p>\n\u003cfigure id=\"attachment_13917434\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917434\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Castro.Marquee-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Marquee-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Marquee-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Marquee-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Marquee-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Marquee-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Marquee.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Another Planet Entertainment plans restorations of both the marquee and neon “blade” of the Castro Theatre in San Francisco’s Castro District, pictured here on July 28, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So, in San Francisco, APE needs a venue like the Castro to stay competitive. Which explains why, as APE CEO Gregg Perloff told KQED in January, APE approached the Nassers during the pandemic with a proposal to operate the theater.\u003c/p>\n\u003cp>“They were looking for the right stewardship for the theater,” Perloff said. “This is their baby. And we need to respect the tremendous work they’ve done in making the theater a part of the community.”\u003c/p>\n\u003cp>The Castro has become such a part of the community, in fact, that generations of moviegoers feel a strong sense of ownership over the theater. Part of what’s happening now is the shock that they are not the owners; the Nassers are, and they’re entitled to do what they want with it.\u003c/p>\n\u003cp>But the way the Castro Theatre has become such a community asset is primarily through film. As Sister Roma of the Sisters of Perpetual Indulgence asks, “Do we really need another concrete concert hall when glamorous film houses are disappearing around the country?”\u003c/p>\n\u003cp>In other words: while there are already plenty of music venues in San Francisco, there’s only one Castro Theatre.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cem>A \u003ca href=\"https://www.castrotheatre.com/community-meeting/\" target=\"_blank\" rel=\"noopener noreferrer\">Town Hall on the future of the Castro Theatre\u003c/a> takes place at 6pm on Thursday, Aug. 11, at the Castro Theatre in San Francisco. Questions and comments for the Q&A must be submitted at the event via an online portal. \u003ca href=\"https://www.castrotheatre.com/community-meeting/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003ch2>\u003ca id=\"castrotheatre\">\u003c/a>Share your thoughts\u003c/h2>\n\u003cp>However the future may look for the Castro Theatre, a live-music promoter taking over its operations marks an end of an era for this iconic space. And ahead of these potential changes, here at KQED we want to take a moment to highlight your memories of the venue.\u003c/p>\n\u003cp>Tell us using the box below: \u003cstrong>What was your favorite movie you saw at the Castro Theatre? The most memorable night you had? The best (or worst) date you went on?\u003c/strong>\u003c/p>\n\u003cp>Share your thoughts, and we’d love to feature your words here on KQED.org and on our social media channels.\u003c/p>\n\u003cp>[hearken id=”9857″ src=”https://modules.wearehearken.com/kqed/embed/9857.js”]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13917427\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917427\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Castro.MAIN_-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.MAIN_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.MAIN_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.MAIN_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.MAIN_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.MAIN_-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.MAIN_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The interior of the Castro Theatre in San Francisco on Aug. 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em; float: left; line-height: 0.733em; padding: 0.05em 0.1em 0 0; font-family: times, serif, georgia;\">F\u003c/span>irst things first: Everybody loves the Castro Theatre.\u003c/p>\n\u003cp>That much should be evident during a town hall this Thursday, Aug. 11, hosted by \u003ca href=\"https://www.kqed.org/arts/13908311/castro-theatre-to-become-live-music-and-events-venue-after-renovation\" target=\"_blank\" rel=\"noopener noreferrer\">the theater’s new operators\u003c/a>, the live-music promoters \u003ca href=\"https://apeconcerts.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Another Planet Entertainment\u003c/a>. But love for the Castro Theatre may be where consensus ends on Thursday.\u003c/p>\n\u003cp>Another Planet Entertainment (APE) is proposing a restoration and renovation of the 100-year-old theater, which includes the ceiling, marquee, proscenium, dressing rooms, bathrooms, ADA compliance and more—upgrades widely welcomed. One part of APE’s proposal, however, has inspired over 5,000 opponents to sign \u003ca href=\"https://www.change.org/p/save-the-castro-theatre\" rel=\"noopener noreferrer\" target=\"_blank\">a petition\u003c/a> launched by the nonprofit Castro Theatre Conservancy, which names famous film directors like Martin Scorsese, Steven Spielberg and Francis Ford Coppola among its supporters.\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>\u003ca href=\"#castrotheatre\">Want to share your thoughts on the Castro Theatre with KQED?\u003c/a>\u003c/strong>\u003c/li>\n\u003c/ul>\n\u003cp>The controversy comes down to the raked theater floor and the Castro’s traditional orchestra-style theater seating, which APE has proposed replacing with removable seats on multi-level, flat platforms more conducive to standing-room concerts. (\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Plans-429-Castro-Street.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">The plans submitted\u003c/a> to San Francisco’s planning department \u003ca href=\"https://meyersound.com/wp-content/uploads/2016/12/fox_theater_7.jpg\" target=\"_blank\" rel=\"noopener noreferrer\">look similar to the Fox Theater in Oakland\u003c/a>, which APE helped restore and now operates.)\u003c/p>\n\u003cfigure id=\"attachment_13917433\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917433\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Castro.seating.jpg\" alt=\"\" width=\"800\" height=\"554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.seating.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.seating-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.seating-768x532.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail of plans for the Castro Theatre submitted to the Planning Department, showing concession/bar areas in the back of the theater and multi-level tiers, which would be equipped for removable seating. The building’s new operators call the plans “very, very preliminary.” \u003ccite>(San Francisco Planning Department)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Why in the world would anyone change a historic theater that everyone loves? In short, APE’s answer is that the Castro needs some TLC, which APE can offer, but only if it’s allowed to present more than just film, including live music. And in order to present live music in a profitable, sustainable way, APE believes it needs to install a multi-level floor, or else audiences won’t come and it won’t make enough money to keep the doors open.\u003c/p>\n\u003cp>If you’re wondering why a bunch of seats stir such passion, you can get an earful of answers on Thursday night, sitting in those very seats where a century of San Francisco moviegoers have gazed up at a flickering screen and had life-changing experiences. As APE sees it, they’re preserving a crown jewel of the neighborhood, and paving a way to keep it open for another 100 years. But to so many who love it, the Castro is church, and altering its seating would be like ripping out the pews at Grace Cathedral.\u003c/p>\n\u003cfigure id=\"attachment_13917424\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917424\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Castro.Seatsfromavobe-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Seatsfromavobe-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Seatsfromavobe-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Seatsfromavobe-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Seatsfromavobe-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Seatsfromavobe-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Seatsfromavobe.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The seats and carpet on the orchestra level of the Castro Theatre in San Francisco on Aug. 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em; float: left; line-height: 0.733em; padding: 0.05em 0.1em 0 0; font-family: times, serif, georgia;\">P\u003c/span>eter Pastreich is among the film congregation. “If they are able to flatten the floors and remove all of those seats, the building will no longer be suitable for film,” Pastreich says. “They’ll make it great for rock concerts and other events, and virtually unusable for all kinds of other things, particularly film.”\u003c/p>\n\u003cp>Pastreich is the executive director of the nonprofit \u003ca href=\"https://www.savethecastrotheatre.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Castro Theatre Conservancy\u003c/a>, formed in June, which opposes APE’s floor plans. He admits that it’s virtually impossible in the modern day to keep a large, single-screen movie theater running on movies alone, at least with a for-profit model. In 2020, he says, members of his group approached the owners of the theater—Bay Properties, Inc., run by the Nasser family, whose ancestors built the theater in 1922—with a proposal to operate the Castro as a nonprofit, similar to the Roxie Theater in San Francisco or Film Forum in New York City.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Instead, they made a deal with APE. Which isn’t really a problem, until APE converts the theater,” Pastreich says, noting that while APE plans to present film at the Castro, it operates no other venues that regularly show film.\u003c/p>\n\u003cp>“I’ve heard Gregg Perloff from Another Planet say, ‘The public will tell us what they want to see, and we will respond to that.’ Well, what that means, I fear, is if they can sell 1,400 tickets to Metallica, and only 300 tickets to a showing of \u003cem>Casablanca\u003c/em>, of course they’re going to bring in Metallica and not \u003cem>Casablanca\u003c/em>.”\u003c/p>\n\u003cfigure id=\"attachment_13917446\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917446\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The interior of the Castro Theatre in San Francisco on Aug. 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Conservancy is asking District 8 Supervisor Rafael Mandelman to amend his enhanced landmark designation for the theater, which preserves “the full historical, architectural, aesthetic and cultural interest and value of the Castro Theatre,” to specifically include preservation of the orchestra-style seating. (Mandelman did not reply to a request for comment.) They are joined by the Castro LGBTQ+ Cultural District, which warns against “the intangible assets that are in danger of being lost if film repertory programming is ended at the theater.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>They’re not alone in their worries, as evidenced by the \u003ca href=\"https://www.instagram.com/p/CY69fTPrI4G/\" target=\"_blank\" rel=\"noopener noreferrer\">online comments\u003c/a> on the announcement of the Castro’s new management. And the Conservancy boasts the support of legendary film directors including Martin Scorcese, Francis Ford Coppola, Joel Coen, Paul Thomas Anderson, Steven Spielberg, Barry Jenkins, Guillermo del Toro, Terry Zwigoff, and John Waters, as well as San Francisco figures like Art Agnos, Jello Biafra, Cleve Jones, Sister Roma and Rebecca Solnit.\u003c/p>\n\u003cp>As for Thursday’s town hall hosted by APE, Pastreich is dismayed at the lack of a livestreaming option, as well as the format. His group has been given just five minutes to present, he says. “And the Q&A is handled by [former Supervisor] Bevan Dufty, who’s on the APE payroll, so he can recognize or not recognize whomever he wishes.”\u003c/p>\n\u003cp>Still, he’s hoping for a minor miracle: that film fans will voice such overwhelming opposition that APE will change their plans. “And realize,” he says, “that they’ve miscalculated.”\u003c/p>\n\u003cfigure id=\"attachment_13917426\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917426\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Castro.Projector-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Projector-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Projector-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Projector-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Projector-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Projector-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Projector.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Century projector at the Castro Theatre in San Francisco on Aug. 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em; float: left; line-height: 0.733em; padding: 0.05em 0.1em 0 0; font-family: times, serif, georgia;\">O\u003c/span>n the phone, David Perry is adamant: “Film is, has been and always will be part of the Castro Theatre experience,” he says.\u003c/p>\n\u003cp>The owner of a public relations firm, Perry, like former Supervisor Dufty, was hired by APE this year specifically to manage controversy about the Castro Theatre. Like many, he recalls fondly his first visit to the theatre, in 1986. But in 2022, he says, “single-screen theaters around the country are on life support. That’s the reality in which we live.” A 1,400 seat theater, he says, needs to diversify its offerings to be sustainable.\u003c/p>\n\u003cp>Perry insists that the floor plans submitted to the city “are very, very much preliminary plans,” subject to input from sightline specialists, architects, and the film community. He denies the charge made by the Castro Theatre Conservancy that smaller film festivals and LGBTQ+ organizations will be “priced out” of using the Castro as a community resource, and clarifies that APE will keep the Castro’s rare 70mm projector that visiting filmmakers like Paul Thomas Anderson have utilized in the past.\u003c/p>\n\u003cfigure id=\"attachment_13917425\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917425\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Castro.Proscenium-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Proscenium-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Proscenium-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Proscenium-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Proscenium-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Proscenium-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Proscenium.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The original 1922 proscenium of the Castro Theatre in San Francisco on Aug. 10, 2022, which Another Planet plans to restore. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Perry takes issue with the criticism that APE is a giant, corporate promoter that’s out of step with the independent, community-focused history and spirit of the theater. (The company puts on the Outside Lands music festival every year, which \u003ca href=\"https://news.pollstar.com/2019/08/27/by-the-numbers-outside-lands-grosses-highest-yet-29-6-million/\" target=\"_blank\" rel=\"noopener noreferrer\">in 2019 grossed $29.6 million\u003c/a>.) Perry describes APE as a “small, local business” that “understands the Castro.”\u003c/p>\n\u003cp>Like the Paramount in Oakland or the Orpheum in Los Angeles, the Castro could theoretically host concerts, comedy, events and film with the theatre seating intact, as it’s already done for years. Asked why APE couldn’t simply keep the current seats—and consider removing the first five to eight rows for concerts—Perry defers to APE’s experience, and their “good sense of what it takes to program a multi-use venue.”\u003c/p>\n\u003cp>APE also has a good sense of what it takes to compete in the live music market. Their two direct rivals, Live Nation and Goldenvoice, operate multiple theaters and ballrooms in San Francisco: the Warfield (capacity 2,300), the Masonic Auditorium (3,481), the Fillmore (1,300), and the Regency Ballroom (1,400). APE, on the other hand, operates the small Independent (500) and the large Bill Graham Civic Auditorium (8,500), with no mid-sized options in between.\u003c/p>\n\u003cfigure id=\"attachment_13917434\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917434\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Castro.Marquee-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Marquee-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Marquee-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Marquee-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Marquee-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Marquee-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Marquee.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Another Planet Entertainment plans restorations of both the marquee and neon “blade” of the Castro Theatre in San Francisco’s Castro District, pictured here on July 28, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So, in San Francisco, APE needs a venue like the Castro to stay competitive. Which explains why, as APE CEO Gregg Perloff told KQED in January, APE approached the Nassers during the pandemic with a proposal to operate the theater.\u003c/p>\n\u003cp>“They were looking for the right stewardship for the theater,” Perloff said. “This is their baby. And we need to respect the tremendous work they’ve done in making the theater a part of the community.”\u003c/p>\n\u003cp>The Castro has become such a part of the community, in fact, that generations of moviegoers feel a strong sense of ownership over the theater. Part of what’s happening now is the shock that they are not the owners; the Nassers are, and they’re entitled to do what they want with it.\u003c/p>\n\u003cp>But the way the Castro Theatre has become such a community asset is primarily through film. As Sister Roma of the Sisters of Perpetual Indulgence asks, “Do we really need another concrete concert hall when glamorous film houses are disappearing around the country?”\u003c/p>\n\u003cp>In other words: while there are already plenty of music venues in San Francisco, there’s only one Castro Theatre.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cem>A \u003ca href=\"https://www.castrotheatre.com/community-meeting/\" target=\"_blank\" rel=\"noopener noreferrer\">Town Hall on the future of the Castro Theatre\u003c/a> takes place at 6pm on Thursday, Aug. 11, at the Castro Theatre in San Francisco. Questions and comments for the Q&A must be submitted at the event via an online portal. \u003ca href=\"https://www.castrotheatre.com/community-meeting/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003ch2>\u003ca id=\"castrotheatre\">\u003c/a>Share your thoughts\u003c/h2>\n\u003cp>However the future may look for the Castro Theatre, a live-music promoter taking over its operations marks an end of an era for this iconic space. And ahead of these potential changes, here at KQED we want to take a moment to highlight your memories of the venue.\u003c/p>\n\u003cp>Tell us using the box below: \u003cstrong>What was your favorite movie you saw at the Castro Theatre? The most memorable night you had? The best (or worst) date you went on?\u003c/strong>\u003c/p>\n\u003cp>Share your thoughts, and we’d love to feature your words here on KQED.org and on our social media channels.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Small, Sweet Bay Area Theaters Reopen Just in Time for Final Summer Days",
"headTitle": "Small, Sweet Bay Area Theaters Reopen Just in Time for Final Summer Days | KQED",
"content": "\u003cp>Summer brings some much-needed good news about several of the Bay Area’s most delightful movie theaters. By now, the “bad news” theme has become redundant, every story about a beloved venue uniquely terrible in the specifics. COVID-19 caused a number of screens to close in the past few years, including Landmark’s Embarcadero Cinema and \u003ca href=\"https://www.kqed.org/arts/13892596/historic-west-portal-theater-closes-permanently-due-to-pandemic\" rel=\"noopener noreferrer\" target=\"_blank\">West Portal’s CinéArts\u003c/a> at the Empire. The pandemic spurred the elimination of the \u003ca href=\"https://www.kqed.org/arts/13900656/sfmoma-cuts-bay-area-alternative-film\" rel=\"noopener noreferrer\" target=\"_blank\">SFMOMA’s film programming\u003c/a>, while the \u003ca href=\"https://hoodline.com/2022/07/another-planet-entertainment-announces-town-hall-meeting-on-controversial-changes-to-historic-castro-theatre/\" rel=\"noopener noreferrer\" target=\"_blank\">Castro Theatre’s future\u003c/a> is uncertain.\u003c/p>\n\u003cp>The venues that survive have navigated rocky paths. While some cinemas reverted to standard procedures a while ago—and some barely closed at all, except when mandated by local governments in the first months of the pandemic—other Bay Area movie theaters have only recently resumed programming. Against the current trend of packing summer theater schedules with action hero franchise flicks, many of these enduring institutions focus on vintage fare and the opportunity to see movies in a particularly charming context with others—spaced out on an enormous lawn, for example.\u003c/p>\n\u003cp>At this stage of the pandemic, there are numerous options for moviegoers: indoor screenings, with and without masks mandated; free outdoor shows; and even a drive-in for loved ones and pods to take in a Friday night film in one vehicle.\u003c/p>\n\u003cfigure id=\"attachment_13917014\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/GettyImages-598748922_1200.jpg\" alt=\"Angled up view of marquee advertising old films\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13917014\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-598748922_1200.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-598748922_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-598748922_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-598748922_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-598748922_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-598748922_1200-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The marquee for the Stanford Theatre on University Avenue, Palo Alto in 2016. \u003ccite>(Photo via Smith Collection/Gado/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Palo Alto’s movie palace is back\u003c/h2>\n\u003cp>Closed since March 1, 2020, the \u003ca href=\"https://stanfordtheatre.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Stanford Theatre\u003c/a> in Palo Alto reopened in July with a new ventilation and air-conditioning system added to the 1925 building. Little else has changed for the red velvet curtain cinema, where a live organist plays the house Wurlitzer between classic double features, which cost just $7 ($5 for youth and seniors). If stars like Cary Grant, Katharine Hepburn and Humphrey Bogart are favorites—or you want to get acquainted with any of them—you likely either already love this Peninsula movie palace or need to make plans to pay a visit. \u003c/p>\n\u003cp>Even before the cinema added central air, summer has been a delightful time to disappear into an afternoon double bill. A favorite golden age pairing back in July 2017 had me snagging front-row seats—literally—to take in \u003cem>The Desk Set\u003c/em> as a matinee, followed by a live music intermission before \u003cem>The African Queen\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The cinema stays affordable thanks to being entirely sustained by the Packard Humanities Institute, the nonprofit foundation founded by David Woodley Packard, an accomplished academic, \u003ca href=\"https://packhum.org/preserved.html\" rel=\"noopener noreferrer\" target=\"_blank\">tireless film preservationist\u003c/a>, and the son of Hewlett-Packard’s co-founder. \u003c/p>\n\u003cp>The \u003ca href=\"https://stanfordtheatre.org/calendars/Summer%202022.html\" rel=\"noopener noreferrer\" target=\"_blank\">Stanford Theatre schedule\u003c/a> is planned out through September, and available to view online. Tickets at the formerly all-cash box office can now be purchased with a credit or debit card, but this decidedly throwback theater still does only in-person ticket sales, and seating is first come, first serve. \u003c/p>\n\u003cfigure id=\"attachment_13917033\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/GettyImages-87226353_1200.jpg\" alt=\"Black-and-white image of movie set, men on horses and lights above\" width=\"1200\" height=\"948\" class=\"size-full wp-image-13917033\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-87226353_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-87226353_1200-800x632.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-87226353_1200-1020x806.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-87226353_1200-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-87226353_1200-768x607.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Filming a Broncho Billy movie at Essanay Studios in Chicago, circa 1915. Broncho Billy, America’s first cowboy hero of the silver screen, is the second figure from the left, wearing chaps and a white hat. \u003ccite>(Photo by Chicago History Museum/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Shh! No talking during the movie\u003c/h2>\n\u003cp>Tucked away in the Fremont district of Niles, the \u003ca href=\"https://nilesfilmmuseum.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Niles Essanay Silent Film Museum\u003c/a> reopened in July after a two-year COVID closure. Its first 2022 in-person event, its annual Charlie Chaplin Days, paid homage to the icon who joined the Essanay motion picture studio at the end of 1914, months before his dramatic rise to worldwide fame the following year.\u003c/p>\n\u003cp>Founded in Chicago in 1907, the Essanay studio relocated to the enclave of Niles in 1912, seeking reprieve from the harsh Midwestern winters. Today, the company is best known for its enduring silent comedies, including the prolific work of the production studio’s co-founder, Gilbert “Broncho Billy” Anderson, who wrote, acted in, and edited many of the studio’s early films such as \u003cem>Mr. Flip\u003c/em>.\u003c/p>\n\u003cp>Rena Azevedo Kiehn, who directs the museum’s special programs and numerous community partnerships, notes that the silent film museum is reopening slowly, with no concessions at this time and COVID protections maintained for all. “We’re being respectful of the fact that a lot of our patrons and docents are seniors,” she said. Requiring masks and proof of vaccination for weekend-long lineups of talks and screenings, like last weekend’s Broncho Billy Days, keeps the programming accessible. \u003c/p>\n\u003cp>Depending on how the next few months unfold, the museum tentatively plans to continue special programs, like Halloween screenings, and ramp back up to regular weekly events by 2023. “We’d love to have more volunteers, which would allow us to do even more,” Kiehn added.\u003c/p>\n\u003cfigure id=\"attachment_13917034\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/west-side-story-epk_1200.jpg\" alt=\"Three women in red, yellow and orange dresses dance expressively on the street outside a bodega.\" width=\"1200\" height=\"900\" class=\"size-full wp-image-13917034\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/west-side-story-epk_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/west-side-story-epk_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/west-side-story-epk_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/west-side-story-epk_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/west-side-story-epk_1200-768x576.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Steven Spielberg’s 2021 ‘West Side Story’ with Ariana DeBose (center) as Anita. \u003ccite>(20th Century Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>An encore for Marin’s drive-in\u003c/h2>\n\u003cp>Larkspur’s Lark Theater is once again running its \u003ca href=\"http://larktheater.net/movie-category/special-events/larkdrivein/\" rel=\"noopener noreferrer\" target=\"_blank\">summertime drive-in\u003c/a>. Presented in a Corte Madera parking lot between the marsh and shopping center, the naturally distanced Friday-night screenings include family-friendly features like \u003cem>Home Alone\u003c/em> and the new \u003cem>West Side Story\u003c/em>, and animated movies such as \u003cem>Shrek\u003c/em> and \u003cem>Ratatouille\u003c/em>.\u003c/p>\n\u003cp>Tickets for the drive-in are only sold online, with prices at $17 or $30 per vehicle depending on the number of occupants. Screenings begin shortly after sundown, with the start times after 8pm staggered through the end of the season as the summer days shorten. Be on time! Latecomers may be denied entry.\u003c/p>\n\u003ch2>More—free!—moviegoing options\u003c/h2>\n\u003cp>The San Francisco Parks Alliance continues its annual SF-centric \u003ca href=\"https://sanfranciscoparksalliance.org/projects/sundown-cinema/\" rel=\"noopener noreferrer\" target=\"_blank\">Sundown Cinema\u003c/a> series with free outdoor screenings at various city parks through the fall. The season finale, Addams Family Values, screens at the Jerry Garcia Amphitheater in John McLaren Park on Friday, Oct. 21.\u003c/p>\n\u003cp>The Berkeley Arts Museum and Pacific Film Archive will host \u003ca href=\"https://bampfa.org/program/free-outdoor-screenings-indelible-moments-may-i-have-dance\" rel=\"noopener noreferrer\" target=\"_blank\">three free screenings\u003c/a> in August on its huge outdoor LED screen at Addison and Oxford Streets. If you’re craving even more silent film viewings, the lineup includes Charlie Chaplin in 1925’s \u003cem>The Gold Rush\u003c/em>, as well as modern classics directed by Jean-Luc Godard and Spike Lee.\u003c/p>\n\u003cp>https://youtu.be/QzGzZ3O1ibs\u003c/p>\n\u003cp>Even travelers passing through SFO’s international terminal have the opportunity to pause for some respite with moving images. The SFO Museum’s \u003ca href=\"https://www.sfomuseum.org/programs/video-arts\" rel=\"noopener noreferrer\" target=\"_blank\">Video Arts screening area\u003c/a> shows contemporary short films for free in a much-needed oasis now open again, 7am–10pm daily. \u003c/p>\n\u003cp>Four years ago, pausing in the Video Arts cinema before a flight, I was captivated by the short film \u003cem>\u003ca href=\"https://vimeo.com/244555885\" rel=\"noopener noreferrer\" target=\"_blank\">The Monolith\u003c/a>\u003c/em>, about the changing view from New York painter Gwyneth Leech’s studio windows. Her artistic response to the unfolding construction—a rumination on transitions—was especially evocative to me. There I was, transiting between my current and former home, watching a film by chance in a microcinema. Even under pre-COVID circumstances, travel often makes me anxious and ill, as much as it delights me. But the screening room muffled the noise from the nearby security checkpoint, allowing me to relax and hyper-focus on the film. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>That afternoon, what could’ve been a forgettable waystation became a definitively memorable experience. Films seen in unique locales tend to stay with us, whether seen in historic theaters, parking lots or busy airports. We need only give ourselves over to a curator’s choice.\u003c/p>\n\n",
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"excerpt": "The pandemic’s been rough for filmgoing, but Bay Area venues are reopening—and reinstating beloved events.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Summer brings some much-needed good news about several of the Bay Area’s most delightful movie theaters. By now, the “bad news” theme has become redundant, every story about a beloved venue uniquely terrible in the specifics. COVID-19 caused a number of screens to close in the past few years, including Landmark’s Embarcadero Cinema and \u003ca href=\"https://www.kqed.org/arts/13892596/historic-west-portal-theater-closes-permanently-due-to-pandemic\" rel=\"noopener noreferrer\" target=\"_blank\">West Portal’s CinéArts\u003c/a> at the Empire. The pandemic spurred the elimination of the \u003ca href=\"https://www.kqed.org/arts/13900656/sfmoma-cuts-bay-area-alternative-film\" rel=\"noopener noreferrer\" target=\"_blank\">SFMOMA’s film programming\u003c/a>, while the \u003ca href=\"https://hoodline.com/2022/07/another-planet-entertainment-announces-town-hall-meeting-on-controversial-changes-to-historic-castro-theatre/\" rel=\"noopener noreferrer\" target=\"_blank\">Castro Theatre’s future\u003c/a> is uncertain.\u003c/p>\n\u003cp>The venues that survive have navigated rocky paths. While some cinemas reverted to standard procedures a while ago—and some barely closed at all, except when mandated by local governments in the first months of the pandemic—other Bay Area movie theaters have only recently resumed programming. Against the current trend of packing summer theater schedules with action hero franchise flicks, many of these enduring institutions focus on vintage fare and the opportunity to see movies in a particularly charming context with others—spaced out on an enormous lawn, for example.\u003c/p>\n\u003cp>At this stage of the pandemic, there are numerous options for moviegoers: indoor screenings, with and without masks mandated; free outdoor shows; and even a drive-in for loved ones and pods to take in a Friday night film in one vehicle.\u003c/p>\n\u003cfigure id=\"attachment_13917014\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/GettyImages-598748922_1200.jpg\" alt=\"Angled up view of marquee advertising old films\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13917014\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-598748922_1200.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-598748922_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-598748922_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-598748922_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-598748922_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-598748922_1200-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The marquee for the Stanford Theatre on University Avenue, Palo Alto in 2016. \u003ccite>(Photo via Smith Collection/Gado/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Palo Alto’s movie palace is back\u003c/h2>\n\u003cp>Closed since March 1, 2020, the \u003ca href=\"https://stanfordtheatre.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Stanford Theatre\u003c/a> in Palo Alto reopened in July with a new ventilation and air-conditioning system added to the 1925 building. Little else has changed for the red velvet curtain cinema, where a live organist plays the house Wurlitzer between classic double features, which cost just $7 ($5 for youth and seniors). If stars like Cary Grant, Katharine Hepburn and Humphrey Bogart are favorites—or you want to get acquainted with any of them—you likely either already love this Peninsula movie palace or need to make plans to pay a visit. \u003c/p>\n\u003cp>Even before the cinema added central air, summer has been a delightful time to disappear into an afternoon double bill. A favorite golden age pairing back in July 2017 had me snagging front-row seats—literally—to take in \u003cem>The Desk Set\u003c/em> as a matinee, followed by a live music intermission before \u003cem>The African Queen\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The cinema stays affordable thanks to being entirely sustained by the Packard Humanities Institute, the nonprofit foundation founded by David Woodley Packard, an accomplished academic, \u003ca href=\"https://packhum.org/preserved.html\" rel=\"noopener noreferrer\" target=\"_blank\">tireless film preservationist\u003c/a>, and the son of Hewlett-Packard’s co-founder. \u003c/p>\n\u003cp>The \u003ca href=\"https://stanfordtheatre.org/calendars/Summer%202022.html\" rel=\"noopener noreferrer\" target=\"_blank\">Stanford Theatre schedule\u003c/a> is planned out through September, and available to view online. Tickets at the formerly all-cash box office can now be purchased with a credit or debit card, but this decidedly throwback theater still does only in-person ticket sales, and seating is first come, first serve. \u003c/p>\n\u003cfigure id=\"attachment_13917033\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/GettyImages-87226353_1200.jpg\" alt=\"Black-and-white image of movie set, men on horses and lights above\" width=\"1200\" height=\"948\" class=\"size-full wp-image-13917033\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-87226353_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-87226353_1200-800x632.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-87226353_1200-1020x806.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-87226353_1200-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-87226353_1200-768x607.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Filming a Broncho Billy movie at Essanay Studios in Chicago, circa 1915. Broncho Billy, America’s first cowboy hero of the silver screen, is the second figure from the left, wearing chaps and a white hat. \u003ccite>(Photo by Chicago History Museum/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Shh! No talking during the movie\u003c/h2>\n\u003cp>Tucked away in the Fremont district of Niles, the \u003ca href=\"https://nilesfilmmuseum.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Niles Essanay Silent Film Museum\u003c/a> reopened in July after a two-year COVID closure. Its first 2022 in-person event, its annual Charlie Chaplin Days, paid homage to the icon who joined the Essanay motion picture studio at the end of 1914, months before his dramatic rise to worldwide fame the following year.\u003c/p>\n\u003cp>Founded in Chicago in 1907, the Essanay studio relocated to the enclave of Niles in 1912, seeking reprieve from the harsh Midwestern winters. Today, the company is best known for its enduring silent comedies, including the prolific work of the production studio’s co-founder, Gilbert “Broncho Billy” Anderson, who wrote, acted in, and edited many of the studio’s early films such as \u003cem>Mr. Flip\u003c/em>.\u003c/p>\n\u003cp>Rena Azevedo Kiehn, who directs the museum’s special programs and numerous community partnerships, notes that the silent film museum is reopening slowly, with no concessions at this time and COVID protections maintained for all. “We’re being respectful of the fact that a lot of our patrons and docents are seniors,” she said. Requiring masks and proof of vaccination for weekend-long lineups of talks and screenings, like last weekend’s Broncho Billy Days, keeps the programming accessible. \u003c/p>\n\u003cp>Depending on how the next few months unfold, the museum tentatively plans to continue special programs, like Halloween screenings, and ramp back up to regular weekly events by 2023. “We’d love to have more volunteers, which would allow us to do even more,” Kiehn added.\u003c/p>\n\u003cfigure id=\"attachment_13917034\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/west-side-story-epk_1200.jpg\" alt=\"Three women in red, yellow and orange dresses dance expressively on the street outside a bodega.\" width=\"1200\" height=\"900\" class=\"size-full wp-image-13917034\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/west-side-story-epk_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/west-side-story-epk_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/west-side-story-epk_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/west-side-story-epk_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/west-side-story-epk_1200-768x576.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Steven Spielberg’s 2021 ‘West Side Story’ with Ariana DeBose (center) as Anita. \u003ccite>(20th Century Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>An encore for Marin’s drive-in\u003c/h2>\n\u003cp>Larkspur’s Lark Theater is once again running its \u003ca href=\"http://larktheater.net/movie-category/special-events/larkdrivein/\" rel=\"noopener noreferrer\" target=\"_blank\">summertime drive-in\u003c/a>. Presented in a Corte Madera parking lot between the marsh and shopping center, the naturally distanced Friday-night screenings include family-friendly features like \u003cem>Home Alone\u003c/em> and the new \u003cem>West Side Story\u003c/em>, and animated movies such as \u003cem>Shrek\u003c/em> and \u003cem>Ratatouille\u003c/em>.\u003c/p>\n\u003cp>Tickets for the drive-in are only sold online, with prices at $17 or $30 per vehicle depending on the number of occupants. Screenings begin shortly after sundown, with the start times after 8pm staggered through the end of the season as the summer days shorten. Be on time! Latecomers may be denied entry.\u003c/p>\n\u003ch2>More—free!—moviegoing options\u003c/h2>\n\u003cp>The San Francisco Parks Alliance continues its annual SF-centric \u003ca href=\"https://sanfranciscoparksalliance.org/projects/sundown-cinema/\" rel=\"noopener noreferrer\" target=\"_blank\">Sundown Cinema\u003c/a> series with free outdoor screenings at various city parks through the fall. The season finale, Addams Family Values, screens at the Jerry Garcia Amphitheater in John McLaren Park on Friday, Oct. 21.\u003c/p>\n\u003cp>The Berkeley Arts Museum and Pacific Film Archive will host \u003ca href=\"https://bampfa.org/program/free-outdoor-screenings-indelible-moments-may-i-have-dance\" rel=\"noopener noreferrer\" target=\"_blank\">three free screenings\u003c/a> in August on its huge outdoor LED screen at Addison and Oxford Streets. If you’re craving even more silent film viewings, the lineup includes Charlie Chaplin in 1925’s \u003cem>The Gold Rush\u003c/em>, as well as modern classics directed by Jean-Luc Godard and Spike Lee.\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/QzGzZ3O1ibs'\n title='//www.youtube.com/embed/QzGzZ3O1ibs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Even travelers passing through SFO’s international terminal have the opportunity to pause for some respite with moving images. The SFO Museum’s \u003ca href=\"https://www.sfomuseum.org/programs/video-arts\" rel=\"noopener noreferrer\" target=\"_blank\">Video Arts screening area\u003c/a> shows contemporary short films for free in a much-needed oasis now open again, 7am–10pm daily. \u003c/p>\n\u003cp>Four years ago, pausing in the Video Arts cinema before a flight, I was captivated by the short film \u003cem>\u003ca href=\"https://vimeo.com/244555885\" rel=\"noopener noreferrer\" target=\"_blank\">The Monolith\u003c/a>\u003c/em>, about the changing view from New York painter Gwyneth Leech’s studio windows. Her artistic response to the unfolding construction—a rumination on transitions—was especially evocative to me. There I was, transiting between my current and former home, watching a film by chance in a microcinema. Even under pre-COVID circumstances, travel often makes me anxious and ill, as much as it delights me. But the screening room muffled the noise from the nearby security checkpoint, allowing me to relax and hyper-focus on the film. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That afternoon, what could’ve been a forgettable waystation became a definitively memorable experience. Films seen in unique locales tend to stay with us, whether seen in historic theaters, parking lots or busy airports. We need only give ourselves over to a curator’s choice.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Imagining New Black Futures for a Good Cause",
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"content": "\u003cp>Not only are there Black folks in the future—they’re fly, too.\u003c/p>\n\u003cp>At the \u003ca href=\"https://www.eventbrite.com/e/eoydc-fundraiser-the-black-futures-ball-tickets-350040379197\" target=\"_blank\" rel=\"noopener noreferrer\">Black Futures Ball\u003c/a> at the Bridge Yard on Aug. 6, you’ll see a blend of Comic-Con with a traditional gala and Town culture, says Selena Wilson, CEO of the East Oakland Youth Development Center (\u003ca href=\"https://eoydc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">EOYDC\u003c/a>), which is hosting the event.\u003c/p>\n\u003cp>“Folks can expect to see people in straight-up cosplay. They can expect to see people in grills and Jordans. They’ll see folks in heels and cocktail dresses, in gowns, and in beautiful traditional African clothing mixed with futuristic pieces,” Wilson tells me. “There will be something for everybody.”\u003c/p>\n\u003cp>Both celebration and fundraiser, attendees of the Black Futures Ball are invited to contribute to EOYDC’s annual college fund. A staple for over two decades, the Deep East Oakland-based center’s fund donated $150,000 to Black and brown Bay Area students last year alone. Wilson hopes to keep that momentum: “We’re celebrating the theme of Afrofuturism,” she says. “We’re also legit investing in Black futures.”\u003c/p>\n\u003cp>That investment is more important than ever. When Black students take out student loans to attend college, a recent Brookings Institute report concluded, they \u003ca href=\"https://www.brookings.edu/research/student-loans-the-racial-wealth-divide-and-why-we-need-full-student-debt-cancellation/\" target=\"_blank\" rel=\"noopener noreferrer\">borrow more on average\u003c/a> than their white classmates. What’s more, the \u003ca href=\"https://www.brookings.edu/research/black-white-disparity-in-student-loan-debt-more-than-triples-after-graduation/\" target=\"_blank\" rel=\"noopener noreferrer\">debt disparity between Black graduates and white graduates more than triples\u003c/a> after graduation.\u003c/p>\n\u003cfigure id=\"attachment_13916573\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916573\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/College-Tour-2-800x600.jpg\" alt=\"EOYDC students on a college tour at Rice University.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/College-Tour-2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/College-Tour-2-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/College-Tour-2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/College-Tour-2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/College-Tour-2.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">EOYDC students on a college tour at Rice University. \u003ccite>(Via EOYDC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Backed by \u003ca href=\"https://www.instagram.com/thetownexperience/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">The Town Experience\u003c/a>, \u003ca href=\"https://instagram.com/marketing_kings?igshid=YmMyMTA2M2Y=\" target=\"_blank\" rel=\"noopener noreferrer\">Marketing Kings\u003c/a> and \u003ca href=\"https://www.thesubversal.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Subversal\u003c/a> group, the event will be filled with visual arts, music and food. Performances include renowned Oakland vocalist \u003ca href=\"https://www.instagram.com/goapele/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Goapele\u003c/a> and emerging lyricist \u003ca href=\"https://www.instagram.com/official.jwalt/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">J-Walt\u003c/a>. Installations of visual art will come from \u003ca href=\"http://www.aerosoulart.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Aerosoul\u003c/a>, \u003ca href=\"https://www.blackterminus.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Terminus\u003c/a>, \u003ca href=\"https://afrocomiccon.org/\" target=\"_blank\" rel=\"noopener noreferrer\">AfroComicCon\u003c/a>, \u003ca href=\"https://www.runtheworldclothing.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Run The World Clothing\u003c/a> and \u003ca href=\"https://www.darkstaruniverse.com/about.html#/\" target=\"_blank\" rel=\"noopener noreferrer\">Dark Star Universe\u003c/a>, as well as an Afrofuturism-themed exhibit hosted by the \u003ca href=\"https://www.mocha.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland’s Museum of Children’s Art\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Music from all throughout the diaspora will be spun by \u003ca href=\"https://www.instagram.com/dcischillin/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">DC is Chillin\u003c/a> and \u003ca href=\"https://www.instagram.com/mrdaveyd/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Davey D\u003c/a>, and the \u003ca href=\"https://www.instagram.com/theturffeinz/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Turffeinz\u003c/a> will deliver a dance performance.\u003c/p>\n\u003cp>Hosted by Oakland’s own multitalented Grammy-nominated artist \u003ca href=\"https://www.msryannicole.com/\" target=\"_blank\" rel=\"noopener noreferrer\">RyanNicole\u003c/a>, there will be a formal segment of the evening where Champion for Youth Awards will be given to entertainer and community advocate Mistah F.A.B., activist and BART Board Director Lateefah Simon, organizer and educator Nehanda Imara, and the South Bay’s André Chapman, founder of Unity Care.\u003c/p>\n\u003cp>This all-star lineup comes together for a good cause in the face of the ever-increasing challenges in our world—a global pandemic, rising gun violence and more, says Wilson. “To solve the problems of today, it’s going to take radical imagination,” Wilson tells me. “And when I think about Afrofuturism, it inspires radical imagination for me.”\u003c/p>\n\u003cp>Motivated by the idea of the fictional utopia of Wakanda from the movie \u003cem>Black Panther\u003c/em>—and in the wake of the \u003ca href=\"https://www.youtube.com/watch?v=RlOB3UALvrQ\" target=\"_blank\" rel=\"noopener noreferrer\">recently dropped trailed for \u003cem>Wakanda Forever\u003c/em>\u003c/a>—this year’s theme is “Oakanda.”\u003c/p>\n\u003cp>Wilson asks rhetorically, “What if we could build the Oakanda of our dreams? What if we did engage in that radical imagination?”\u003c/p>\n\u003cp>Wilson, a firm believer that the key to liberation is joy, adds, “That’s why we wanted to make sure that we have so many different elements of joy in this event, so many things that are celebrating \u003cem>the culture\u003c/em>.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Black Futures Ball gets underway on Saturday, Aug. 6, at the Bridge Yard in Oakland. \u003ca href=\"https://www.eventbrite.com/e/eoydc-fundraiser-the-black-futures-ball-tickets-350040379197\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Not only are there Black folks in the future—they’re fly, too.\u003c/p>\n\u003cp>At the \u003ca href=\"https://www.eventbrite.com/e/eoydc-fundraiser-the-black-futures-ball-tickets-350040379197\" target=\"_blank\" rel=\"noopener noreferrer\">Black Futures Ball\u003c/a> at the Bridge Yard on Aug. 6, you’ll see a blend of Comic-Con with a traditional gala and Town culture, says Selena Wilson, CEO of the East Oakland Youth Development Center (\u003ca href=\"https://eoydc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">EOYDC\u003c/a>), which is hosting the event.\u003c/p>\n\u003cp>“Folks can expect to see people in straight-up cosplay. They can expect to see people in grills and Jordans. They’ll see folks in heels and cocktail dresses, in gowns, and in beautiful traditional African clothing mixed with futuristic pieces,” Wilson tells me. “There will be something for everybody.”\u003c/p>\n\u003cp>Both celebration and fundraiser, attendees of the Black Futures Ball are invited to contribute to EOYDC’s annual college fund. A staple for over two decades, the Deep East Oakland-based center’s fund donated $150,000 to Black and brown Bay Area students last year alone. Wilson hopes to keep that momentum: “We’re celebrating the theme of Afrofuturism,” she says. “We’re also legit investing in Black futures.”\u003c/p>\n\u003cp>That investment is more important than ever. When Black students take out student loans to attend college, a recent Brookings Institute report concluded, they \u003ca href=\"https://www.brookings.edu/research/student-loans-the-racial-wealth-divide-and-why-we-need-full-student-debt-cancellation/\" target=\"_blank\" rel=\"noopener noreferrer\">borrow more on average\u003c/a> than their white classmates. What’s more, the \u003ca href=\"https://www.brookings.edu/research/black-white-disparity-in-student-loan-debt-more-than-triples-after-graduation/\" target=\"_blank\" rel=\"noopener noreferrer\">debt disparity between Black graduates and white graduates more than triples\u003c/a> after graduation.\u003c/p>\n\u003cfigure id=\"attachment_13916573\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916573\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/College-Tour-2-800x600.jpg\" alt=\"EOYDC students on a college tour at Rice University.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/College-Tour-2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/College-Tour-2-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/College-Tour-2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/College-Tour-2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/College-Tour-2.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">EOYDC students on a college tour at Rice University. \u003ccite>(Via EOYDC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Backed by \u003ca href=\"https://www.instagram.com/thetownexperience/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">The Town Experience\u003c/a>, \u003ca href=\"https://instagram.com/marketing_kings?igshid=YmMyMTA2M2Y=\" target=\"_blank\" rel=\"noopener noreferrer\">Marketing Kings\u003c/a> and \u003ca href=\"https://www.thesubversal.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Subversal\u003c/a> group, the event will be filled with visual arts, music and food. Performances include renowned Oakland vocalist \u003ca href=\"https://www.instagram.com/goapele/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Goapele\u003c/a> and emerging lyricist \u003ca href=\"https://www.instagram.com/official.jwalt/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">J-Walt\u003c/a>. Installations of visual art will come from \u003ca href=\"http://www.aerosoulart.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Aerosoul\u003c/a>, \u003ca href=\"https://www.blackterminus.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Terminus\u003c/a>, \u003ca href=\"https://afrocomiccon.org/\" target=\"_blank\" rel=\"noopener noreferrer\">AfroComicCon\u003c/a>, \u003ca href=\"https://www.runtheworldclothing.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Run The World Clothing\u003c/a> and \u003ca href=\"https://www.darkstaruniverse.com/about.html#/\" target=\"_blank\" rel=\"noopener noreferrer\">Dark Star Universe\u003c/a>, as well as an Afrofuturism-themed exhibit hosted by the \u003ca href=\"https://www.mocha.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland’s Museum of Children’s Art\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Music from all throughout the diaspora will be spun by \u003ca href=\"https://www.instagram.com/dcischillin/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">DC is Chillin\u003c/a> and \u003ca href=\"https://www.instagram.com/mrdaveyd/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Davey D\u003c/a>, and the \u003ca href=\"https://www.instagram.com/theturffeinz/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Turffeinz\u003c/a> will deliver a dance performance.\u003c/p>\n\u003cp>Hosted by Oakland’s own multitalented Grammy-nominated artist \u003ca href=\"https://www.msryannicole.com/\" target=\"_blank\" rel=\"noopener noreferrer\">RyanNicole\u003c/a>, there will be a formal segment of the evening where Champion for Youth Awards will be given to entertainer and community advocate Mistah F.A.B., activist and BART Board Director Lateefah Simon, organizer and educator Nehanda Imara, and the South Bay’s André Chapman, founder of Unity Care.\u003c/p>\n\u003cp>This all-star lineup comes together for a good cause in the face of the ever-increasing challenges in our world—a global pandemic, rising gun violence and more, says Wilson. “To solve the problems of today, it’s going to take radical imagination,” Wilson tells me. “And when I think about Afrofuturism, it inspires radical imagination for me.”\u003c/p>\n\u003cp>Motivated by the idea of the fictional utopia of Wakanda from the movie \u003cem>Black Panther\u003c/em>—and in the wake of the \u003ca href=\"https://www.youtube.com/watch?v=RlOB3UALvrQ\" target=\"_blank\" rel=\"noopener noreferrer\">recently dropped trailed for \u003cem>Wakanda Forever\u003c/em>\u003c/a>—this year’s theme is “Oakanda.”\u003c/p>\n\u003cp>Wilson asks rhetorically, “What if we could build the Oakanda of our dreams? What if we did engage in that radical imagination?”\u003c/p>\n\u003cp>Wilson, a firm believer that the key to liberation is joy, adds, “That’s why we wanted to make sure that we have so many different elements of joy in this event, so many things that are celebrating \u003cem>the culture\u003c/em>.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Black Futures Ball gets underway on Saturday, Aug. 6, at the Bridge Yard in Oakland. \u003ca href=\"https://www.eventbrite.com/e/eoydc-fundraiser-the-black-futures-ball-tickets-350040379197\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When the \u003ca href=\"https://www.youtube.com/watch?v=In8fuzj3gck&feature=emb_title\" target=\"_blank\" rel=\"noopener noreferrer\">first trailer\u003c/a> for \u003cem>Nope \u003c/em>dropped, viewers almost immediately swarmed social media trying to interpret the opaque montage of shots—shots which revealed virtually nothing about the plot of the movie. This is partially of Jordan Peele’s own doing, because his first two feature films as a writer-director, \u003cem>Get Out \u003c/em>and \u003ca href=\"https://www.kqed.org/arts/13853443/in-jordan-peeles-us-the-enemy-within-is-an-inarticulate-zombie\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Us\u003c/em>\u003c/a>, set up high expectations for twisty, multilayered social commentary by way of popcorn thrills. Even more so it’s a product of the current cultural landscape, where seemingly every big movie or TV series is laden with twists and Easter eggs and spoiler-y cameos, lending itself to fervent Reddit threads breaking down the creator’s underlying meaning.\u003c/p>\n\u003cp>Peele surely knows by now what audiences anticipate from him and other filmmakers like him, which is probably why—once again—he’s managed to subvert our expectations. \u003cem>Nope \u003c/em>isn’t so much a plot-twisty experience to be meticulously deconstructed as it is a consistently surprising one. It’s a journey that’s less social commentary-forward than its predecessors, yet still stacked with plenty of meaning to tease out after you’ve left the theater.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=In8fuzj3gck\u003c/p>\n\u003cp>First and foremost, he wants us to be in awe. And on that front, he doesn’t disappoint.\u003c/p>\n\u003cp>The film opens by quoting a Bible verse from the book of Nahum: “I will cast abominable filth at you, make you vile, and make you a spectacle,” followed by a quiet, eerie scene involving an animal that’s best left unsaid for first-time viewers; the better to creep you out in the moment. Eventually, \u003cem>Nope \u003c/em>drops us into the world of OJ and Emerald Haywood (Daniel Kaluuya and Keke Palmer), a pair of siblings dealing with the loss of their father Otis, Sr. (Keith David) while trying to maintain the family business. Haywood Hollywood Horses is their company, a horse wrangling outfit that’s worked with TV and film productions for years and is based in the small California desert valley town of Agua Dulce.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Mysterious events and sightings from above begin to occur on the family’s ranch, and the hard-hustling Emerald sees an opportunity to make some extra cash by getting the perfect shot of a UFO to sell online. Soon, she and OJ have tricked their land out with camera gear with the help of Angel (Brandon Perea), a tech salesman and quirky supernatural enthusiast who has a plethora of time on his hands. (His actress girlfriend just broke up with him, much to his dismay.) But the UFO poses more of a threat than they initially realize, and soon the three find themselves on the offensive and enlist the help of an old-school filmmaker—the kind who still shoots on actual film—played by Michael Wincott.\u003c/p>\n\u003cp>[aside postid='arts_13847638']True to Peele’s sensibilities, \u003cem>Nope \u003c/em>seems to be borrowing from a plethora of cinematic references: Spielberg (particularly \u003cem>Jaws\u003c/em> and \u003cem>E.T.\u003c/em>), M. Night Shyamalan (\u003cem>Signs\u003c/em>), and\u003cem> Alien\u003c/em>, just to name a few. Kaluuya plays OJ almost like the strong, silent cowboy heroes of Old Hollywood westerns, a man of few words unless the occasion truly calls for it, and the kind of guy who keeps his feelings close to the vest. This contrasts nicely with Palmer’s fast-talking, looser Emerald; she’s the firecracker in this powder keg, injecting energy, wit, and comedic relief into a character whose ideas on how to keep the family’s legacy alive run up against her brother’s intentions.\u003c/p>\n\u003cp>As the movie trots along, the plot is always a couple steps ahead of where the mind may go, and—at least upon first viewing—not all of the threads necessarily hold together if you think about them for too long. (For instance, a storyline involving Steven Yeun as an amusement park owner and former child star is very effective in echoing the movie’s themes, but could also have been more developed.) I also suspect that, like \u003cem>Us\u003c/em>, this will stir up a lot of debate about what message Peele might be trying to impart to his audiences, though I’d argue there’s less \u003cem>there\u003c/em> there to debate over in this case. (On the other hand, maybe \u003cem>that\u003c/em> in itself is something to ponder.)\u003c/p>\n\u003cp>This is not to say \u003cem>Nope\u003c/em> is slight; with this movie, he’s contributing a new entry to the rich history of Black westerns (the Sidney Poitier-directed \u003cem>Buck and the Preacher \u003c/em>is visually referenced, for one) and tapping into themes about a cultural obsession with taming nature and profiting off of pageantry. It’s also significant to note how Peele playfully speaks to Black audiences and their frequent responses to horror movies through the clever title and OJ and Emerald’s actions—like Regina Hall’s ever-skeptical Brenda in the \u003cem>Scary Movie\u003c/em> franchise, these characters are wary and smart about situations that are obviously ominous. “Nope” isn’t just a phrase, it’s a way of survival.\u003c/p>\n\u003cp>[aside postid='arts_13914146']But the aims strongly prioritize thrills and mood-setting. Aesthetically, this is his most ambitious feature yet, with intensely crafted action sequences, breathtaking visuals courtesy of cinematographer Hoyte van Hoytema, and a superbly immersive sound design by Johnnie Burn. Peele seems to be having more fun with his audience than ever before as a feature filmmaker, and in turn, it makes for a fun watch.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In an era of sequels, prequels, reboots, and franchises-within-franchises, it’s refreshing to see a filmmaker working in this mode, evoking familiarity while keeping viewers on their toes. \u003cem>Nope \u003c/em>has only solidified my anticipation for anything and everything Peele does next.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Jordan+Peele+subverts+expectations+%28again%29+with+%27Nope%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When the \u003ca href=\"https://www.youtube.com/watch?v=In8fuzj3gck&feature=emb_title\" target=\"_blank\" rel=\"noopener noreferrer\">first trailer\u003c/a> for \u003cem>Nope \u003c/em>dropped, viewers almost immediately swarmed social media trying to interpret the opaque montage of shots—shots which revealed virtually nothing about the plot of the movie. This is partially of Jordan Peele’s own doing, because his first two feature films as a writer-director, \u003cem>Get Out \u003c/em>and \u003ca href=\"https://www.kqed.org/arts/13853443/in-jordan-peeles-us-the-enemy-within-is-an-inarticulate-zombie\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Us\u003c/em>\u003c/a>, set up high expectations for twisty, multilayered social commentary by way of popcorn thrills. Even more so it’s a product of the current cultural landscape, where seemingly every big movie or TV series is laden with twists and Easter eggs and spoiler-y cameos, lending itself to fervent Reddit threads breaking down the creator’s underlying meaning.\u003c/p>\n\u003cp>Peele surely knows by now what audiences anticipate from him and other filmmakers like him, which is probably why—once again—he’s managed to subvert our expectations. \u003cem>Nope \u003c/em>isn’t so much a plot-twisty experience to be meticulously deconstructed as it is a consistently surprising one. It’s a journey that’s less social commentary-forward than its predecessors, yet still stacked with plenty of meaning to tease out after you’ve left the theater.\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/In8fuzj3gck'\n title='//www.youtube.com/embed/In8fuzj3gck'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>First and foremost, he wants us to be in awe. And on that front, he doesn’t disappoint.\u003c/p>\n\u003cp>The film opens by quoting a Bible verse from the book of Nahum: “I will cast abominable filth at you, make you vile, and make you a spectacle,” followed by a quiet, eerie scene involving an animal that’s best left unsaid for first-time viewers; the better to creep you out in the moment. Eventually, \u003cem>Nope \u003c/em>drops us into the world of OJ and Emerald Haywood (Daniel Kaluuya and Keke Palmer), a pair of siblings dealing with the loss of their father Otis, Sr. (Keith David) while trying to maintain the family business. Haywood Hollywood Horses is their company, a horse wrangling outfit that’s worked with TV and film productions for years and is based in the small California desert valley town of Agua Dulce.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mysterious events and sightings from above begin to occur on the family’s ranch, and the hard-hustling Emerald sees an opportunity to make some extra cash by getting the perfect shot of a UFO to sell online. Soon, she and OJ have tricked their land out with camera gear with the help of Angel (Brandon Perea), a tech salesman and quirky supernatural enthusiast who has a plethora of time on his hands. (His actress girlfriend just broke up with him, much to his dismay.) But the UFO poses more of a threat than they initially realize, and soon the three find themselves on the offensive and enlist the help of an old-school filmmaker—the kind who still shoots on actual film—played by Michael Wincott.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>True to Peele’s sensibilities, \u003cem>Nope \u003c/em>seems to be borrowing from a plethora of cinematic references: Spielberg (particularly \u003cem>Jaws\u003c/em> and \u003cem>E.T.\u003c/em>), M. Night Shyamalan (\u003cem>Signs\u003c/em>), and\u003cem> Alien\u003c/em>, just to name a few. Kaluuya plays OJ almost like the strong, silent cowboy heroes of Old Hollywood westerns, a man of few words unless the occasion truly calls for it, and the kind of guy who keeps his feelings close to the vest. This contrasts nicely with Palmer’s fast-talking, looser Emerald; she’s the firecracker in this powder keg, injecting energy, wit, and comedic relief into a character whose ideas on how to keep the family’s legacy alive run up against her brother’s intentions.\u003c/p>\n\u003cp>As the movie trots along, the plot is always a couple steps ahead of where the mind may go, and—at least upon first viewing—not all of the threads necessarily hold together if you think about them for too long. (For instance, a storyline involving Steven Yeun as an amusement park owner and former child star is very effective in echoing the movie’s themes, but could also have been more developed.) I also suspect that, like \u003cem>Us\u003c/em>, this will stir up a lot of debate about what message Peele might be trying to impart to his audiences, though I’d argue there’s less \u003cem>there\u003c/em> there to debate over in this case. (On the other hand, maybe \u003cem>that\u003c/em> in itself is something to ponder.)\u003c/p>\n\u003cp>This is not to say \u003cem>Nope\u003c/em> is slight; with this movie, he’s contributing a new entry to the rich history of Black westerns (the Sidney Poitier-directed \u003cem>Buck and the Preacher \u003c/em>is visually referenced, for one) and tapping into themes about a cultural obsession with taming nature and profiting off of pageantry. It’s also significant to note how Peele playfully speaks to Black audiences and their frequent responses to horror movies through the clever title and OJ and Emerald’s actions—like Regina Hall’s ever-skeptical Brenda in the \u003cem>Scary Movie\u003c/em> franchise, these characters are wary and smart about situations that are obviously ominous. “Nope” isn’t just a phrase, it’s a way of survival.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But the aims strongly prioritize thrills and mood-setting. Aesthetically, this is his most ambitious feature yet, with intensely crafted action sequences, breathtaking visuals courtesy of cinematographer Hoyte van Hoytema, and a superbly immersive sound design by Johnnie Burn. Peele seems to be having more fun with his audience than ever before as a feature filmmaker, and in turn, it makes for a fun watch.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In an era of sequels, prequels, reboots, and franchises-within-franchises, it’s refreshing to see a filmmaker working in this mode, evoking familiarity while keeping viewers on their toes. \u003cem>Nope \u003c/em>has only solidified my anticipation for anything and everything Peele does next.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Jordan+Peele+subverts+expectations+%28again%29+with+%27Nope%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Quidditch Rebrands as Quadball and Further Distances Itself from Harry Potter Author",
"headTitle": "Quidditch Rebrands as Quadball and Further Distances Itself from Harry Potter Author | KQED",
"content": "\u003cp>Fans of quidditch are now fans of quadball, the new name for the real-life sport that was first inspired by the Harry Potter book series.\u003c/p>\n\u003cp>U.S. Quidditch and Major League Quidditch announced the name change on Tuesday as well as their own rebranding as \u003ca href=\"https://www.usquadball.org/\" target=\"_blank\" rel=\"noopener noreferrer\">U.S. Quadball \u003c/a>and \u003ca href=\"https://www.mlquadball.com/news/letters-from-founders\" target=\"_blank\" rel=\"noopener noreferrer\">Major League Quadball.\u003c/a> The groups announced their intention to find a new name for the sport in December, citing what they called \u003ca href=\"https://www.npr.org/2021/11/17/1056645248/hary-potter-cast-reunion-j-k-rowling\" target=\"_blank\" rel=\"noopener noreferrer\">anti-trans positions of \u003cem>Harry Potter\u003c/em> author J.K. Rowling.\u003c/a>\u003c/p>\n\u003cp>[aside postid='arts_13906284']In addition to distancing themselves from the author, organizers hope the name change will give the sport more opportunities to grow and not be inhibited by the trademark for “quidditch” being owned by Warner Bros.\u003c/p>\n\u003cp>“Bringing full creative control of the name of our sport to the vibrant community of players and fans that has grown and sustained it will allow our organizations to take the next step,” MLQ co-commissioner Amanda Dallas said in a statement. “We are now able to pursue the kinds of opportunities that our community has dreamed about for years.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BKSoi96X6fA\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Fans and players were polled as part of the name change process, MLQ said, with “quadball” receiving “strong support across demographic groups in the surveys.”\u003c/p>\n\u003cp>[aside postid='arts_13910038']The rules of the sport will remain the same, with four balls on the field and four different positions. Both of those are referenced in the new name.\u003c/p>\n\u003cp>The names of those positions and the balls will remain the same for now, but MLQ notes that both \u003ca href=\"https://www.mlquadball.com/what-is-quadball\" target=\"_blank\" rel=\"noopener noreferrer\">could change at a later date.\u003c/a>\u003c/p>\n\u003cp>The first quidditch match took place at Middlebury College in Vermont in 2005, where the game was created by Alex Benepe and Xander Manshel. Benepe called the name change a “bold move.”\u003c/p>\n\u003cp>“For me personally there is definitely some nostalgia to the original name, but from a long term development perspective I feel confident this is a smart decision for the future that will allow the sport to grow without limits into its own unique space for many years to come,” he said in a statement.\u003c/p>\n\u003cfigure id=\"attachment_13916360\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916360\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/gettyimages-1238434683-44c0fff1acd9537ffd191dee391404f9a1961066-800x600.jpg\" alt=\"A woman, in silhouette, is seen leaping towards a round hoop on a stick. She has tossed a ball towards it. \" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">U.S. Quidditch has already adopted the name change and transitioned to U.S. Quadball. Both Major League Quidditch and the International Quidditch Association have said they are also going to make the name change upon completion of this year’s final tournaments in July and August. \u003ccite>(LOIC VENANCE/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During the sport’s initial years, many were drawn to it because of the connection with the blockbuster book and movie series, but since then it has become known as an intense, full-contact sport full of athleticism. It’s now played in at least 40 countries with nearly 600 teams in existence.\u003c/p>\n\u003cp>While the inspiration for Harry Potter may remain a draw for some, MLQ media outreach coordinator Jack McGovern said it’s important for the sport to remain welcoming to everyone.\u003c/p>\n\u003cp>[aside postid='arts_13881738']“I think our leagues have always and still attract people from lots of different backgrounds. People who come to the sport because they are Harry Potter fans and people who come to the sport because they are looking for an outlet for athletics in their life,” McGovern said. “The sport has also always drawn heavily from the LGBTQ+ community and maintaining a welcoming space for all of those people who might be interested in the sport is really important to us.”\u003c/p>\n\u003cp>The change in name has already been adopted by USQ and MLQ will officially adopt the new name after the 2022 MLQ Championship on Aug. 20 to 22 in Howard County, Md.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The International Quidditch Association also plans to adopt the sports news name following the conclusion of the IQA European Games this weekend.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Quidditch+rebrands+as+quadball+and+further+distances+itself+from+Harry+Potter+author&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fans of quidditch are now fans of quadball, the new name for the real-life sport that was first inspired by the Harry Potter book series.\u003c/p>\n\u003cp>U.S. Quidditch and Major League Quidditch announced the name change on Tuesday as well as their own rebranding as \u003ca href=\"https://www.usquadball.org/\" target=\"_blank\" rel=\"noopener noreferrer\">U.S. Quadball \u003c/a>and \u003ca href=\"https://www.mlquadball.com/news/letters-from-founders\" target=\"_blank\" rel=\"noopener noreferrer\">Major League Quadball.\u003c/a> The groups announced their intention to find a new name for the sport in December, citing what they called \u003ca href=\"https://www.npr.org/2021/11/17/1056645248/hary-potter-cast-reunion-j-k-rowling\" target=\"_blank\" rel=\"noopener noreferrer\">anti-trans positions of \u003cem>Harry Potter\u003c/em> author J.K. Rowling.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In addition to distancing themselves from the author, organizers hope the name change will give the sport more opportunities to grow and not be inhibited by the trademark for “quidditch” being owned by Warner Bros.\u003c/p>\n\u003cp>“Bringing full creative control of the name of our sport to the vibrant community of players and fans that has grown and sustained it will allow our organizations to take the next step,” MLQ co-commissioner Amanda Dallas said in a statement. “We are now able to pursue the kinds of opportunities that our community has dreamed about for years.”\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/BKSoi96X6fA'\n title='//www.youtube.com/embed/BKSoi96X6fA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Fans and players were polled as part of the name change process, MLQ said, with “quadball” receiving “strong support across demographic groups in the surveys.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The rules of the sport will remain the same, with four balls on the field and four different positions. Both of those are referenced in the new name.\u003c/p>\n\u003cp>The names of those positions and the balls will remain the same for now, but MLQ notes that both \u003ca href=\"https://www.mlquadball.com/what-is-quadball\" target=\"_blank\" rel=\"noopener noreferrer\">could change at a later date.\u003c/a>\u003c/p>\n\u003cp>The first quidditch match took place at Middlebury College in Vermont in 2005, where the game was created by Alex Benepe and Xander Manshel. Benepe called the name change a “bold move.”\u003c/p>\n\u003cp>“For me personally there is definitely some nostalgia to the original name, but from a long term development perspective I feel confident this is a smart decision for the future that will allow the sport to grow without limits into its own unique space for many years to come,” he said in a statement.\u003c/p>\n\u003cfigure id=\"attachment_13916360\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916360\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/gettyimages-1238434683-44c0fff1acd9537ffd191dee391404f9a1961066-800x600.jpg\" alt=\"A woman, in silhouette, is seen leaping towards a round hoop on a stick. She has tossed a ball towards it. \" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">U.S. Quidditch has already adopted the name change and transitioned to U.S. Quadball. Both Major League Quidditch and the International Quidditch Association have said they are also going to make the name change upon completion of this year’s final tournaments in July and August. \u003ccite>(LOIC VENANCE/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During the sport’s initial years, many were drawn to it because of the connection with the blockbuster book and movie series, but since then it has become known as an intense, full-contact sport full of athleticism. It’s now played in at least 40 countries with nearly 600 teams in existence.\u003c/p>\n\u003cp>While the inspiration for Harry Potter may remain a draw for some, MLQ media outreach coordinator Jack McGovern said it’s important for the sport to remain welcoming to everyone.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I think our leagues have always and still attract people from lots of different backgrounds. People who come to the sport because they are Harry Potter fans and people who come to the sport because they are looking for an outlet for athletics in their life,” McGovern said. “The sport has also always drawn heavily from the LGBTQ+ community and maintaining a welcoming space for all of those people who might be interested in the sport is really important to us.”\u003c/p>\n\u003cp>The change in name has already been adopted by USQ and MLQ will officially adopt the new name after the 2022 MLQ Championship on Aug. 20 to 22 in Howard County, Md.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The International Quidditch Association also plans to adopt the sports news name following the conclusion of the IQA European Games this weekend.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Quidditch+rebrands+as+quadball+and+further+distances+itself+from+Harry+Potter+author&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "New Film ‘My Name Is Andrea’ Depicts the Many Sides of Feminist Andrea Dworkin",
"headTitle": "New Film ‘My Name Is Andrea’ Depicts the Many Sides of Feminist Andrea Dworkin | KQED",
"content": "\u003cp>Early on in \u003cem>My Name is Andrea\u003c/em>, Pratibha Parmar’s expressionistic and fragmented new documentary, Andrea Dworkin assesses herself as a 41-year-old writer in the late 1980s:\u003c/p>\n\u003cp>“In a sense I am more reckless now than when I started out, because I know what everything costs, and it doesn’t matter. It is this indifference to pain, which is real, that enables one to keep going. One develops a warrior’s discipline, or one stops. Pain becomes irrelevant.”\u003c/p>\n\u003cp>“Pain” is not the key word in that passage, even if you know that Dworkin was sexually abused as a child and beaten and abused by her first husband (whom she met and married in Amsterdam in her 20s). It’s not the key word even taking into account, after she established herself as a writer and thinker, that she was vilified for her views on pornography and sexual intercourse as attacks on sexual liberation and personal freedom.\u003c/p>\n\u003cp>By the end of \u003cem>My Name is Andrea\u003c/em>, we’ve come to see Dworkin (who died in 2005) as a “warrior”—persistent, uncompromising, self-disciplined, brave. Like every cutting-edge thinker, she was met with a barrage of defensive and offensive responses (even from the nominally liberal TV host Phil Donahue, in one of the many terrific clips of Dworkin’s appearances on television, radio, college campuses and symposia). She was frequently asked if (or why) she was angry, when her positions were carefully thought out and her arguments scrupulously structured.\u003c/p>\n\u003cfigure id=\"attachment_13916323\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/mynameisandrea_director_pratibha_parmar_credit_denna_bendall_1200.jpg\" alt=\"Woman with glasses and short dark hair smiles against blue backdrop\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13916323\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/mynameisandrea_director_pratibha_parmar_credit_denna_bendall_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/mynameisandrea_director_pratibha_parmar_credit_denna_bendall_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/mynameisandrea_director_pratibha_parmar_credit_denna_bendall_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/mynameisandrea_director_pratibha_parmar_credit_denna_bendall_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/mynameisandrea_director_pratibha_parmar_credit_denna_bendall_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">‘My Name is Andrea’ director Pratibha Parmar. \u003ccite>(Denna Bendall)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>My Name is Andrea\u003c/em>, like many historical documentaries, excavates the buried or misrepresented past. Clearly an author whose output began with \u003cem>Woman Hating: A Radical Look at Sexuality\u003c/em> (1974) and concluded with \u003cem>Heartbreak: The Political Memoir of a Feminist Militant\u003c/em> (2002) never should have been defined in a simple, dismissive sentence. At the same time, the Times Up and #MeToo movements preclude the need to devote chunks of screen time to the contemporary relevance of Dworkin’s ideas about power, sex and patriarchy. (For those with short attention spans, the demise of Roe v. Wade provides a shocking reality check.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>My Name is Andrea\u003c/em> receives its Bay Area premiere July 23 at the Castro as part of the \u003ca href=\"https://jfi.org/sfjff-2022\" rel=\"noopener noreferrer\" target=\"_blank\">San Francisco Jewish Film Festival\u003c/a> (July 21–Aug. 7). Dworkin’s first public talk was a teenage lecture she delivered at her suburban New Jersey synagogue on the gap between Jewish ideals and practice with respect to economic inequality.\u003c/p>\n\u003cp>Parmar, whose numerous documentaries since the ’80s include \u003cem>Alice Walker: Beauty in Truth\u003c/em> (2013), was born in Kenya, raised in Britain and now lives in the East Bay. Dworkin was not one of her formative feminist influences; instead, she was drawn to American women of color such as Walker, Angela Davis, June Jordan and Cherrie Moraga.\u003c/p>\n\u003cp>“The idea [of Dworkin] that was kind of prevalent in popular feminism and the left progressive movement [was] of this woman who was anti-sex, anti-male, anti-pornography, who had very simple ideas,” Parmar says in a Zoom interview from the U.K., where she was presenting \u003cem>My Name is Andrea\u003c/em> at Sheffield DocFest. “This sort of reductive representation of her was completely and immediately demolished when I started to read her books.”\u003c/p>\n\u003cp>“I think she was a poet, first and foremost,” Parmar asserts. “The way she wrote, she was a wordsmith. These different ways of putting words together, the phrases, the juxtapositions, all of that, was just something that was really both pleasurable and powerful to encounter on the page.”\u003c/p>\n\u003cp>Of course, literary material and content—words and text—are not typical cinematic elements. \u003c/p>\n\u003cfigure id=\"attachment_13916325\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/MyNameIsAndrea-SFJFF42-credit-Kali-Films-2_1200.jpg\" alt=\"Woman with curly hair leans head on hand.\" width=\"1200\" height=\"503\" class=\"size-full wp-image-13916325\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/MyNameIsAndrea-SFJFF42-credit-Kali-Films-2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/MyNameIsAndrea-SFJFF42-credit-Kali-Films-2_1200-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/MyNameIsAndrea-SFJFF42-credit-Kali-Films-2_1200-1020x428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/MyNameIsAndrea-SFJFF42-credit-Kali-Films-2_1200-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/MyNameIsAndrea-SFJFF42-credit-Kali-Films-2_1200-768x322.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Andrea Riseborough in a still from ‘My Name is Andrea.’ \u003ccite>(Courtesy of Kali Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Andrea herself gave me the idea of how to do it,” Parmar says. “In the preface of \u003ci>Heartbreak\u003c/i> she has this quote from Rimbaud: ‘Je suis un autre’ ‘I am other.’ For me, what she was saying was ‘I am many things. I am not just this one representation.’ It is resonant to Walt Whitman’s ‘I contain multitudes,’ whom she quotes as well.”\u003c/p>\n\u003cp>Dworkin crystallized this idea, Parmar says, in \u003cem>Mercy\u003c/em>. Each chapter begins “My name is Andrea” and goes on to describe a particular event and experience in her life—a different Andrea each time, as it were. So Parmar crafted a screenplay almost entirely from Dworkin’s words, then cast five actresses—Amandla Stenberg (Wild Child), Soko (Poet), Andrea Riseborough (Lover), Ashley Judd (Rolling Thunder) and Christine Lahti (Pariah)—to play different personas and deliver her words. (You may correctly infer that \u003ci>My Name is Andrea\u003c/i> is neither a linear nor a complete biography.)[aside postID='arts_13915779']\u003c/p>\n\u003cp>“There was no precedence for this in cinema except Todd Haynes’ wonderful film \u003cem>I’m Not There\u003c/em> on Bob Dylan,” Parmar says. “But that was pure fiction and all these wonderful flights of fantasy. When I researched the archival material of Andrea’s and what was there, to see her presence, to see her body, to hear her voice in different registers of fury and anger and tenderness and incisive thinking, I thought, ‘This film has to have her in it.’ These dramatizations have to work around Andrea and the archival footage. Then the challenge was how to organically weave all these different elements together so that it felt like it was a compelling narrative, that it felt like it was one woman’s life but could also be many different women’s lives too.”\u003c/p>\n\u003cp>While some of the performances are more effective than others (Riseborough and Lahti are especially powerful), that’s not the best way to evaluate the success of Parmar’s strategy. As she suggests, those five voices open up the space for every woman’s voice—for every viewer’s voice. It’s altogether remarkable, in fact, that a film inspired by and centered on a singularly declarative personality allows so much room for every viewer’s personal experience. (I don’t want to elide the activist component embedded in Dworkin’s determination to speak up, namely that silence equals death.)\u003c/p>\n\u003cfigure id=\"attachment_13916326\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/MyNameIsAndrea-SFJFF42-credit-Kali-Films-4_1200.jpg\" alt=\"Young woman in blue sweater and white pants on a swing\" width=\"1200\" height=\"503\" class=\"size-full wp-image-13916326\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/MyNameIsAndrea-SFJFF42-credit-Kali-Films-4_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/MyNameIsAndrea-SFJFF42-credit-Kali-Films-4_1200-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/MyNameIsAndrea-SFJFF42-credit-Kali-Films-4_1200-1020x428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/MyNameIsAndrea-SFJFF42-credit-Kali-Films-4_1200-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/MyNameIsAndrea-SFJFF42-credit-Kali-Films-4_1200-768x322.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Amandla Stenberg in a still from ‘My Name is Andrea.’ \u003ccite>(Courtesy of Kali Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Consequently, \u003cem>My Name is Andrea\u003c/em> melds the personal, the political and the universal over and over until those delineations become invisible and meaningless. In a strange way—in the way of poetry, perhaps—the film turns out not to be about its subject so much as about the viewer. That is, what one learns about Andrea Dworkin (that she had a wicked sense of humor, for example) pales next to whatever one takes away for and \u003cem>about\u003c/em> themselves: heightened awareness, inspiration, energy, resolve.\u003c/p>\n\u003cp>“I think that Andrea was very deliberate with her writing and her ideas,” Parmar says, “pushing them so far that it really destabilized our thinking around things that we have always taken for granted.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘My Name is Andrea’ screens on Saturday, July 23, 5:25pm as part of the San Francisco Jewish Film Festival. \u003ca href=\"https://jfi.org/sfjff-2022/film-guide/my-name-is-andrea\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Early on in \u003cem>My Name is Andrea\u003c/em>, Pratibha Parmar’s expressionistic and fragmented new documentary, Andrea Dworkin assesses herself as a 41-year-old writer in the late 1980s:\u003c/p>\n\u003cp>“In a sense I am more reckless now than when I started out, because I know what everything costs, and it doesn’t matter. It is this indifference to pain, which is real, that enables one to keep going. One develops a warrior’s discipline, or one stops. Pain becomes irrelevant.”\u003c/p>\n\u003cp>“Pain” is not the key word in that passage, even if you know that Dworkin was sexually abused as a child and beaten and abused by her first husband (whom she met and married in Amsterdam in her 20s). It’s not the key word even taking into account, after she established herself as a writer and thinker, that she was vilified for her views on pornography and sexual intercourse as attacks on sexual liberation and personal freedom.\u003c/p>\n\u003cp>By the end of \u003cem>My Name is Andrea\u003c/em>, we’ve come to see Dworkin (who died in 2005) as a “warrior”—persistent, uncompromising, self-disciplined, brave. Like every cutting-edge thinker, she was met with a barrage of defensive and offensive responses (even from the nominally liberal TV host Phil Donahue, in one of the many terrific clips of Dworkin’s appearances on television, radio, college campuses and symposia). She was frequently asked if (or why) she was angry, when her positions were carefully thought out and her arguments scrupulously structured.\u003c/p>\n\u003cfigure id=\"attachment_13916323\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/mynameisandrea_director_pratibha_parmar_credit_denna_bendall_1200.jpg\" alt=\"Woman with glasses and short dark hair smiles against blue backdrop\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13916323\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/mynameisandrea_director_pratibha_parmar_credit_denna_bendall_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/mynameisandrea_director_pratibha_parmar_credit_denna_bendall_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/mynameisandrea_director_pratibha_parmar_credit_denna_bendall_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/mynameisandrea_director_pratibha_parmar_credit_denna_bendall_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/mynameisandrea_director_pratibha_parmar_credit_denna_bendall_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">‘My Name is Andrea’ director Pratibha Parmar. \u003ccite>(Denna Bendall)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>My Name is Andrea\u003c/em>, like many historical documentaries, excavates the buried or misrepresented past. Clearly an author whose output began with \u003cem>Woman Hating: A Radical Look at Sexuality\u003c/em> (1974) and concluded with \u003cem>Heartbreak: The Political Memoir of a Feminist Militant\u003c/em> (2002) never should have been defined in a simple, dismissive sentence. At the same time, the Times Up and #MeToo movements preclude the need to devote chunks of screen time to the contemporary relevance of Dworkin’s ideas about power, sex and patriarchy. (For those with short attention spans, the demise of Roe v. Wade provides a shocking reality check.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>My Name is Andrea\u003c/em> receives its Bay Area premiere July 23 at the Castro as part of the \u003ca href=\"https://jfi.org/sfjff-2022\" rel=\"noopener noreferrer\" target=\"_blank\">San Francisco Jewish Film Festival\u003c/a> (July 21–Aug. 7). Dworkin’s first public talk was a teenage lecture she delivered at her suburban New Jersey synagogue on the gap between Jewish ideals and practice with respect to economic inequality.\u003c/p>\n\u003cp>Parmar, whose numerous documentaries since the ’80s include \u003cem>Alice Walker: Beauty in Truth\u003c/em> (2013), was born in Kenya, raised in Britain and now lives in the East Bay. Dworkin was not one of her formative feminist influences; instead, she was drawn to American women of color such as Walker, Angela Davis, June Jordan and Cherrie Moraga.\u003c/p>\n\u003cp>“The idea [of Dworkin] that was kind of prevalent in popular feminism and the left progressive movement [was] of this woman who was anti-sex, anti-male, anti-pornography, who had very simple ideas,” Parmar says in a Zoom interview from the U.K., where she was presenting \u003cem>My Name is Andrea\u003c/em> at Sheffield DocFest. “This sort of reductive representation of her was completely and immediately demolished when I started to read her books.”\u003c/p>\n\u003cp>“I think she was a poet, first and foremost,” Parmar asserts. “The way she wrote, she was a wordsmith. These different ways of putting words together, the phrases, the juxtapositions, all of that, was just something that was really both pleasurable and powerful to encounter on the page.”\u003c/p>\n\u003cp>Of course, literary material and content—words and text—are not typical cinematic elements. \u003c/p>\n\u003cfigure id=\"attachment_13916325\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/MyNameIsAndrea-SFJFF42-credit-Kali-Films-2_1200.jpg\" alt=\"Woman with curly hair leans head on hand.\" width=\"1200\" height=\"503\" class=\"size-full wp-image-13916325\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/MyNameIsAndrea-SFJFF42-credit-Kali-Films-2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/MyNameIsAndrea-SFJFF42-credit-Kali-Films-2_1200-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/MyNameIsAndrea-SFJFF42-credit-Kali-Films-2_1200-1020x428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/MyNameIsAndrea-SFJFF42-credit-Kali-Films-2_1200-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/MyNameIsAndrea-SFJFF42-credit-Kali-Films-2_1200-768x322.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Andrea Riseborough in a still from ‘My Name is Andrea.’ \u003ccite>(Courtesy of Kali Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Andrea herself gave me the idea of how to do it,” Parmar says. “In the preface of \u003ci>Heartbreak\u003c/i> she has this quote from Rimbaud: ‘Je suis un autre’ ‘I am other.’ For me, what she was saying was ‘I am many things. I am not just this one representation.’ It is resonant to Walt Whitman’s ‘I contain multitudes,’ whom she quotes as well.”\u003c/p>\n\u003cp>Dworkin crystallized this idea, Parmar says, in \u003cem>Mercy\u003c/em>. Each chapter begins “My name is Andrea” and goes on to describe a particular event and experience in her life—a different Andrea each time, as it were. So Parmar crafted a screenplay almost entirely from Dworkin’s words, then cast five actresses—Amandla Stenberg (Wild Child), Soko (Poet), Andrea Riseborough (Lover), Ashley Judd (Rolling Thunder) and Christine Lahti (Pariah)—to play different personas and deliver her words. (You may correctly infer that \u003ci>My Name is Andrea\u003c/i> is neither a linear nor a complete biography.)\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“There was no precedence for this in cinema except Todd Haynes’ wonderful film \u003cem>I’m Not There\u003c/em> on Bob Dylan,” Parmar says. “But that was pure fiction and all these wonderful flights of fantasy. When I researched the archival material of Andrea’s and what was there, to see her presence, to see her body, to hear her voice in different registers of fury and anger and tenderness and incisive thinking, I thought, ‘This film has to have her in it.’ These dramatizations have to work around Andrea and the archival footage. Then the challenge was how to organically weave all these different elements together so that it felt like it was a compelling narrative, that it felt like it was one woman’s life but could also be many different women’s lives too.”\u003c/p>\n\u003cp>While some of the performances are more effective than others (Riseborough and Lahti are especially powerful), that’s not the best way to evaluate the success of Parmar’s strategy. As she suggests, those five voices open up the space for every woman’s voice—for every viewer’s voice. It’s altogether remarkable, in fact, that a film inspired by and centered on a singularly declarative personality allows so much room for every viewer’s personal experience. (I don’t want to elide the activist component embedded in Dworkin’s determination to speak up, namely that silence equals death.)\u003c/p>\n\u003cfigure id=\"attachment_13916326\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/MyNameIsAndrea-SFJFF42-credit-Kali-Films-4_1200.jpg\" alt=\"Young woman in blue sweater and white pants on a swing\" width=\"1200\" height=\"503\" class=\"size-full wp-image-13916326\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/MyNameIsAndrea-SFJFF42-credit-Kali-Films-4_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/MyNameIsAndrea-SFJFF42-credit-Kali-Films-4_1200-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/MyNameIsAndrea-SFJFF42-credit-Kali-Films-4_1200-1020x428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/MyNameIsAndrea-SFJFF42-credit-Kali-Films-4_1200-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/MyNameIsAndrea-SFJFF42-credit-Kali-Films-4_1200-768x322.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Amandla Stenberg in a still from ‘My Name is Andrea.’ \u003ccite>(Courtesy of Kali Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Consequently, \u003cem>My Name is Andrea\u003c/em> melds the personal, the political and the universal over and over until those delineations become invisible and meaningless. In a strange way—in the way of poetry, perhaps—the film turns out not to be about its subject so much as about the viewer. That is, what one learns about Andrea Dworkin (that she had a wicked sense of humor, for example) pales next to whatever one takes away for and \u003cem>about\u003c/em> themselves: heightened awareness, inspiration, energy, resolve.\u003c/p>\n\u003cp>“I think that Andrea was very deliberate with her writing and her ideas,” Parmar says, “pushing them so far that it really destabilized our thinking around things that we have always taken for granted.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘My Name is Andrea’ screens on Saturday, July 23, 5:25pm as part of the San Francisco Jewish Film Festival. \u003ca href=\"https://jfi.org/sfjff-2022/film-guide/my-name-is-andrea\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Shannon and the Clams to Headline Oakland's Halloween Meltdown",
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"content": "\u003cp>Hot on the heels of the rock ‘n’ roll triumph that was \u003ca href=\"https://www.kqed.org/arts/13915779/mosswood-meltdown-2022-bikini-kill-kim-gordon\" target=\"_blank\" rel=\"noopener noreferrer\">Mosswood Meltdown\u003c/a>, promoter Total Trash Productions has announced details for this October’s Halloween Meltdown, set for Oct. 8 and 9 in Mosswood Park. Once again, female artists are set to rule the day with Amyl and the Sniffers and Shannon and the Clams headlining. (Shannon Shaw appears to be going for some kind of record: She also played both days of the Mosswood Meltdown, performing a solo set on Saturday and as part of Hunx and His Punx on Sunday.) John Waters will host, as usual.\u003c/p>\n\u003cp>The Halloween Meltdown will be Amyl & the Sniffers’ first appearance back in the Bay since the Aussie quartet’s sold-out dates at the Great American Music Hall in early May. Legendarily mulletted frontwoman Amy Taylor promises to bring Saturday night to a frenzied and frenetic close.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Z–D1flPLnk\u003c/p>\n\u003cp>The Melbourne punks have some hard acts to follow, going on after garage-punk greasers \u003ca href=\"https://www.youtube.com/watch?v=CN42I3oViX8&t=25s\" target=\"_blank\" rel=\"noopener noreferrer\">The Spits\u003c/a> and experimental icon \u003ca href=\"https://www.lydia-lunch.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Lydia Lunch\u003c/a>. Opening the day are \u003ca href=\"https://bodydoubleusa.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Body Double\u003c/a>, \u003ca href=\"https://www.instagram.com/kidcongopowers/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Kid Congo Powers\u003c/a> and \u003ca href=\"https://pleasekillme.com/demolition-doll-rods/\" target=\"_blank\" rel=\"noopener noreferrer\">Demolition Doll Rods\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YvTTVOYWB44\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On Sunday, before Shannon & the Clams croon the weekend to a close, Ty Segall’s ’70s-inspired \u003ca href=\"https://intheredrecords.com/collections/fuzz\" target=\"_blank\" rel=\"noopener noreferrer\">Fuzz\u003c/a> will bring the heavy riffs, \u003ca href=\"https://www.sheer-mag.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Sheer Mag\u003c/a> will provide the emotional anthems and \u003ca href=\"https://www.instagram.com/niis.losangeles/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">NIIS\u003c/a> will be offering unfiltered rage. Best of all, \u003ca href=\"https://josiecotton.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Josie Cotton\u003c/a> will make an appearance. In case you can’t quite remember where you’ve heard the name before, try a viewing of the 1983 classic \u003cem>Valley Girl\u003c/em>, including the number featured below.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=E3gzRg-8qD8\u003c/p>\n\u003cp>Those in need of some jump scares not provided by the music on offer will be pleased to hear there will also be a haunted house on site at the festival, as well as a costume contest.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Halloween Meltdown will take place at Oakland’s Mosswood Park on Oct. 8 and 9, 2022. \u003ca href=\"https://wl.seetickets.us/event/Halloween-Meltdown-2022-Hosted-by-John-Waters/493038?afflky=MosswoodMeltdown\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On Sunday, before Shannon & the Clams croon the weekend to a close, Ty Segall’s ’70s-inspired \u003ca href=\"https://intheredrecords.com/collections/fuzz\" target=\"_blank\" rel=\"noopener noreferrer\">Fuzz\u003c/a> will bring the heavy riffs, \u003ca href=\"https://www.sheer-mag.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Sheer Mag\u003c/a> will provide the emotional anthems and \u003ca href=\"https://www.instagram.com/niis.losangeles/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">NIIS\u003c/a> will be offering unfiltered rage. Best of all, \u003ca href=\"https://josiecotton.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Josie Cotton\u003c/a> will make an appearance. In case you can’t quite remember where you’ve heard the name before, try a viewing of the 1983 classic \u003cem>Valley Girl\u003c/em>, including the number featured below.\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/E3gzRg-8qD8'\n title='//www.youtube.com/embed/E3gzRg-8qD8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Those in need of some jump scares not provided by the music on offer will be pleased to hear there will also be a haunted house on site at the festival, as well as a costume contest.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Halloween Meltdown will take place at Oakland’s Mosswood Park on Oct. 8 and 9, 2022. \u003ca href=\"https://wl.seetickets.us/event/Halloween-Meltdown-2022-Hosted-by-John-Waters/493038?afflky=MosswoodMeltdown\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Better Call Saul' Might Be the Greatest of All Time—if it Can Stick the Landing",
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"content": "\u003cp>\u003ca href=\"https://www.npr.org/2015/02/04/383785664/better-call-saul-the-prequel-to-breaking-bad-is-as-good-as-the-first\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Better Call Saul\u003c/em>\u003c/a>\u003cem>,\u003c/em> the AMC show which serves as both a prequel and a sequel to \u003ca href=\"https://www.npr.org/2013/10/03/228813142/breaking-bad-writers-this-is-it-theres-no-more\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Breaking Bad\u003c/em>\u003c/a>, has been outstanding ever since it debuted in 2015. Depending on how well it sticks the landing in the final episodes of its sixth and final season, it could end up as the best dramatic TV series ever made.\u003c/p>\n\u003cp>And this fascinates me, because the series, has been entirely reverse-engineered—designed and built from pieces of the earlier show. Now that it’s about to end, it’s fun to look back at exactly how the character and story of Saul were crafted from the original seeds sown on \u003cem>Breaking Bad\u003c/em>.\u003c/p>\n\u003cp>[aside postid='pop_7467']\u003cem>Breaking Bad\u003c/em> creator Vince Gilligan is behind \u003cem>Better Call Saul\u003c/em>, too, along with co-creator Peter Gould. With that previous series, Gilligan knew the journey he wanted his main character to take: Walter White, played brilliantly by Bryan Cranston, would go from meek high-school science teacher to murderous meth-manufacturing drug lord. But the path to get from that Point A to Point B was wide open.\u003c/p>\n\u003cp>With \u003cem>Better Call Saul,\u003c/em> it’s different. Some short, intermittent snippets are set in the future after \u003cem>Breaking Bad,\u003c/em> but most of the series is an origin story, following the character of shifty lawyer Saul Goodman, whom we first met in season 2 of \u003cem>Breaking Bad. \u003c/em>Saul, played by comedian Bob Odenkirk, was and is the type of lawyer who talks loudly and carries a heavy shtick—especially in local TV spots advertising his services.\u003c/p>\n\u003cp>Gould wrote the episode of \u003cem>Breaking Bad \u003c/em>that introduced Goodman, and when it came time to make a series out of \u003cem>Better Call Saul, \u003c/em>the writing staff took its inspiration from ideas and lines of dialogue that Gould had intended as throwaways. For example, the series \u003cem>Better Call Saul\u003c/em> presented Odenkirk as Jimmy McGill, a low-rent lawyer who would take several seasons to adopt the persona of Saul Goodman. But the seeds were laid in the \u003cem>Breaking Bad \u003c/em>episode where Odenkirk’s character meets Walter and admits that he assumed the Jewish-sounding name because he thought it would be good for business.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lqMq6jLUcg8\u003c/p>\n\u003cp>The part of the spinoff series that was set in the past was all about Jimmy, and two other prominent characters—neither of whom had appeared in \u003cem>Breaking Bad\u003c/em> at all. One was Jimmy’s girlfriend, Kim Wexler, a fellow lawyer—and, eventually, fellow con artist—played so mysteriously by Rhea Seehorn. The other was Jimmy’s older brother Chuck, played by Michael McKean, whose character was a much more successful and respected attorney.\u003c/p>\n\u003cp>These were great new additions. Kim, like Jimmy and Walter, was a character we got to watch breaking bad over a very slow and sad downward spiral. And the sibling rivalry between Jimmy and Chuck was as wonderful to watch as the one between Frasier and his brother Niles on the sitcom \u003cem>Frasier\u003c/em>, which was a spinoff from another fabulous sitcom, \u003cem>Cheers\u003c/em>. Both those brothers, Niles and Chuck, were created for their respective spinoffs, and \u003cem>Better Call Saul \u003c/em>benefited just as greatly from the addition.\u003c/p>\n\u003cp>[aside postid='pop_109545']But Gilligan and Gould weren’t done pulling inspiration from \u003cem>Breaking Bad. \u003c/em>The short black-and-white scenes showing Saul’s current fate have the character adopting yet another name, and about to return to Albuquerque after hiding undercover in Nebraska. That may seem random, but in Saul’s last conversation with Walter on \u003cem>Breaking Bad,\u003c/em> Saul rejected Walter’s demand to continue working as his lawyer by saying his goal was to become “Mr. Low Profile,” who, in the “best case scenario,” might wind up managing a Cinnabon in Omaha.\u003c/p>\n\u003cp>Nothing from \u003cem>Breaking Bad, \u003c/em>though, is as surprisingly precise as an early indicator of what \u003cem>Better Call Saul \u003c/em>would become as another scene from the episode introducing Saul. Walter and his meth-producing partner, Jesse (Aaron Paul), are upset that Saul won’t do what they’ve asked him to do. So they dig a grave-sized hole in the desert, put on ski masks and abduct Saul, covering his head with a hood. As they tie his hands behind his back, drive him to the desert and drop him to his knees at gunpoint, Saul assumes they’ve been sent by someone named Lalo.\u003c/p>\n\u003cp>That’s the only mention of Lalo in \u003cem>Breaking Bad,\u003c/em> but clearly, from Saul’s perspective, he’s someone really to be feared. That’s why it’s so astounding that, in the most recent episodes of \u003cem>Better Call Saul, \u003c/em>the most menacing and deadly character has been none other than that same Lalo, played by Tony Dalton. The most recent episode of \u003cem>Better Call Saul, \u003c/em>back in May, had Lalo kill a major character so brutally and shockingly that I still haven’t forgotten it.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Qz3u06eXf0E\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>What happens now? I have no idea, and AMC sent out no episodes to preview. We do know that, for these final episodes, Carol Burnett appears as a newly introduced character, which is really intriguing. And we know that the fate of Seehorn’s Kim, whatever it is, will be drastic enough to keep her from making even a single appearance in \u003cem>Breaking Bad, \u003c/em>and will complete Jimmy’s transformation into the totally amoral Saul Goodman. It’s how Gilligan, Gould and company connect the dots between those new sets of Point A and Point B that will determine just how great a show \u003cem>Better Call Saul \u003c/em>ends up being. The devil is in the details. And on this show, so is the brilliance.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Better+Call+Saul%27+might+be+the+greatest+of+all+time+%E2%80%94+if+it+can+stick+the+landing&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.npr.org/2015/02/04/383785664/better-call-saul-the-prequel-to-breaking-bad-is-as-good-as-the-first\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Better Call Saul\u003c/em>\u003c/a>\u003cem>,\u003c/em> the AMC show which serves as both a prequel and a sequel to \u003ca href=\"https://www.npr.org/2013/10/03/228813142/breaking-bad-writers-this-is-it-theres-no-more\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Breaking Bad\u003c/em>\u003c/a>, has been outstanding ever since it debuted in 2015. Depending on how well it sticks the landing in the final episodes of its sixth and final season, it could end up as the best dramatic TV series ever made.\u003c/p>\n\u003cp>And this fascinates me, because the series, has been entirely reverse-engineered—designed and built from pieces of the earlier show. Now that it’s about to end, it’s fun to look back at exactly how the character and story of Saul were crafted from the original seeds sown on \u003cem>Breaking Bad\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Breaking Bad\u003c/em> creator Vince Gilligan is behind \u003cem>Better Call Saul\u003c/em>, too, along with co-creator Peter Gould. With that previous series, Gilligan knew the journey he wanted his main character to take: Walter White, played brilliantly by Bryan Cranston, would go from meek high-school science teacher to murderous meth-manufacturing drug lord. But the path to get from that Point A to Point B was wide open.\u003c/p>\n\u003cp>With \u003cem>Better Call Saul,\u003c/em> it’s different. Some short, intermittent snippets are set in the future after \u003cem>Breaking Bad,\u003c/em> but most of the series is an origin story, following the character of shifty lawyer Saul Goodman, whom we first met in season 2 of \u003cem>Breaking Bad. \u003c/em>Saul, played by comedian Bob Odenkirk, was and is the type of lawyer who talks loudly and carries a heavy shtick—especially in local TV spots advertising his services.\u003c/p>\n\u003cp>Gould wrote the episode of \u003cem>Breaking Bad \u003c/em>that introduced Goodman, and when it came time to make a series out of \u003cem>Better Call Saul, \u003c/em>the writing staff took its inspiration from ideas and lines of dialogue that Gould had intended as throwaways. For example, the series \u003cem>Better Call Saul\u003c/em> presented Odenkirk as Jimmy McGill, a low-rent lawyer who would take several seasons to adopt the persona of Saul Goodman. But the seeds were laid in the \u003cem>Breaking Bad \u003c/em>episode where Odenkirk’s character meets Walter and admits that he assumed the Jewish-sounding name because he thought it would be good for business.\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/lqMq6jLUcg8'\n title='//www.youtube.com/embed/lqMq6jLUcg8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The part of the spinoff series that was set in the past was all about Jimmy, and two other prominent characters—neither of whom had appeared in \u003cem>Breaking Bad\u003c/em> at all. One was Jimmy’s girlfriend, Kim Wexler, a fellow lawyer—and, eventually, fellow con artist—played so mysteriously by Rhea Seehorn. The other was Jimmy’s older brother Chuck, played by Michael McKean, whose character was a much more successful and respected attorney.\u003c/p>\n\u003cp>These were great new additions. Kim, like Jimmy and Walter, was a character we got to watch breaking bad over a very slow and sad downward spiral. And the sibling rivalry between Jimmy and Chuck was as wonderful to watch as the one between Frasier and his brother Niles on the sitcom \u003cem>Frasier\u003c/em>, which was a spinoff from another fabulous sitcom, \u003cem>Cheers\u003c/em>. Both those brothers, Niles and Chuck, were created for their respective spinoffs, and \u003cem>Better Call Saul \u003c/em>benefited just as greatly from the addition.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But Gilligan and Gould weren’t done pulling inspiration from \u003cem>Breaking Bad. \u003c/em>The short black-and-white scenes showing Saul’s current fate have the character adopting yet another name, and about to return to Albuquerque after hiding undercover in Nebraska. That may seem random, but in Saul’s last conversation with Walter on \u003cem>Breaking Bad,\u003c/em> Saul rejected Walter’s demand to continue working as his lawyer by saying his goal was to become “Mr. Low Profile,” who, in the “best case scenario,” might wind up managing a Cinnabon in Omaha.\u003c/p>\n\u003cp>Nothing from \u003cem>Breaking Bad, \u003c/em>though, is as surprisingly precise as an early indicator of what \u003cem>Better Call Saul \u003c/em>would become as another scene from the episode introducing Saul. Walter and his meth-producing partner, Jesse (Aaron Paul), are upset that Saul won’t do what they’ve asked him to do. So they dig a grave-sized hole in the desert, put on ski masks and abduct Saul, covering his head with a hood. As they tie his hands behind his back, drive him to the desert and drop him to his knees at gunpoint, Saul assumes they’ve been sent by someone named Lalo.\u003c/p>\n\u003cp>That’s the only mention of Lalo in \u003cem>Breaking Bad,\u003c/em> but clearly, from Saul’s perspective, he’s someone really to be feared. That’s why it’s so astounding that, in the most recent episodes of \u003cem>Better Call Saul, \u003c/em>the most menacing and deadly character has been none other than that same Lalo, played by Tony Dalton. The most recent episode of \u003cem>Better Call Saul, \u003c/em>back in May, had Lalo kill a major character so brutally and shockingly that I still haven’t forgotten it.\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/Qz3u06eXf0E'\n title='//www.youtube.com/embed/Qz3u06eXf0E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>What happens now? I have no idea, and AMC sent out no episodes to preview. We do know that, for these final episodes, Carol Burnett appears as a newly introduced character, which is really intriguing. And we know that the fate of Seehorn’s Kim, whatever it is, will be drastic enough to keep her from making even a single appearance in \u003cem>Breaking Bad, \u003c/em>and will complete Jimmy’s transformation into the totally amoral Saul Goodman. It’s how Gilligan, Gould and company connect the dots between those new sets of Point A and Point B that will determine just how great a show \u003cem>Better Call Saul \u003c/em>ends up being. The devil is in the details. And on this show, so is the brilliance.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Better+Call+Saul%27+might+be+the+greatest+of+all+time+%E2%80%94+if+it+can+stick+the+landing&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Both Sides of the Blade' is a French Melodrama About Intimacy and Illicit Desire",
"headTitle": "‘Both Sides of the Blade’ is a French Melodrama About Intimacy and Illicit Desire | KQED",
"content": "\u003cp>\u003cem>Both Sides of the Blade\u003c/em> might sound at first like a quintessentially French movie, or perhaps even a parody of one. It stars \u003ca href=\"https://www.npr.org/2015/09/28/443484430/from-ingenue-to-antigone-juliette-binoche-discusses-acting-aging-and-family\" target=\"_blank\" rel=\"noopener noreferrer\">Juliette Binoche\u003c/a> and Vincent Lindon, two of France’s best-known actors, as a couple who have a lot of sex and talk a lot about their emotions. Their scenes together have an erotic intimacy that we associate with French cinema, in part because it’s relatively rare in American movies. Then a figure from the past returns and threatens their relationship; voices are raised, tables are turned and nothing will ever be the same.\u003c/p>\n\u003cp>That might make \u003cem>Both Sides of the Blade\u003c/em> sound like standard soap-opera material, especially coming from Claire Denis, the director of daringly elliptical art films like \u003cem>Beau Travail\u003c/em> and \u003ca href=\"https://www.npr.org/2019/04/05/709455760/high-life-is-a-stunning-space-odyssey-with-a-baby-on-board\">\u003cem>High Life\u003c/em>\u003c/a>. But nothing about the movie, which Denis and Christine Angot adapted from Angot’s novel, feels trite or predictable. It’s a jolt of a movie, full of hot-blooded sensuality one moment but then oddly cool and studied the next, almost as if it were deconstructing itself as it went along. Which, again, sounds very French, but never mind.\u003c/p>\n\u003cp>[aside postid='arts_13915702']Binoche and Lindon give superb performances as Sara and Jean, who’ve lived together for about 10 years and still can’t keep their hands off each other. They have an apartment in Paris, where they’ve carved out what looks like a perfect life amid decidedly imperfect circumstances. Sara hosts a successful radio talk show, but work is less steady for Jean, who spent some time in prison for an undisclosed crime. He also has a tough relationship with Marcus, his teenage son from an earlier marriage, who lives with Jean’s mother in the suburbs.\u003c/p>\n\u003cp>Then one day, François, played by Grégoire Colin, slips back into their lives. He used to be Jean’s colleague and Sara’s lover. It begins innocuously enough, when François offers Jean a job at his sports talent agency. But Sara can’t hide her anxiety or her excitement at the prospect of seeing François again, and when they finally meet, long-repressed memories and desires come surging back. Inevitably Sara will succumb to those desires, but the movie, set to a haunting score by the English band \u003ca href=\"https://www.npr.org/artists/462907640/tindersticks\" target=\"_blank\" rel=\"noopener noreferrer\">Tindersticks\u003c/a>, wrings enormous tension from the buildup.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OWEqBhstjP0\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The title of \u003cem>Both Sides of the Blade\u003c/em> evokes the age-old question of whether a person can love two people at the same time. And Binoche, so good at revealing complex, contradictory emotions, shows us a woman torn between a partner she adores and an ex she can’t forget. This is the latest collaboration between Binoche and Denis, and it’d make a great double bill with their recent rom-com \u003ca href=\"https://www.npr.org/2018/04/26/605337833/let-the-sunshine-in-a-soulful-french-comedy-of-carnality\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Let the Sunshine In\u003c/em>\u003c/a>, a much funnier story about a woman’s emotional indecision.\u003c/p>\n\u003cp>Binoche is well matched here by Lindon, whose handsome, weathered face suggests a man who’s already lost too much and can’t bear the idea of also losing the woman he loves. Jean is quick to pick up on the warning signs and confronts Sara. I’ve seen a lot of heated arguments in movies, but few have been acted or shot with this much sustained intensity. Denis is a master of form, and she uses extreme closeups and jagged edits to suggest that something has broken between these two, possibly for good.\u003c/p>\n\u003cp>[aside postid='arts_13914231']But even as she pulls her characters close, Denis sometimes steps back and examines them from a more critical perspective. As a radio host, Sara interviews a lot of writers and artists, often about racial and political issues that she doesn’t engage with much outside work. Jean’s son is a Black biracial youth who’s struggling to figure out his future, and there’s an awkward but moving scene in which he and his father talk about race and discrimination. On top of all that, this is one of the few movies shot during COVID that acknowledges the reality of the pandemic, as we can see from the characters repeatedly putting on and taking off their face masks.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There’s something a little ungainly about how Denis balances her characters’ romantic anguish with these bigger-picture concerns, but that messiness seems to be the point: Even when illicit desires intrude and relationships fall apart, real life doesn’t just politely recede into the background. \u003cem>Both Sides of the Blade\u003c/em> wants us to see its characters rage, but it never loses sight of the larger world raging outside their windows. It’s a different kind of melodrama—and a great one.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Both+Sides+of+the+Blade%27+is+a+French+melodrama+about+intimacy+and+illicit+desire&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Both Sides of the Blade\u003c/em> might sound at first like a quintessentially French movie, or perhaps even a parody of one. It stars \u003ca href=\"https://www.npr.org/2015/09/28/443484430/from-ingenue-to-antigone-juliette-binoche-discusses-acting-aging-and-family\" target=\"_blank\" rel=\"noopener noreferrer\">Juliette Binoche\u003c/a> and Vincent Lindon, two of France’s best-known actors, as a couple who have a lot of sex and talk a lot about their emotions. Their scenes together have an erotic intimacy that we associate with French cinema, in part because it’s relatively rare in American movies. Then a figure from the past returns and threatens their relationship; voices are raised, tables are turned and nothing will ever be the same.\u003c/p>\n\u003cp>That might make \u003cem>Both Sides of the Blade\u003c/em> sound like standard soap-opera material, especially coming from Claire Denis, the director of daringly elliptical art films like \u003cem>Beau Travail\u003c/em> and \u003ca href=\"https://www.npr.org/2019/04/05/709455760/high-life-is-a-stunning-space-odyssey-with-a-baby-on-board\">\u003cem>High Life\u003c/em>\u003c/a>. But nothing about the movie, which Denis and Christine Angot adapted from Angot’s novel, feels trite or predictable. It’s a jolt of a movie, full of hot-blooded sensuality one moment but then oddly cool and studied the next, almost as if it were deconstructing itself as it went along. Which, again, sounds very French, but never mind.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The title of \u003cem>Both Sides of the Blade\u003c/em> evokes the age-old question of whether a person can love two people at the same time. And Binoche, so good at revealing complex, contradictory emotions, shows us a woman torn between a partner she adores and an ex she can’t forget. This is the latest collaboration between Binoche and Denis, and it’d make a great double bill with their recent rom-com \u003ca href=\"https://www.npr.org/2018/04/26/605337833/let-the-sunshine-in-a-soulful-french-comedy-of-carnality\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Let the Sunshine In\u003c/em>\u003c/a>, a much funnier story about a woman’s emotional indecision.\u003c/p>\n\u003cp>Binoche is well matched here by Lindon, whose handsome, weathered face suggests a man who’s already lost too much and can’t bear the idea of also losing the woman he loves. Jean is quick to pick up on the warning signs and confronts Sara. I’ve seen a lot of heated arguments in movies, but few have been acted or shot with this much sustained intensity. Denis is a master of form, and she uses extreme closeups and jagged edits to suggest that something has broken between these two, possibly for good.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But even as she pulls her characters close, Denis sometimes steps back and examines them from a more critical perspective. As a radio host, Sara interviews a lot of writers and artists, often about racial and political issues that she doesn’t engage with much outside work. Jean’s son is a Black biracial youth who’s struggling to figure out his future, and there’s an awkward but moving scene in which he and his father talk about race and discrimination. On top of all that, this is one of the few movies shot during COVID that acknowledges the reality of the pandemic, as we can see from the characters repeatedly putting on and taking off their face masks.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There’s something a little ungainly about how Denis balances her characters’ romantic anguish with these bigger-picture concerns, but that messiness seems to be the point: Even when illicit desires intrude and relationships fall apart, real life doesn’t just politely recede into the background. \u003cem>Both Sides of the Blade\u003c/em> wants us to see its characters rage, but it never loses sight of the larger world raging outside their windows. It’s a different kind of melodrama—and a great one.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Both+Sides+of+the+Blade%27+is+a+French+melodrama+about+intimacy+and+illicit+desire&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"order": 1
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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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)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
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