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"content": "\u003cp>In \u003ci>Official Competition\u003c/i>, film can only be made if commerce and art crash into each other. At the start of this new Spanish movie by directors Mariano Cohn and Gastón Duprat, an 80-year-old business mogul experiences an existential crisis. Humberto Suárez (José Luis Gómez) stares out of a skyscraper window and begins to doubt the importance of his financial achievements. Is his portfolio of mergers and acquisitions the only legacy he’ll leave behind? And so he decides to finance a film, to secure a certain amount of acclaim before he leaves this mortal coil. \u003c/p>\n\u003cp>\u003ci>Official Competition\u003c/i> gradually develops into something more than an inside view of the pre-production process when Suárez hires Lola Cuevas (Penélope Cruz), an award-winning, avant-garde filmmaker, to turn a Nobel prize-winning novel into his film. Cuevas is a natural raconteur—like a Spanish Scheherazade. As she describes the story of two brothers that will form the film’s center, the clarity of her artistic vision mesmerizes Suárez. Without concluding her story, \u003ci>Official Competition\u003c/i> then segues into a behind-the-scenes look at Cuevas’ rehearsal process with her two stars—she has transformed her tale into reality.\u003c/p>\n\u003cfigure id=\"attachment_13915247\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/2.jpg\" alt=\"Woman with red curly hair lays on ground holding gray tube\" width=\"1800\" height=\"1200\" class=\"size-full wp-image-13915247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/2.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/2-1536x1024.jpg 1536w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">Penelope Cruz in ‘Official Competition.’ \u003ccite>(Courtesy of Manolo Pavon / IFC Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although their movie features at least three actors who’ve worked within Pedro Almodóvar’s tragicomedies and melodramas, the mood Cohn and Duprat establish is closer to Alex Garland’s claustrophobic \u003ci>Ex Machina\u003c/i> (2014). Cuevas’ rehearsals with Félix (Antonio Banderas) and Iván (Oscar Martínez) take place inside an ultra-modern building that’s isolated from the outside world. We get no glimpses of city streets, crowds or gatherings, shops or restaurant—nothing beyond a cement courtyard. \u003c/p>\n\u003cp>The film clearly distinguishes Félix from Iván. The costume designer, Wanda Morales, clothes Félix in luxe, sleek, brightly colored fabrics. One of the coats he wears shimmers like molten rubies. Iván is dressed like an Ivy League professor from the 1970s. His earth-toned outfits are a somber set of grays, greens and browns. Primarily a theater actor, the pretentious Iván represents a high-minded ideal of art for art’s sake. Félix is an international movie star and a box office draw. On the first day of rehearsal, he drives up in a hot red sports car with a much younger girlfriend at the wheel. \u003c/p>\n\u003cfigure id=\"attachment_13915248\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/3.jpg\" alt=\"Man and woman are dancing in an empty white stone space\" width=\"1800\" height=\"1200\" class=\"size-full wp-image-13915248\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/3.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/3-1536x1024.jpg 1536w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">Antonio Banderas and Penelope Cruz in ‘Official Competition.’ Courtesy of Manolo Pavon. An IFC Films release. \u003ccite>(Courtesy of Manolo Pavon / IFC Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cuevas deliberately casts these men in her film because of their competing personas and styles of acting. She wants to extract the palpable tension between them as they move through the scripts. As Cuevas corrects their line readings and messes with their minds, the friction and contempt they feel for each other in real life starts to creep into their performances. Even before the cameras start to roll, the actors are bound for a dramatic confrontation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In \u003ci>Ex Machina\u003c/i>, and in last year’s \u003ci>After Yang\u003c/i> by Kogonada, the main characters appeared in surprising dance interludes. Cohn and Duprat take a similar tact, filming dances that evoke an unsettling combination of eroticism and absurdity. Here we get a psychological portrait of Cuevas, and a sense that her commitment to her art keeps her at a safe remove from everyday emotions. As an artist, she’s brilliant and daring. As a human being, she’s cold and exacting. Bewitched from the start, Suárez is no match for her. \u003c/p>\n\u003cfigure id=\"attachment_13915250\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/5.jpeg\" alt=\"Two men wrapped in plastic like mummies, woman with curly hair between them in dark auditorium seats\" width=\"1800\" height=\"1200\" class=\"size-full wp-image-13915250\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/5.jpeg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/5-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/5-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/5-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/5-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/5-1536x1024.jpeg 1536w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">Oscar Martínez, Penelope Cruz and Antonio Banderas in ‘Official Competition.’ \u003ccite>(Courtesy of Manolo Pavon / IFC Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Official Competition\u003c/i> starts as an intellectual exercise that’s already been templated. In Robert Altman’s \u003ci>The Player\u003c/i> (1992), art is, at best, compromised by the machinations of greedy, corrupt or clueless executives. But Cohn and Duprat shift our attention away from the producer and onto the director’s creative process with her actors. What’s unexpected about the film is the length to which Cuevas, Félix and Iván manipulate each other—in cruel, witty and inventive ways. As Cuevas continues to impose her will on the actors, she starts to get the results she wants. What she fails to anticipate is that her earthly success is doomed to become spiritually damned. \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>\n\u003cp>\u003ci>‘Official Competition’ opens Friday, July 1 at San Francisco’s Roxie Theater. \u003ca href=\"https://www.roxie.com/ai1ec_event/official-competition/?instance_id=47232\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In \u003ci>Official Competition\u003c/i>, film can only be made if commerce and art crash into each other. At the start of this new Spanish movie by directors Mariano Cohn and Gastón Duprat, an 80-year-old business mogul experiences an existential crisis. Humberto Suárez (José Luis Gómez) stares out of a skyscraper window and begins to doubt the importance of his financial achievements. Is his portfolio of mergers and acquisitions the only legacy he’ll leave behind? And so he decides to finance a film, to secure a certain amount of acclaim before he leaves this mortal coil. \u003c/p>\n\u003cp>\u003ci>Official Competition\u003c/i> gradually develops into something more than an inside view of the pre-production process when Suárez hires Lola Cuevas (Penélope Cruz), an award-winning, avant-garde filmmaker, to turn a Nobel prize-winning novel into his film. Cuevas is a natural raconteur—like a Spanish Scheherazade. As she describes the story of two brothers that will form the film’s center, the clarity of her artistic vision mesmerizes Suárez. Without concluding her story, \u003ci>Official Competition\u003c/i> then segues into a behind-the-scenes look at Cuevas’ rehearsal process with her two stars—she has transformed her tale into reality.\u003c/p>\n\u003cfigure id=\"attachment_13915247\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/2.jpg\" alt=\"Woman with red curly hair lays on ground holding gray tube\" width=\"1800\" height=\"1200\" class=\"size-full wp-image-13915247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/2.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/2-1536x1024.jpg 1536w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">Penelope Cruz in ‘Official Competition.’ \u003ccite>(Courtesy of Manolo Pavon / IFC Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although their movie features at least three actors who’ve worked within Pedro Almodóvar’s tragicomedies and melodramas, the mood Cohn and Duprat establish is closer to Alex Garland’s claustrophobic \u003ci>Ex Machina\u003c/i> (2014). Cuevas’ rehearsals with Félix (Antonio Banderas) and Iván (Oscar Martínez) take place inside an ultra-modern building that’s isolated from the outside world. We get no glimpses of city streets, crowds or gatherings, shops or restaurant—nothing beyond a cement courtyard. \u003c/p>\n\u003cp>The film clearly distinguishes Félix from Iván. The costume designer, Wanda Morales, clothes Félix in luxe, sleek, brightly colored fabrics. One of the coats he wears shimmers like molten rubies. Iván is dressed like an Ivy League professor from the 1970s. His earth-toned outfits are a somber set of grays, greens and browns. Primarily a theater actor, the pretentious Iván represents a high-minded ideal of art for art’s sake. Félix is an international movie star and a box office draw. On the first day of rehearsal, he drives up in a hot red sports car with a much younger girlfriend at the wheel. \u003c/p>\n\u003cfigure id=\"attachment_13915248\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/3.jpg\" alt=\"Man and woman are dancing in an empty white stone space\" width=\"1800\" height=\"1200\" class=\"size-full wp-image-13915248\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/3.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/3-1536x1024.jpg 1536w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">Antonio Banderas and Penelope Cruz in ‘Official Competition.’ Courtesy of Manolo Pavon. An IFC Films release. \u003ccite>(Courtesy of Manolo Pavon / IFC Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cuevas deliberately casts these men in her film because of their competing personas and styles of acting. She wants to extract the palpable tension between them as they move through the scripts. As Cuevas corrects their line readings and messes with their minds, the friction and contempt they feel for each other in real life starts to creep into their performances. Even before the cameras start to roll, the actors are bound for a dramatic confrontation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In \u003ci>Ex Machina\u003c/i>, and in last year’s \u003ci>After Yang\u003c/i> by Kogonada, the main characters appeared in surprising dance interludes. Cohn and Duprat take a similar tact, filming dances that evoke an unsettling combination of eroticism and absurdity. Here we get a psychological portrait of Cuevas, and a sense that her commitment to her art keeps her at a safe remove from everyday emotions. As an artist, she’s brilliant and daring. As a human being, she’s cold and exacting. Bewitched from the start, Suárez is no match for her. \u003c/p>\n\u003cfigure id=\"attachment_13915250\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/5.jpeg\" alt=\"Two men wrapped in plastic like mummies, woman with curly hair between them in dark auditorium seats\" width=\"1800\" height=\"1200\" class=\"size-full wp-image-13915250\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/5.jpeg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/5-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/5-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/5-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/5-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/5-1536x1024.jpeg 1536w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">Oscar Martínez, Penelope Cruz and Antonio Banderas in ‘Official Competition.’ \u003ccite>(Courtesy of Manolo Pavon / IFC Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Official Competition\u003c/i> starts as an intellectual exercise that’s already been templated. In Robert Altman’s \u003ci>The Player\u003c/i> (1992), art is, at best, compromised by the machinations of greedy, corrupt or clueless executives. But Cohn and Duprat shift our attention away from the producer and onto the director’s creative process with her actors. What’s unexpected about the film is the length to which Cuevas, Félix and Iván manipulate each other—in cruel, witty and inventive ways. As Cuevas continues to impose her will on the actors, she starts to get the results she wants. What she fails to anticipate is that her earthly success is doomed to become spiritually damned. \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>\n\u003cp>\u003ci>‘Official Competition’ opens Friday, July 1 at San Francisco’s Roxie Theater. \u003ca href=\"https://www.roxie.com/ai1ec_event/official-competition/?instance_id=47232\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC2733541119&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch5 id=\"embed-code\" class=\"inconsolata\">\u003c/h5>\n\u003cp>\u003ca href=\"https://www.mayamcueva.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Maya Cueva\u003c/a> makes documentary films that cover the heavy topics: immigration, reproductive justice and xenophobia. Her latest, \u003cem>\u003ca href=\"https://www.onthedividemovie.com/\" target=\"_blank\" rel=\"noopener noreferrer\">On The Divide\u003c/a>\u003c/em>, follows the stories of three Latinx people whose lives interconnect through the last abortion clinic on the U.S./Mexico border. The film premiered at the Tribeca Film Festival in 2021, and is available to \u003ca href=\"https://www.pbs.org/pov/watch/onthedivide/video-on-the-divide/\">stream free of charge through July 18, 2022 at POV\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BTLpmt-j7cA\u003c/p>\n\u003cp>Cueva says her journey into professional storytelling began after covering current events at Youth Radio (now \u003ca href=\"https://yr.media/\" target=\"_blank\" rel=\"noopener noreferrer\">YR Media\u003c/a>) as a teen. While attending Ithaca College in New York, she began work on her first film, \u003ca href=\"http://www.theproviderfilm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Provider\u003c/em>\u003c/a>, which follows Dr. Shannon Carr as she performs abortions in Texas in the midst of a heated battle for reproductive rights. She’s also made \u003ca href=\"https://www.futureoffilmisfemale.com/ale-libre\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Ale Libre,\u003c/em>\u003c/a> which follows reproductive rights organizer and undocumented activist \u003ca href=\"https://keepalefree.org/about\" target=\"_blank\" rel=\"noopener noreferrer\">Alejandra Pablos\u003c/a> in her fight against deportation, and \u003ca href=\"https://www.mayamcueva.com/#/schwane/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Only the Moon/ Solamente La Luna\u003c/em>\u003c/a>, an animated film about her father’s immigration experience to the U.S. from Peru.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZpNZm1jMjkg\u003c/p>\n\u003cp>\u003cstrong>\u003cbr>\nBelow are lightly edited excerpts of my conversation with Maya Cueva, which originally aired in March 2021.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: What are you working on right now?\u003c/em>\u003c/p>\n\u003cp>Maya: I’m working on a feature documentary that I’ve been working on for six years, actually. It’s a film called, On The Divide. It’s following three people who are all Latinx, who are connected to the last abortion clinic on the U.S./Mexico border in McAllen,Texas.\u003c/p>\n\u003cp>\u003cem>Pen: Six years in the making, that’s a marathon. How do you stay focused on one topic for so long?\u003c/em>\u003c/p>\n\u003cp>Maya: What really keeps me focused is the idea that access is really, really dire. In a community like McAllen… for undocumented women trying to get access, it’s really hard because they have to travel through border checkpoints in order to get to the nearest clinic That’s 250 miles away from them. So if this clinic were to close, there would be virtually no access for for women or patients who are undocumented and are seeking abortion care.\u003c/p>\n\u003cp>\u003cem>Pen: You mentioned immigration and how that plays a role in covering abortion. But also you’ve done work specifically about immigration. Can you talk to me a little bit about the film, Ale Libre?\u003c/em>\u003c/p>\n\u003cp>Maya: I actually came across Ale’s story when I came across a petition asking for her release from the ICE Detention Center. I kind of just started doing research on her and I came across all of her work as an organizer. She’s a reproductive rights organizer as well as an immigrants rights organizer. And I also found that she had a web series about brujeria and witchcraft and how that intersects with organizing. And I was just like, this person is really cool. And I just wanted to know more about her.\u003c/p>\n\u003cp>Maya: So I ended up doing a radio feature about her for a Latino USA. And it was following her whole life story, but also this petition to get her released. And fortunately, she was released in March 2018 from Eloy Detention Center. And then after her release, she actually hit me up and was like, ‘hey, look, I’m actually really thinking about getting my story out there in a documentary, do you know anyone who could potentially make one?’ And I was like, ‘I am a filmmaker and I would really love to share your story in that way.’ The film is really following her after her release and her fight for political asylum.\u003c/p>\n\u003cp>\u003cem>Pen: On that note, your approach to your work. Do you see it as an art? Do you see it as activism or do you see it as a documentation of life?\u003c/em>\u003c/p>\n\u003cp>Maya: I definitely see an intersection of all 3 of those things in the work that I do. I also do feel that there is an art behind pushing those stories forward. I have been around like-minded people my whole life, and I don’t necessarily think that that pushes causes forward.\u003c/p>\n\u003cp>Maya: So for me, in general, I like to approach filmmaking and storytelling in a way that turns issues on its head or makes you think twice about someone that I might be filming.\u003c/p>\n\u003cp>Maya: For Ale, specifically, what’s really interesting is that she is a reproductive rights organizer and an immigrant rights organizer but when she was 25, she got a DUI… We’ve all made mistakes, but has it landed us two years in jail or two years in prison or two years in a detention center, like for many of us no?\u003c/p>\n\u003cp>\u003cem>Pen: … With your father and even the other stories that you’ve grown to know, how do you walk that fine line of you’re the storyteller, so you’re the power holder, if you will. And at the same time, you try to empower this person, let them tell their story. How do you balance those two things of ‘I know what story needs to be told’ versus ‘I need to let them tell their story’?\u003c/em>\u003c/p>\n\u003cp>Maya: I think it’s really hard as filmmakers to think that we can be objective, completely. The balance is when I do approach the subjects, I’m initially asking them what are stories you feel like aren’t being shared? Or how do you feel like you’re being misrepresented? Because I cannot speak for you. I can get a camera and I can interview you and ask you certain questions but ultimately, your voice is the one that needs to come through and shine through.\u003c/p>\n\u003cp>Maya: I think an example is when I was first approaching the abortion clinic that I’m following in my feature, I asked the communications director ‘I feel like a lot of news media comes in here and they want to tell a certain story but what is the story you feel is missing?’ And she was like, ‘oh, no one’s ever asked me that before.’\u003c/p>\n\u003cp>Maya: I don’t ever want to come into a space—a community that maybe I identify with, but I’m not a part of—and think that I’m an expert.\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.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>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC2733541119&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch5 id=\"embed-code\" class=\"inconsolata\">\u003c/h5>\n\u003cp>\u003ca href=\"https://www.mayamcueva.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Maya Cueva\u003c/a> makes documentary films that cover the heavy topics: immigration, reproductive justice and xenophobia. Her latest, \u003cem>\u003ca href=\"https://www.onthedividemovie.com/\" target=\"_blank\" rel=\"noopener noreferrer\">On The Divide\u003c/a>\u003c/em>, follows the stories of three Latinx people whose lives interconnect through the last abortion clinic on the U.S./Mexico border. The film premiered at the Tribeca Film Festival in 2021, and is available to \u003ca href=\"https://www.pbs.org/pov/watch/onthedivide/video-on-the-divide/\">stream free of charge through July 18, 2022 at POV\u003c/a>.\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/BTLpmt-j7cA'\n title='//www.youtube.com/embed/BTLpmt-j7cA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Cueva says her journey into professional storytelling began after covering current events at Youth Radio (now \u003ca href=\"https://yr.media/\" target=\"_blank\" rel=\"noopener noreferrer\">YR Media\u003c/a>) as a teen. While attending Ithaca College in New York, she began work on her first film, \u003ca href=\"http://www.theproviderfilm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Provider\u003c/em>\u003c/a>, which follows Dr. Shannon Carr as she performs abortions in Texas in the midst of a heated battle for reproductive rights. She’s also made \u003ca href=\"https://www.futureoffilmisfemale.com/ale-libre\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Ale Libre,\u003c/em>\u003c/a> which follows reproductive rights organizer and undocumented activist \u003ca href=\"https://keepalefree.org/about\" target=\"_blank\" rel=\"noopener noreferrer\">Alejandra Pablos\u003c/a> in her fight against deportation, and \u003ca href=\"https://www.mayamcueva.com/#/schwane/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Only the Moon/ Solamente La Luna\u003c/em>\u003c/a>, an animated film about her father’s immigration experience to the U.S. from Peru.\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/ZpNZm1jMjkg'\n title='//www.youtube.com/embed/ZpNZm1jMjkg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003cbr>\nBelow are lightly edited excerpts of my conversation with Maya Cueva, which originally aired in March 2021.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: What are you working on right now?\u003c/em>\u003c/p>\n\u003cp>Maya: I’m working on a feature documentary that I’ve been working on for six years, actually. It’s a film called, On The Divide. It’s following three people who are all Latinx, who are connected to the last abortion clinic on the U.S./Mexico border in McAllen,Texas.\u003c/p>\n\u003cp>\u003cem>Pen: Six years in the making, that’s a marathon. How do you stay focused on one topic for so long?\u003c/em>\u003c/p>\n\u003cp>Maya: What really keeps me focused is the idea that access is really, really dire. In a community like McAllen… for undocumented women trying to get access, it’s really hard because they have to travel through border checkpoints in order to get to the nearest clinic That’s 250 miles away from them. So if this clinic were to close, there would be virtually no access for for women or patients who are undocumented and are seeking abortion care.\u003c/p>\n\u003cp>\u003cem>Pen: You mentioned immigration and how that plays a role in covering abortion. But also you’ve done work specifically about immigration. Can you talk to me a little bit about the film, Ale Libre?\u003c/em>\u003c/p>\n\u003cp>Maya: I actually came across Ale’s story when I came across a petition asking for her release from the ICE Detention Center. I kind of just started doing research on her and I came across all of her work as an organizer. She’s a reproductive rights organizer as well as an immigrants rights organizer. And I also found that she had a web series about brujeria and witchcraft and how that intersects with organizing. And I was just like, this person is really cool. And I just wanted to know more about her.\u003c/p>\n\u003cp>Maya: So I ended up doing a radio feature about her for a Latino USA. And it was following her whole life story, but also this petition to get her released. And fortunately, she was released in March 2018 from Eloy Detention Center. And then after her release, she actually hit me up and was like, ‘hey, look, I’m actually really thinking about getting my story out there in a documentary, do you know anyone who could potentially make one?’ And I was like, ‘I am a filmmaker and I would really love to share your story in that way.’ The film is really following her after her release and her fight for political asylum.\u003c/p>\n\u003cp>\u003cem>Pen: On that note, your approach to your work. Do you see it as an art? Do you see it as activism or do you see it as a documentation of life?\u003c/em>\u003c/p>\n\u003cp>Maya: I definitely see an intersection of all 3 of those things in the work that I do. I also do feel that there is an art behind pushing those stories forward. I have been around like-minded people my whole life, and I don’t necessarily think that that pushes causes forward.\u003c/p>\n\u003cp>Maya: So for me, in general, I like to approach filmmaking and storytelling in a way that turns issues on its head or makes you think twice about someone that I might be filming.\u003c/p>\n\u003cp>Maya: For Ale, specifically, what’s really interesting is that she is a reproductive rights organizer and an immigrant rights organizer but when she was 25, she got a DUI… We’ve all made mistakes, but has it landed us two years in jail or two years in prison or two years in a detention center, like for many of us no?\u003c/p>\n\u003cp>\u003cem>Pen: … With your father and even the other stories that you’ve grown to know, how do you walk that fine line of you’re the storyteller, so you’re the power holder, if you will. And at the same time, you try to empower this person, let them tell their story. How do you balance those two things of ‘I know what story needs to be told’ versus ‘I need to let them tell their story’?\u003c/em>\u003c/p>\n\u003cp>Maya: I think it’s really hard as filmmakers to think that we can be objective, completely. The balance is when I do approach the subjects, I’m initially asking them what are stories you feel like aren’t being shared? Or how do you feel like you’re being misrepresented? Because I cannot speak for you. I can get a camera and I can interview you and ask you certain questions but ultimately, your voice is the one that needs to come through and shine through.\u003c/p>\n\u003cp>Maya: I think an example is when I was first approaching the abortion clinic that I’m following in my feature, I asked the communications director ‘I feel like a lot of news media comes in here and they want to tell a certain story but what is the story you feel is missing?’ And she was like, ‘oh, no one’s ever asked me that before.’\u003c/p>\n\u003cp>Maya: I don’t ever want to come into a space—a community that maybe I identify with, but I’m not a part of—and think that I’m an expert.\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.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>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Baz Luhrmann's 'Elvis' Is All Sequins, No Soul",
"headTitle": "Baz Luhrmann’s ‘Elvis’ Is All Sequins, No Soul | KQED",
"content": "\u003cfigure id=\"attachment_13915171\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/rev-1-ELVIS-TRL-88704_High_Res_JPEG-800x332.jpeg\" alt=\"An actor playing Elvis Presley sings into a microphone as audience members reach out to touch him\" width=\"800\" height=\"332\" class=\"size-medium wp-image-13915171\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-TRL-88704_High_Res_JPEG-800x332.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-TRL-88704_High_Res_JPEG-1020x424.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-TRL-88704_High_Res_JPEG-160x66.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-TRL-88704_High_Res_JPEG-768x319.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-TRL-88704_High_Res_JPEG-1536x638.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-TRL-88704_High_Res_JPEG-2048x851.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-TRL-88704_High_Res_JPEG-1920x798.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Austin Butler as Elvis in ‘Elvis,’ co-written and directed by Baz Luhrmann. \u003ccite>(Courtesy of Warner Bros. Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Any review of \u003cem>Elvis\u003c/em>—the groaning, glitzy smorgasbord opening June 24, co-written and directed by Baz Luhrmann, the Australian filmmaker whose credo since \u003cem>Strictly Ballroom\u003c/em> (1992) is “nothing succeeds like excess”—must begin by acknowledging that Elvis Presley is a sequin-encrusted figment of our mythmaking machinery.\u003c/p>\n\u003cp>That is, everybody thinks they know Elvis’s story and, consequently, everybody thinks they know Elvis. He is immortal. But the realm of immortality is assuredly not the world of reality.\u003c/p>\n\u003cp>The same could be said of any number of pop-culture touchstones. Marilyn Monroe, Abraham Lincoln and Jesus Christ. Princess Diana and Dr. Martin Luther King, Jr. Lesser icons Jimi, Janis and Jim, as well as Jerry and Kurt, all have bungalows adjacent to the main house. Each has been masticated, milked and massaged to the point where it’s nearly impossible for any movie to offer a fresh perspective or a new insight. A film can only engage in dialogue with the myth, and either repeat, rehash or reject it (and who’s that brave or foolhardy?).\u003c/p>\n\u003cfigure id=\"attachment_13915172\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/rev-1-201208_ONSET_0549r_High_Res_JPEG-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915172\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/rev-1-201208_ONSET_0549r_High_Res_JPEG-800x640.jpeg\" alt=\"A still from the film 'Elvis,' featuring a woman and three men, including Tom Hanks as Elvis's manager, dressed in 1950s attire.\" width=\"800\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-201208_ONSET_0549r_High_Res_JPEG-800x640.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-201208_ONSET_0549r_High_Res_JPEG-1020x816.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-201208_ONSET_0549r_High_Res_JPEG-160x128.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-201208_ONSET_0549r_High_Res_JPEG-768x614.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-201208_ONSET_0549r_High_Res_JPEG-1536x1229.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-201208_ONSET_0549r_High_Res_JPEG-2048x1638.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-201208_ONSET_0549r_High_Res_JPEG-1920x1536.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Left to right: Austin Butler as Elvis, Helen Thomson as Gladys, Tom Hanks as Colonel Tom Parker and Richard Roxburgh as Vernon in Warner Bros. Pictures’ ‘Elvis.’ \u003ccite>(Hugh Stewart)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Luhrmann’s preposterous entry point is appointing Elvis’s manager and manipulator, Col. Tom Parker, as omniscient narrator. This calculating, ruthless parasite is the last person on Earth through whose eyes we want to see Elvis Presley. The character’s odiousness isn’t remotely mitigated by the casting of All-World good guy Tom Hanks, who plays the Colonel as a cross between Lyndon B. Johnson and the Penguin (another cigar-waving Warner Bros. villain) with a grotesque Mittel European accent.\u003c/p>\n\u003cp>The film’s conceit is that Parker was a huckster, a carnival-sideshow booster, a conman with an eye for talent and the knowhow to pick American pockets. Presley was Parker’s ticket from the big top to the big time, his unwitting puppet: a singular yet unformed talent, innocent yet sexy, ambitious yet devoted to his mother, a white admirer (and assimilator) of Memphis blues and gospel with more charisma than Brando or Dean.\u003c/p>\n\u003cfigure id=\"attachment_13915174\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/210125DAY68KKONSET01__3471.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915174\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/210125DAY68KKONSET01__3471-800x559.jpg\" alt=\"A Black woman portraying gospel singer Sister Rosetta Tharpe in a new film sings into a 1950s-style microphone\" width=\"800\" height=\"559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/210125DAY68KKONSET01__3471-800x559.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/210125DAY68KKONSET01__3471-1020x713.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/210125DAY68KKONSET01__3471-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/210125DAY68KKONSET01__3471-768x537.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/210125DAY68KKONSET01__3471-1536x1073.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/210125DAY68KKONSET01__3471-2048x1431.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/210125DAY68KKONSET01__3471-1920x1342.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Singer Yola in ‘Elvis’ as Sister Rosetta Tharpe, a gospel singer who heavily influenced Elvis Presley. \u003ccite>(Kane Skennar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Luhrmann presents this garish, sordid chunk of 1950s Americana in a rapid-fire, almost assaultive series of flamboyant set pieces. When he grants us a reprieve from the barrage by way of heart-to-heart conversations—Parker and Elvis atop an amusement park Ferris wheel, Elvis and his mama in her bedroom—the dialogue is so cloying and the performances so blatantly caricaturistic that we yearn for the blender to start up again.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Elvis\u003c/em> would like us to see Elvis as a tragic figure, a pure talent with idealistic motives demoralized, derailed and defeated by the big, bad wolf of commercialism, as embodied by Parker. The truth is far more complicated, which is perhaps the most obvious and superfluous thing I can say about \u003cem>Elvis\u003c/em>. Heck, you knew that the moment you first heard that an Elvis movie was coming down the pike.\u003c/p>\n\u003cfigure id=\"attachment_13915175\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/rev-1-ELVIS-FF-00494_High_Res_JPEG-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915175\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/rev-1-ELVIS-FF-00494_High_Res_JPEG-800x335.jpeg\" alt=\"An actor portraying Elvis Presley stares pensively out a limousine window while wearing sunglasses, as the window reflects neon lights outside.\" width=\"800\" height=\"335\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-FF-00494_High_Res_JPEG-800x335.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-FF-00494_High_Res_JPEG-1020x427.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-FF-00494_High_Res_JPEG-160x67.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-FF-00494_High_Res_JPEG-768x322.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-FF-00494_High_Res_JPEG-1536x644.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-FF-00494_High_Res_JPEG-2048x858.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-FF-00494_High_Res_JPEG-1920x804.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Austin Butler as Elvis in Warner Bros. Pictures’ ‘Elvis.’ \u003ccite>(Courtesy of Warner Bros. Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then there’s the insult of an Australian filmmaker shooting this quintessentially American story entirely Down Under, with a mostly Australian crew and cast, and peddling it to us as valid or authentic (or as authentic as a black velvet painting). On the other hand, the American star doesn’t help matters: you could fill Kezar Stadium with Elvis impersonators who have better chops, sharper moves and more innate charisma than Austin Butler.\u003c/p>\n\u003cp>But the film’s greatest sin is presenting Elvis Presley as a triumph of performance and showmanship. His singing, especially in the 1950s, was an act of personal expression and, more often than not, a work of art. (Have you listened to \u003cem>Mystery Train\u003c/em> lately?) Luhrmann has no appreciation for the music, for Elvis’s instrument or, ultimately, for the artist’s soul.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Wdqh5sEZe9Y\u003c/p>\n\u003cp>I’m saddened by the idea that someone, somewhere, will come out of \u003cem>Elvis\u003c/em> asserting a greater understanding of Presley the artist. The inspiration, the interior process, the instinct, the creativity, the practice—at best, we get a couple fleeting moments of movie shorthand. \u003cem>Elvis\u003c/em> purports to want to probe beneath the surface, but Luhrmann is too impatient and too addicted to spectacle. The movie nods at Elvis’s artistic frustration in the ’60s, and his isolation, loneliness and sense of unfulfilled potential—his midlife crisis—in the ’70s, but they are merely feints.\u003c/p>\n\u003cp>\u003cem>Elvis\u003c/em> is (yawn) about the price of fame, which in this telling Parker collected and Elvis paid. It’s about the relentless selling of a commodity to a fickle yet always insatiable American public. A winking, nodding homage to the only U.S. industry that will never be outsourced, \u003cem>Elvis\u003c/em> embodies a more contemptuous view of the marks on the carnival midway—er, at the multiplex—than any expressed by even the most cynical film critic.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" 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\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13915171\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/rev-1-ELVIS-TRL-88704_High_Res_JPEG-800x332.jpeg\" alt=\"An actor playing Elvis Presley sings into a microphone as audience members reach out to touch him\" width=\"800\" height=\"332\" class=\"size-medium wp-image-13915171\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-TRL-88704_High_Res_JPEG-800x332.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-TRL-88704_High_Res_JPEG-1020x424.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-TRL-88704_High_Res_JPEG-160x66.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-TRL-88704_High_Res_JPEG-768x319.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-TRL-88704_High_Res_JPEG-1536x638.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-TRL-88704_High_Res_JPEG-2048x851.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-TRL-88704_High_Res_JPEG-1920x798.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Austin Butler as Elvis in ‘Elvis,’ co-written and directed by Baz Luhrmann. \u003ccite>(Courtesy of Warner Bros. Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Any review of \u003cem>Elvis\u003c/em>—the groaning, glitzy smorgasbord opening June 24, co-written and directed by Baz Luhrmann, the Australian filmmaker whose credo since \u003cem>Strictly Ballroom\u003c/em> (1992) is “nothing succeeds like excess”—must begin by acknowledging that Elvis Presley is a sequin-encrusted figment of our mythmaking machinery.\u003c/p>\n\u003cp>That is, everybody thinks they know Elvis’s story and, consequently, everybody thinks they know Elvis. He is immortal. But the realm of immortality is assuredly not the world of reality.\u003c/p>\n\u003cp>The same could be said of any number of pop-culture touchstones. Marilyn Monroe, Abraham Lincoln and Jesus Christ. Princess Diana and Dr. Martin Luther King, Jr. Lesser icons Jimi, Janis and Jim, as well as Jerry and Kurt, all have bungalows adjacent to the main house. Each has been masticated, milked and massaged to the point where it’s nearly impossible for any movie to offer a fresh perspective or a new insight. A film can only engage in dialogue with the myth, and either repeat, rehash or reject it (and who’s that brave or foolhardy?).\u003c/p>\n\u003cfigure id=\"attachment_13915172\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/rev-1-201208_ONSET_0549r_High_Res_JPEG-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915172\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/rev-1-201208_ONSET_0549r_High_Res_JPEG-800x640.jpeg\" alt=\"A still from the film 'Elvis,' featuring a woman and three men, including Tom Hanks as Elvis's manager, dressed in 1950s attire.\" width=\"800\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-201208_ONSET_0549r_High_Res_JPEG-800x640.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-201208_ONSET_0549r_High_Res_JPEG-1020x816.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-201208_ONSET_0549r_High_Res_JPEG-160x128.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-201208_ONSET_0549r_High_Res_JPEG-768x614.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-201208_ONSET_0549r_High_Res_JPEG-1536x1229.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-201208_ONSET_0549r_High_Res_JPEG-2048x1638.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-201208_ONSET_0549r_High_Res_JPEG-1920x1536.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Left to right: Austin Butler as Elvis, Helen Thomson as Gladys, Tom Hanks as Colonel Tom Parker and Richard Roxburgh as Vernon in Warner Bros. Pictures’ ‘Elvis.’ \u003ccite>(Hugh Stewart)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Luhrmann’s preposterous entry point is appointing Elvis’s manager and manipulator, Col. Tom Parker, as omniscient narrator. This calculating, ruthless parasite is the last person on Earth through whose eyes we want to see Elvis Presley. The character’s odiousness isn’t remotely mitigated by the casting of All-World good guy Tom Hanks, who plays the Colonel as a cross between Lyndon B. Johnson and the Penguin (another cigar-waving Warner Bros. villain) with a grotesque Mittel European accent.\u003c/p>\n\u003cp>The film’s conceit is that Parker was a huckster, a carnival-sideshow booster, a conman with an eye for talent and the knowhow to pick American pockets. Presley was Parker’s ticket from the big top to the big time, his unwitting puppet: a singular yet unformed talent, innocent yet sexy, ambitious yet devoted to his mother, a white admirer (and assimilator) of Memphis blues and gospel with more charisma than Brando or Dean.\u003c/p>\n\u003cfigure id=\"attachment_13915174\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/210125DAY68KKONSET01__3471.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915174\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/210125DAY68KKONSET01__3471-800x559.jpg\" alt=\"A Black woman portraying gospel singer Sister Rosetta Tharpe in a new film sings into a 1950s-style microphone\" width=\"800\" height=\"559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/210125DAY68KKONSET01__3471-800x559.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/210125DAY68KKONSET01__3471-1020x713.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/210125DAY68KKONSET01__3471-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/210125DAY68KKONSET01__3471-768x537.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/210125DAY68KKONSET01__3471-1536x1073.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/210125DAY68KKONSET01__3471-2048x1431.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/210125DAY68KKONSET01__3471-1920x1342.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Singer Yola in ‘Elvis’ as Sister Rosetta Tharpe, a gospel singer who heavily influenced Elvis Presley. \u003ccite>(Kane Skennar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Luhrmann presents this garish, sordid chunk of 1950s Americana in a rapid-fire, almost assaultive series of flamboyant set pieces. When he grants us a reprieve from the barrage by way of heart-to-heart conversations—Parker and Elvis atop an amusement park Ferris wheel, Elvis and his mama in her bedroom—the dialogue is so cloying and the performances so blatantly caricaturistic that we yearn for the blender to start up again.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Elvis\u003c/em> would like us to see Elvis as a tragic figure, a pure talent with idealistic motives demoralized, derailed and defeated by the big, bad wolf of commercialism, as embodied by Parker. The truth is far more complicated, which is perhaps the most obvious and superfluous thing I can say about \u003cem>Elvis\u003c/em>. Heck, you knew that the moment you first heard that an Elvis movie was coming down the pike.\u003c/p>\n\u003cfigure id=\"attachment_13915175\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/rev-1-ELVIS-FF-00494_High_Res_JPEG-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915175\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/rev-1-ELVIS-FF-00494_High_Res_JPEG-800x335.jpeg\" alt=\"An actor portraying Elvis Presley stares pensively out a limousine window while wearing sunglasses, as the window reflects neon lights outside.\" width=\"800\" height=\"335\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-FF-00494_High_Res_JPEG-800x335.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-FF-00494_High_Res_JPEG-1020x427.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-FF-00494_High_Res_JPEG-160x67.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-FF-00494_High_Res_JPEG-768x322.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-FF-00494_High_Res_JPEG-1536x644.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-FF-00494_High_Res_JPEG-2048x858.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-FF-00494_High_Res_JPEG-1920x804.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Austin Butler as Elvis in Warner Bros. Pictures’ ‘Elvis.’ \u003ccite>(Courtesy of Warner Bros. Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then there’s the insult of an Australian filmmaker shooting this quintessentially American story entirely Down Under, with a mostly Australian crew and cast, and peddling it to us as valid or authentic (or as authentic as a black velvet painting). On the other hand, the American star doesn’t help matters: you could fill Kezar Stadium with Elvis impersonators who have better chops, sharper moves and more innate charisma than Austin Butler.\u003c/p>\n\u003cp>But the film’s greatest sin is presenting Elvis Presley as a triumph of performance and showmanship. His singing, especially in the 1950s, was an act of personal expression and, more often than not, a work of art. (Have you listened to \u003cem>Mystery Train\u003c/em> lately?) Luhrmann has no appreciation for the music, for Elvis’s instrument or, ultimately, for the artist’s soul.\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/Wdqh5sEZe9Y'\n title='//www.youtube.com/embed/Wdqh5sEZe9Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I’m saddened by the idea that someone, somewhere, will come out of \u003cem>Elvis\u003c/em> asserting a greater understanding of Presley the artist. The inspiration, the interior process, the instinct, the creativity, the practice—at best, we get a couple fleeting moments of movie shorthand. \u003cem>Elvis\u003c/em> purports to want to probe beneath the surface, but Luhrmann is too impatient and too addicted to spectacle. The movie nods at Elvis’s artistic frustration in the ’60s, and his isolation, loneliness and sense of unfulfilled potential—his midlife crisis—in the ’70s, but they are merely feints.\u003c/p>\n\u003cp>\u003cem>Elvis\u003c/em> is (yawn) about the price of fame, which in this telling Parker collected and Elvis paid. It’s about the relentless selling of a commodity to a fickle yet always insatiable American public. A winking, nodding homage to the only U.S. industry that will never be outsourced, \u003cem>Elvis\u003c/em> embodies a more contemptuous view of the marks on the carnival midway—er, at the multiplex—than any expressed by even the most cynical film critic.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" 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\n\u003c/div>\u003c/p>",
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"title": "Age is Just a Number in 'Good Luck to You, Leo Grande' and 'Cha Cha Real Smooth'",
"headTitle": "Age is Just a Number in ‘Good Luck to You, Leo Grande’ and ‘Cha Cha Real Smooth’ | KQED",
"content": "\u003cp>Beyond the fact that they’re arriving on streaming platforms the same week, the Sundance hits \u003cem>Good Luck to You, Leo Grande\u003c/em> and \u003cem>Cha Cha Real Smooth\u003c/em> have a couple of things in common. They both mix comedy and drama and have somewhat odd, unwieldy titles. They both focus on a hazily defined relationship between a younger man and an older woman. And while I definitely prefer one to the other, both movies are well worth your time.\u003c/p>\n\u003cp>The better of the two is Hulu’s \u003cem>Good Luck to You, Leo Grande\u003c/em>, a funny and strikingly intimate British chamber piece that unfolds almost entirely between two people in a hotel room. Emma Thompson plays Nancy, a retired schoolteacher in her 50s, and Daryl McCormack plays Leo Grande, the 20-something sex worker she’s hired.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=UZAgk9-e_rc\u003c/p>\n\u003cp>After a stable but unexciting long marriage to a husband who died two years earlier, Nancy now wants to have the kind of sex she’s always dreamed of. But she’s also extremely nervous and embarrassed, and initially tries to talk herself and Leo out of their arrangement.\u003c/p>\n\u003cp>Nancy and Leo do eventually have sex, on multiple occasions. The movie, elegantly directed by Sophie Hyde from a sharp script by Katy Brand, takes place over four separate appointments, all at the same hotel. But most of the action takes place \u003cem>before\u003c/em> the sex, as the characters talk about what they’re about to do, and Leo helps Nancy work through her fears.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Confronting issues of ageism and sexism in a very different way from her 2019 comedy \u003cem>Late Night\u003c/em>, Emma Thompson brilliantly teases out Nancy’s desires and her insecurities about those desires. She frets about her age, her body and the fact that she’s never done anything like this before. At times she projects her worries onto Leo, pressing him about his personal background—Leo Grande isn’t his real name—and whether he ever feels degraded by his work. McCormack, an Irish actor known for the series \u003cem>Peaky Blinders\u003c/em>, is superb as a young man who’s very good at doing his job and defending it from the judgments of others.\u003c/p>\n\u003cp>[aside postid='pop_112397']The sex scenes strike a fine balance between discretion and frankness, and Thompson has one nude scene that boldly challenges the idea that a middle-aged woman’s body is unworthy of the camera’s attention. At times the movie feels like a PSA aimed at promoting sex positivity and debunking outdated assumptions about women’s desire. I mean that as a compliment; all PSAs should be this entertaining.\u003c/p>\n\u003cp>The other movie streaming this week, Apple TV+’s \u003cem>Cha Cha Real Smooth\u003c/em>, is about a much more chaste but similarly ambiguous relationship. Cooper Raiff, the movie’s writer, director and star, plays Andrew, a 22-year-old college grad who’s living back at home with his hard-working mom, grumpy stepdad and adoring younger brother.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VgYVtqeVK3I\u003c/p>\n\u003cp>Andrew lacks direction, but he’s also charismatic and smart, with a natural gift for befriending other people. One night, he singlehandedly jumpstarts a low-energy bar mitzvah party, even talking a shy, autistic teenager named Lola, winningly played by newcomer Vanessa Burghardt, onto the dance floor.\u003c/p>\n\u003cp>[aside postid='arts_13914146']He also meets Lola’s mom, Domino, played by a terrific Dakota Johnson, and becomes immediately smitten with her. Domino clearly returns Andrew’s affections, up to a point. But she also holds herself back for a couple of reasons: She’s engaged, for one thing, and wary of introducing more upheaval into her family’s life. But Andrew also provides some stability, especially when he becomes a good friend and occasional babysitter to Lola.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Cha Cha Real Smooth\u003c/em> won an audience award at this year’s Sundance, and it sometimes too closely resembles any number of Sundance-premiered indies about restless 20-something screw-ups. Raiff is a real talent and a charming screen presence, but while you can sense him trying to tell a nuanced, emotionally honest story, he also really, really wants you to like Andrew, to see how amazing he is despite his many questionable decisions. I wanted a little less of him and a lot more of Domino, the more intriguing and complicated figure by far. Dakota Johnson might just be one of the most interesting actors working today, and she’s the reason to watch this likable but not entirely satisfying movie.\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=Age+is+just+a+number+in+Sundance+hits+%27Leo+Grande%27+and+%27Cha+Cha+Real+Smooth%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Beyond the fact that they’re arriving on streaming platforms the same week, the Sundance hits \u003cem>Good Luck to You, Leo Grande\u003c/em> and \u003cem>Cha Cha Real Smooth\u003c/em> have a couple of things in common. They both mix comedy and drama and have somewhat odd, unwieldy titles. They both focus on a hazily defined relationship between a younger man and an older woman. And while I definitely prefer one to the other, both movies are well worth your time.\u003c/p>\n\u003cp>The better of the two is Hulu’s \u003cem>Good Luck to You, Leo Grande\u003c/em>, a funny and strikingly intimate British chamber piece that unfolds almost entirely between two people in a hotel room. Emma Thompson plays Nancy, a retired schoolteacher in her 50s, and Daryl McCormack plays Leo Grande, the 20-something sex worker she’s hired.\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/UZAgk9-e_rc'\n title='//www.youtube.com/embed/UZAgk9-e_rc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>After a stable but unexciting long marriage to a husband who died two years earlier, Nancy now wants to have the kind of sex she’s always dreamed of. But she’s also extremely nervous and embarrassed, and initially tries to talk herself and Leo out of their arrangement.\u003c/p>\n\u003cp>Nancy and Leo do eventually have sex, on multiple occasions. The movie, elegantly directed by Sophie Hyde from a sharp script by Katy Brand, takes place over four separate appointments, all at the same hotel. But most of the action takes place \u003cem>before\u003c/em> the sex, as the characters talk about what they’re about to do, and Leo helps Nancy work through her fears.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Confronting issues of ageism and sexism in a very different way from her 2019 comedy \u003cem>Late Night\u003c/em>, Emma Thompson brilliantly teases out Nancy’s desires and her insecurities about those desires. She frets about her age, her body and the fact that she’s never done anything like this before. At times she projects her worries onto Leo, pressing him about his personal background—Leo Grande isn’t his real name—and whether he ever feels degraded by his work. McCormack, an Irish actor known for the series \u003cem>Peaky Blinders\u003c/em>, is superb as a young man who’s very good at doing his job and defending it from the judgments of others.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The sex scenes strike a fine balance between discretion and frankness, and Thompson has one nude scene that boldly challenges the idea that a middle-aged woman’s body is unworthy of the camera’s attention. At times the movie feels like a PSA aimed at promoting sex positivity and debunking outdated assumptions about women’s desire. I mean that as a compliment; all PSAs should be this entertaining.\u003c/p>\n\u003cp>The other movie streaming this week, Apple TV+’s \u003cem>Cha Cha Real Smooth\u003c/em>, is about a much more chaste but similarly ambiguous relationship. Cooper Raiff, the movie’s writer, director and star, plays Andrew, a 22-year-old college grad who’s living back at home with his hard-working mom, grumpy stepdad and adoring younger brother.\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/VgYVtqeVK3I'\n title='//www.youtube.com/embed/VgYVtqeVK3I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Andrew lacks direction, but he’s also charismatic and smart, with a natural gift for befriending other people. One night, he singlehandedly jumpstarts a low-energy bar mitzvah party, even talking a shy, autistic teenager named Lola, winningly played by newcomer Vanessa Burghardt, onto the dance floor.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>He also meets Lola’s mom, Domino, played by a terrific Dakota Johnson, and becomes immediately smitten with her. Domino clearly returns Andrew’s affections, up to a point. But she also holds herself back for a couple of reasons: She’s engaged, for one thing, and wary of introducing more upheaval into her family’s life. But Andrew also provides some stability, especially when he becomes a good friend and occasional babysitter to Lola.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Cha Cha Real Smooth\u003c/em> won an audience award at this year’s Sundance, and it sometimes too closely resembles any number of Sundance-premiered indies about restless 20-something screw-ups. Raiff is a real talent and a charming screen presence, but while you can sense him trying to tell a nuanced, emotionally honest story, he also really, really wants you to like Andrew, to see how amazing he is despite his many questionable decisions. I wanted a little less of him and a lot more of Domino, the more intriguing and complicated figure by far. Dakota Johnson might just be one of the most interesting actors working today, and she’s the reason to watch this likable but not entirely satisfying movie.\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=Age+is+just+a+number+in+Sundance+hits+%27Leo+Grande%27+and+%27Cha+Cha+Real+Smooth%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Cancel Culture Doesn't Exist For Celebrities—And 2022 is Proof, if You Needed it",
"headTitle": "Cancel Culture Doesn’t Exist For Celebrities—And 2022 is Proof, if You Needed it | KQED",
"content": "\u003cp>It’s been clear for some time now that cancel culture—for famous people at least—doesn’t exist. Clear that abusers can act with impunity, be exposed by the people who survived their behavior, weather a brief storm, then carry on with their lives as if almost nothing happened.\u003c/p>\n\u003cp>[aside postid='pop_98603']It was clear in 2014 when \u003ca href=\"https://www.reuters.com/article/us-people-billcosby/sold-out-cosby-show-goes-ahead-amid-sex-assault-claims-idINKCN0J51Y220141122\" target=\"_blank\" rel=\"noopener noreferrer\">Bill Cosby continued to perform sold-out shows\u003c/a> after the first wave of sexual assault allegations against him emerged. It was clear when Johnny Depp supporters grew more vocal \u003cem>after\u003c/em> a U.K. court found the actor responsible for “\u003ca href=\"https://www.kqed.org/arts/13889064/johnny-depps-uk-libel-case-failed-and-his-us-one-is-likely-doomed-too\" target=\"_blank\" rel=\"noopener noreferrer\">sustained and multiple assaults\u003c/a>” against Amber Heard. And it was definitely clear when \u003ca href=\"https://www.kqed.org/pop/98603/as-woody-allen-falls-where-is-roman-polanskis-reckoning\" target=\"_blank\" rel=\"noopener noreferrer\">Roman Polanski\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13892800/allen-v-farrow-is-the-most-damning-indictment-of-woody-allen-yet\" target=\"_blank\" rel=\"noopener noreferrer\">Woody Allen\u003c/a>, decades after multiple accusations from underage girls became public, continued to receive accolades and standing ovations.\u003c/p>\n\u003cp>Someone else got a standing ovation recently: Ryan Adams. The singer-songwriter was \u003ca href=\"https://variety.com/2022/music/news/ryan-adams-new-team-concerts-move-past-allegations-1235284292/\" target=\"_blank\" rel=\"noopener noreferrer\">applauded for five straight minutes\u003c/a> by an adoring audience at Carnegie Hall in May. It was his first show since a \u003ca href=\"https://www.nytimes.com/2019/02/13/arts/music/ryan-adams-women-sex.html\" target=\"_blank\" rel=\"noopener noreferrer\">2019 \u003cem>New York Times\u003c/em> article\u003c/a> detailed claims by seven women of sexual misconduct. His accusers—who described a pattern of emotional manipulation, coercion, and offers of professional help that were contingent on personal intimacy—included Phoebe Bridgers and Adams’ ex-wife, Mandy Moore.\u003c/p>\n\u003cp>Adams’ “crisis-PR specialist” Howard Bragman told \u003cem>Variety\u003c/em> on June 3: “We want to show that he has a real team behind him that believes in him and supports him, and that he’s putting a life together. We want people to notice, and if they want to move forward with him, here’s where we are.”\u003c/p>\n\u003cp>What America has learned over and over again since #MeToo hit the mainstream in 2017 is that there will never be a shortage of people who support celebrities after they’ve been accused of monstrous things. If you have acted in movies or made music that people love; if you are handsome or can make people laugh; if you are charming in enough interviews over a long enough period of time, America will forgive you for just about anything.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Case in point: Louis C.K. Almost five years after \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/10/563316860/louis-c-k-admits-to-sexual-harassment-of-multiple-female-comedians\" target=\"_blank\" rel=\"noopener noreferrer\">admitting to indecent exposure and masturbation\u003c/a> in front of multiple unwilling women, the comedian just won a Grammy Award for Best Comedy Album. The lauded \u003cem>Sincerely Louis C.K\u003c/em> album includes extensive commentary about his inappropriate behavior that minimizes the distress of the women involved.\u003c/p>\n\u003cp>[aside postid='arts_13911520']“I like jerking off,” he jokes at one point. “I don’t like being alone, that’s all I can tell you. I get lonely. It’s just sad. I like company. I like to share. I’m good at it, too. If you’re good at juggling, you wouldn’t do it alone in the dark. You’d gather folks and amaze them.”\u003c/p>\n\u003cp>Adams and C.K. are far from the only disgraced celebrities getting back on their feet this year, after brief withdrawals from public life prompted by credible allegations.\u003c/p>\n\u003cp>Other pertinent examples include:\u003c/p>\n\u003cul>\n\u003cli>Kevin Spacey, who announced an upcoming starring role in \u003ca href=\"https://www.imdb.com/title/tt13542474/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>1242—Gateway to the West\u003c/em>\u003c/a> directly after being charged in the U.K. with four counts of sexual assault against three men\u003c/li>\n\u003cli>Danny Masterson, who was \u003ca href=\"https://www.usmagazine.com/celebrity-news/pictures/danny-mastersons-sexual-assault-trial-everything-to-know/booted-from-the-ranch/\" target=\"_blank\" rel=\"noopener noreferrer\">accused of multiple sexual assaults\u003c/a> (and of using fellow Scientologists to harass his accusers) has a \u003ca href=\"https://www.imdb.com/title/tt2525576/?ref_=nm_flmg_act_2\" target=\"_blank\" rel=\"noopener noreferrer\">new movie with Richard Dreyfuss\u003c/a> in the can, and \u003ca href=\"https://www.imdb.com/title/tt3774090/?ref_=nm_flmg_act_1\" target=\"_blank\" rel=\"noopener noreferrer\">another on the horizon\u003c/a>\u003c/li>\n\u003cli>Andrew Cuomo, who resigned as New York governor last summer after allegedly \u003ca href=\"https://www.hollywoodintoto.com/a-cuomo-comeback-hollywood-metoo-fail/\" target=\"_blank\" rel=\"noopener noreferrer\">sexually harassing 11 women\u003c/a>, has\u003ca href=\"https://www.vanityfair.com/news/2022/03/andrew-cuomos-comeback-is-going-somewhere\" target=\"_blank\" rel=\"noopener noreferrer\"> started making public speeches again\u003c/a>, possibly ramping up to a political campaign\u003c/li>\n\u003cli>Jeffrey Tambor, who was accused by co-workers of sexual harassment and aggression in 2017, has a new movie—\u003ca href=\"https://www.drunkymovie.com/index.php\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Adventures of Drunky\u003c/em>\u003c/a>—in post-production\u003c/li>\n\u003cli>Jeremy Piven has a \u003ca href=\"https://www.imdb.com/title/tt11278608/?ref_=fn_al_tt_2\" target=\"_blank\" rel=\"noopener noreferrer\">new movie coming out this year\u003c/a>, despite three women accusing him of sexual misconduct in 2018. (This one is not terribly surprising—Piven already has a successful \u003ca href=\"https://podcasts.apple.com/us/podcast/how-u-livin-j-piven-podcast/id1573997895\" target=\"_blank\" rel=\"noopener noreferrer\">podcast\u003c/a> and several prominent \u003ca href=\"https://luxurycigarclub.com/collections/the-jeremy-piven-collection\" target=\"_blank\" rel=\"noopener noreferrer\">business ventures\u003c/a>)\u003c/li>\n\u003cli>In April, Charlie Rose posted an interview with Warren Buffett to his website as part of a \u003ca href=\"https://nypost.com/2022/04/14/charlie-rose-attempts-metoo-comeback-5-years-after-cbs-firing/\" target=\"_blank\" rel=\"noopener noreferrer\">comeback attempt\u003c/a>, following multiple accusations of sexual harassment that got him fired from CBS and PBS in 2017\u003c/li>\n\u003cli>Months after 12 women came forward to accuse Marilyn Manson of physical and sexual abuse—and just three months after \u003ca href=\"https://www.kqed.org/arts/13910124\" target=\"_blank\" rel=\"noopener noreferrer\">Evan Rachel Wood detailed her experiences with him in an HBO documentary\u003c/a>—#MarilynMansonIsInnocent is the most common hashtag associated with the singer on Twitter\u003c/li>\n\u003c/ul>\n\u003cp>Remember the sense of empowerment women enjoyed in 2017 and 2018? Remember the widely held idea at the time that bad men would finally pay for what they had done? Remember the liberation of talking openly about harassment endured and assaults survived, without shame or hesitation? The time Amber Heard did just that, without even naming her alleged abuser, before being found guilty of defamation for it? Let’s take a pause and remember those feelings. Let’s take a pause and mourn how far in the rearview it feels in 2022. And then, let’s try and get that sense of purpose back.\u003c/p>\n\u003cp>[aside postid='arts_13865685']It’s not just statutes of limitation and systemic sexism keeping abuse survivors from receiving proper justice at this point. It’s audiences. Audiences that will look the other way as long as the song is good enough, or the joke is funny enough, or the artist is handsome enough. Audiences that continue to prioritize the comfort and success of men over the pain and suffering of women. (And given that \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/02/21/587671849/a-new-survey-finds-eighty-percent-of-women-have-experienced-sexual-harassment\" target=\"_blank\" rel=\"noopener noreferrer\">81% of women have experienced sexual harassment\u003c/a>, and 1 in 5 have experienced attempted or completed rape, it’s not a small amount of suffering.)\u003c/p>\n\u003cp>I have long been a fan of Ryan Adams. I own many of his records and have seen him perform too many times to count. When I told fellow Adams fans in my life why I would no longer support him, one responded by covering her ears and asking me not to spoil it. She will continue, she tells me, to attend his concerts. What he allegedly did to those women is not, she tells me, her problem. Except it is. It’s all of our problem.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>When we show up for these men, it tells survivors—all survivors everywhere—that what happened to them doesn’t matter. It tells them that the songs we like, the movies we love, and the jokes that make us laugh are more important than survivors’ pain. And they’re not—regardless of the “comebacks” you may see this year.\u003c/p>\n\n",
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"excerpt": "A standing ovation for Ryan Adams, a Grammy for Louis C.K. and new movies for men accused of abuse. Welcome to 2022.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s been clear for some time now that cancel culture—for famous people at least—doesn’t exist. Clear that abusers can act with impunity, be exposed by the people who survived their behavior, weather a brief storm, then carry on with their lives as if almost nothing happened.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It was clear in 2014 when \u003ca href=\"https://www.reuters.com/article/us-people-billcosby/sold-out-cosby-show-goes-ahead-amid-sex-assault-claims-idINKCN0J51Y220141122\" target=\"_blank\" rel=\"noopener noreferrer\">Bill Cosby continued to perform sold-out shows\u003c/a> after the first wave of sexual assault allegations against him emerged. It was clear when Johnny Depp supporters grew more vocal \u003cem>after\u003c/em> a U.K. court found the actor responsible for “\u003ca href=\"https://www.kqed.org/arts/13889064/johnny-depps-uk-libel-case-failed-and-his-us-one-is-likely-doomed-too\" target=\"_blank\" rel=\"noopener noreferrer\">sustained and multiple assaults\u003c/a>” against Amber Heard. And it was definitely clear when \u003ca href=\"https://www.kqed.org/pop/98603/as-woody-allen-falls-where-is-roman-polanskis-reckoning\" target=\"_blank\" rel=\"noopener noreferrer\">Roman Polanski\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13892800/allen-v-farrow-is-the-most-damning-indictment-of-woody-allen-yet\" target=\"_blank\" rel=\"noopener noreferrer\">Woody Allen\u003c/a>, decades after multiple accusations from underage girls became public, continued to receive accolades and standing ovations.\u003c/p>\n\u003cp>Someone else got a standing ovation recently: Ryan Adams. The singer-songwriter was \u003ca href=\"https://variety.com/2022/music/news/ryan-adams-new-team-concerts-move-past-allegations-1235284292/\" target=\"_blank\" rel=\"noopener noreferrer\">applauded for five straight minutes\u003c/a> by an adoring audience at Carnegie Hall in May. It was his first show since a \u003ca href=\"https://www.nytimes.com/2019/02/13/arts/music/ryan-adams-women-sex.html\" target=\"_blank\" rel=\"noopener noreferrer\">2019 \u003cem>New York Times\u003c/em> article\u003c/a> detailed claims by seven women of sexual misconduct. His accusers—who described a pattern of emotional manipulation, coercion, and offers of professional help that were contingent on personal intimacy—included Phoebe Bridgers and Adams’ ex-wife, Mandy Moore.\u003c/p>\n\u003cp>Adams’ “crisis-PR specialist” Howard Bragman told \u003cem>Variety\u003c/em> on June 3: “We want to show that he has a real team behind him that believes in him and supports him, and that he’s putting a life together. We want people to notice, and if they want to move forward with him, here’s where we are.”\u003c/p>\n\u003cp>What America has learned over and over again since #MeToo hit the mainstream in 2017 is that there will never be a shortage of people who support celebrities after they’ve been accused of monstrous things. If you have acted in movies or made music that people love; if you are handsome or can make people laugh; if you are charming in enough interviews over a long enough period of time, America will forgive you for just about anything.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Case in point: Louis C.K. Almost five years after \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/10/563316860/louis-c-k-admits-to-sexual-harassment-of-multiple-female-comedians\" target=\"_blank\" rel=\"noopener noreferrer\">admitting to indecent exposure and masturbation\u003c/a> in front of multiple unwilling women, the comedian just won a Grammy Award for Best Comedy Album. The lauded \u003cem>Sincerely Louis C.K\u003c/em> album includes extensive commentary about his inappropriate behavior that minimizes the distress of the women involved.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I like jerking off,” he jokes at one point. “I don’t like being alone, that’s all I can tell you. I get lonely. It’s just sad. I like company. I like to share. I’m good at it, too. If you’re good at juggling, you wouldn’t do it alone in the dark. You’d gather folks and amaze them.”\u003c/p>\n\u003cp>Adams and C.K. are far from the only disgraced celebrities getting back on their feet this year, after brief withdrawals from public life prompted by credible allegations.\u003c/p>\n\u003cp>Other pertinent examples include:\u003c/p>\n\u003cul>\n\u003cli>Kevin Spacey, who announced an upcoming starring role in \u003ca href=\"https://www.imdb.com/title/tt13542474/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>1242—Gateway to the West\u003c/em>\u003c/a> directly after being charged in the U.K. with four counts of sexual assault against three men\u003c/li>\n\u003cli>Danny Masterson, who was \u003ca href=\"https://www.usmagazine.com/celebrity-news/pictures/danny-mastersons-sexual-assault-trial-everything-to-know/booted-from-the-ranch/\" target=\"_blank\" rel=\"noopener noreferrer\">accused of multiple sexual assaults\u003c/a> (and of using fellow Scientologists to harass his accusers) has a \u003ca href=\"https://www.imdb.com/title/tt2525576/?ref_=nm_flmg_act_2\" target=\"_blank\" rel=\"noopener noreferrer\">new movie with Richard Dreyfuss\u003c/a> in the can, and \u003ca href=\"https://www.imdb.com/title/tt3774090/?ref_=nm_flmg_act_1\" target=\"_blank\" rel=\"noopener noreferrer\">another on the horizon\u003c/a>\u003c/li>\n\u003cli>Andrew Cuomo, who resigned as New York governor last summer after allegedly \u003ca href=\"https://www.hollywoodintoto.com/a-cuomo-comeback-hollywood-metoo-fail/\" target=\"_blank\" rel=\"noopener noreferrer\">sexually harassing 11 women\u003c/a>, has\u003ca href=\"https://www.vanityfair.com/news/2022/03/andrew-cuomos-comeback-is-going-somewhere\" target=\"_blank\" rel=\"noopener noreferrer\"> started making public speeches again\u003c/a>, possibly ramping up to a political campaign\u003c/li>\n\u003cli>Jeffrey Tambor, who was accused by co-workers of sexual harassment and aggression in 2017, has a new movie—\u003ca href=\"https://www.drunkymovie.com/index.php\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Adventures of Drunky\u003c/em>\u003c/a>—in post-production\u003c/li>\n\u003cli>Jeremy Piven has a \u003ca href=\"https://www.imdb.com/title/tt11278608/?ref_=fn_al_tt_2\" target=\"_blank\" rel=\"noopener noreferrer\">new movie coming out this year\u003c/a>, despite three women accusing him of sexual misconduct in 2018. (This one is not terribly surprising—Piven already has a successful \u003ca href=\"https://podcasts.apple.com/us/podcast/how-u-livin-j-piven-podcast/id1573997895\" target=\"_blank\" rel=\"noopener noreferrer\">podcast\u003c/a> and several prominent \u003ca href=\"https://luxurycigarclub.com/collections/the-jeremy-piven-collection\" target=\"_blank\" rel=\"noopener noreferrer\">business ventures\u003c/a>)\u003c/li>\n\u003cli>In April, Charlie Rose posted an interview with Warren Buffett to his website as part of a \u003ca href=\"https://nypost.com/2022/04/14/charlie-rose-attempts-metoo-comeback-5-years-after-cbs-firing/\" target=\"_blank\" rel=\"noopener noreferrer\">comeback attempt\u003c/a>, following multiple accusations of sexual harassment that got him fired from CBS and PBS in 2017\u003c/li>\n\u003cli>Months after 12 women came forward to accuse Marilyn Manson of physical and sexual abuse—and just three months after \u003ca href=\"https://www.kqed.org/arts/13910124\" target=\"_blank\" rel=\"noopener noreferrer\">Evan Rachel Wood detailed her experiences with him in an HBO documentary\u003c/a>—#MarilynMansonIsInnocent is the most common hashtag associated with the singer on Twitter\u003c/li>\n\u003c/ul>\n\u003cp>Remember the sense of empowerment women enjoyed in 2017 and 2018? Remember the widely held idea at the time that bad men would finally pay for what they had done? Remember the liberation of talking openly about harassment endured and assaults survived, without shame or hesitation? The time Amber Heard did just that, without even naming her alleged abuser, before being found guilty of defamation for it? Let’s take a pause and remember those feelings. Let’s take a pause and mourn how far in the rearview it feels in 2022. And then, let’s try and get that sense of purpose back.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s not just statutes of limitation and systemic sexism keeping abuse survivors from receiving proper justice at this point. It’s audiences. Audiences that will look the other way as long as the song is good enough, or the joke is funny enough, or the artist is handsome enough. Audiences that continue to prioritize the comfort and success of men over the pain and suffering of women. (And given that \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/02/21/587671849/a-new-survey-finds-eighty-percent-of-women-have-experienced-sexual-harassment\" target=\"_blank\" rel=\"noopener noreferrer\">81% of women have experienced sexual harassment\u003c/a>, and 1 in 5 have experienced attempted or completed rape, it’s not a small amount of suffering.)\u003c/p>\n\u003cp>I have long been a fan of Ryan Adams. I own many of his records and have seen him perform too many times to count. When I told fellow Adams fans in my life why I would no longer support him, one responded by covering her ears and asking me not to spoil it. She will continue, she tells me, to attend his concerts. What he allegedly did to those women is not, she tells me, her problem. Except it is. It’s all of our problem.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When we show up for these men, it tells survivors—all survivors everywhere—that what happened to them doesn’t matter. It tells them that the songs we like, the movies we love, and the jokes that make us laugh are more important than survivors’ pain. And they’re not—regardless of the “comebacks” you may see this year.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Judy Garland at 100: A Starter Guide Beyond the Yellow Brick Road",
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"content": "\u003cp>It’s safe to say \u003cem>The Wizard of Oz \u003c/em>has been an entry point to Judy Garland for many generations. It’s hard to imagine it any other way; encountering the movie as a child could almost be a rite of passage, and Garland’s performance as Dorothy remains indelibly embedded in popular culture more than 80 years later.\u003c/p>\n\u003cp>[aside postid='pop_105554']But the powerhouse entertainer born Frances Ethel Gumm famously (and luckily, for us) had so much more to give audiences over the course of her relatively short and tumultuous life. Her musical catalog is stacked with songs she introduced or made her own, and they aren’t all “Over the Rainbow.” (One among them has become \u003ca href=\"https://www.youtube.com/watch?v=CreWsnhQwzY\" target=\"_blank\" rel=\"noopener noreferrer\">a certified Christmas classic\u003c/a>.) In adulthood, she’d garner Oscar nominations and Grammy wins, and shine in performances alongside other contemporary greats, like Fred Astaire and Sammy Davis, Jr. And her artistry, vulnerability, and perseverance under the unforgiving glare of the industry and public eye firmly established her as a \u003ca href=\"https://www.bbc.com/culture/article/20190923-why-is-judy-garland-the-ultimate-gay-icon\" target=\"_blank\" rel=\"noopener noreferrer\">queer icon\u003c/a>.\u003c/p>\n\u003cp>Though she died at 47 in 1969 from what was ruled an accidental barbiturate overdose, she’s remained in the public consciousness through biopics (including 2019’s \u003cem>Judy\u003c/em>, which earned Renée Zellweger her second Oscar), movie and TV show \u003ca href=\"https://www.elle.com/culture/movies-tv/a38860125/euphoria-season-2-songs/\" target=\"_blank\" rel=\"noopener noreferrer\">needle drops\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=dyff83vrmKY#t=04m06s\" target=\"_blank\" rel=\"noopener noreferrer\">drag queens\u003c/a>, and even \u003ca href=\"https://www.tiktok.com/tag/judygarland?lang=en\" target=\"_blank\" rel=\"noopener noreferrer\">Tik Tok\u003c/a>.\u003c/p>\n\u003cp>And so in 2022, Judy Garland endures, for a myriad of reasons beyond \u003cem>The Wizard of Oz\u003c/em>. This month marks the centennial of her birth—the perfect occasion for the Garland-curious to finally dive into her work and unpack what made her so special, then and now. Movie \u003ca href=\"https://www.tcm.com/articles/Programming%20Article/021613/star-of-the-month-judy-garland\" target=\"_blank\" rel=\"noopener noreferrer\">retrospectives\u003c/a> are \u003ca href=\"https://www.criterionchannel.com/starring-judy-garland-2\" target=\"_blank\" rel=\"noopener noreferrer\">happening\u003c/a>, and YouTube has a plethora of clips to comb through; here’s a guide to help jumpstart you on your journey beyond the yellow brick road.\u003c/p>\n\u003ch3>\u003cstrong>The beginning: little girl, big voice\u003c/strong>\u003c/h3>\n\u003cp>\u003cem>\u003cstrong>Every Sunday \u003c/strong>\u003c/em>\u003cstrong>(1936)\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=00aP8m5sBJo\u003c/p>\n\u003cp>By the time Garland was signed to a contract with MGM Studios in 1935 at the young age of 13, she’d already been in show business for almost her entire life, having worked the vaudeville circuit in an act alongside her two older siblings, performing as the Gumm Sisters. This short film catches her on the precipice of stardom, showcasing her powerful vibrato and effervescent stage presence via a song written specifically for her, “The Americana.” Fun fact: It was designed by the studio as a screen test for the executives to decide whether to keep Garland or her co-star, Deanna Durbin, a classically trained opera singer. Ultimately, Garland would stay on and Durbin would sign with Universal Studios.\u003c/p>\n\u003ch3>\u003cstrong>A star is born\u003c/strong>\u003c/h3>\n\u003cp>By 1946, a decade into her tenure at MGM, the 24-year-old Garland had made more than 20 films. They feature wonderful performances by her, but also come with asterisks for those who may be new to her work and/or to the rhythms of classic filmmaking in general. Like many musicals of its era, \u003cem>Strike Up the Band\u003c/em> primarily exists to string a bunch of \u003ca href=\"https://www.youtube.com/watch?v=fxiACPtyg6o\" target=\"_blank\" rel=\"noopener noreferrer\">rousing numbers\u003c/a> together, which may or may not be your bag. And like many performers of her era, Garland’s legacy does include unfortunate instances of \u003ca href=\"https://www.youtube.com/watch?v=UnRkS5eSu6w\" target=\"_blank\" rel=\"noopener noreferrer\">blackface\u003c/a>, in \u003cem>Everybody Sing\u003c/em> and \u003cem>Babes In Arms.\u003c/em>\u003c/p>\n\u003cp>Start with these signature roles from her MGM years instead:\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Meet Me In St. Louis\u003c/em>\u003c/strong> \u003cstrong>(1944)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OL3EIVwZ60w&t=1s\u003c/p>\n\u003cp>She had many peaks throughout her career, and this is one of them. Garland plays Esther Smith, one of the eldest daughters in a prominent family living in St. Louis at the beginning of the 20\u003csup>th\u003c/sup> century. Through modern eyes, it’s a movie with very low stakes drama—the primary source of conflict is the family’s displeasure with the news they’ll be uprooted from their hometown to move to New York City, where a new job awaits the father, played by Leon Ames. But to paraphrase \u003ca href=\"https://www.youtube.com/watch?v=9YNFU4q_Buo\" target=\"_blank\" rel=\"noopener noreferrer\">Liza Minnelli\u003c/a>, Garland’s oldest daughter, it’s all about the feelings conveyed. And here, in one of her early transitions away from child roles, Garland give us all the feelings as an assertive, vivacious young woman determined to stay in St. Louis and catch the eye of the clueless boy next door.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Easter Parade \u003c/em>\u003c/strong>\u003cstrong>(1948)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=J3aUAiLU0TI\u003c/p>\n\u003cp>Try to ignore the awkward age gap between Garland and her onscreen love interest Fred Astaire (23 years!) and enjoy their chemistry as a song-and-dance team in their only onscreen pairing. Astaire plays Don Hewes, a vaudeville star whose girlfriend and dance partner Nadine Hale (Ann Miller) breaks the news that she’s leaving him to pursue solo stardom. (This occurs on Easter Sunday, hence the title.) Hoping to make Nadine jealous, he hires chorus girl Hannah Brown (Garland) and vows to turn her into a star. The songs were written by Irving Berlin, and standouts include the silly tramp number “A Couple of Swells” and the torch song “Better Luck Next Time.”\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Summer Stock \u003c/em>\u003c/strong>\u003cstrong>(1950)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=q7d0NRewzW4&t=1s\u003c/p>\n\u003cp>By all accounts, Garland’s life was a shambles and her behavior behind the scenes erratic during production of this movie, her last before she was fired by MGM. Yet that’s imperceptible here, because she’s as plucky and game as ever, playing Jane, a farm owner who allows her sister’s theater troupe to rehearse in her barn. (Why yes, this is quite literally a barnyard musical.) Gene Kelly is her co-star, and Garland holds her own alongside him on the dance floor. And of course, there’s the \u003ca href=\"https://www.youtube.com/watch?v=kVYzQ5OPOHQ\" target=\"_blank\" rel=\"noopener noreferrer\">oft-referenced\u003c/a> highlight: That black fedora and tuxedo jacket, and Judy slinking along to the irresistible “Get Happy.”\u003c/p>\n\u003ch3>\u003cstrong>The drama queen\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>\u003cem>The Clock \u003c/em>\u003c/strong>\u003cstrong>(1945)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4PwA6K_EmAQ\u003c/p>\n\u003cp>It was extremely rare for a Garland performance not to call upon her to belt at least one tune, but she could sell a straight performance just as well as she could a song. In \u003cem>The Clock\u003c/em>, she plays a woman who meets and falls in love with a soldier, played by Robert Walker, who’s on 48-hour leave in New York City. As directed by Vincente Minnelli, the movie effectively captures the whirlwind romance and tension that grows out of their initial meet-cute in the middle of Penn Station, and Garland imbues the role with a quiet, radiating warmth.\u003c/p>\n\u003cp>This was her second collaboration with Minnelli (following \u003cem>Meet Me in St. Louis\u003c/em>) and by this point they were already romantically involved; they’d marry the same year this movie was released. The director’s admiration of Garland is evident in the way he frames her soft, ethereal close-ups.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>A Star Is Born \u003c/em>\u003c/strong>\u003cstrong>(1954)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=K48JkClgYIs\u003c/p>\n\u003cp>[aside postid='pop_105976']Versions of \u003cem>A Star Is Born\u003c/em> have come before and after Garland’s turn, but this remains the definitive iteration, perhaps because it so closely parallels aspects of its star’s life. Here she plays Esther Blodgett, a talented singer-turned movie star whose career and marriage are threatened by the presence of an addiction—except said addiction is not her own, but that of her alcoholic husband, the fading screen idol Norman Maine (James Mason). This is top-tier Garland, a performance steeped in pathos and vulnerability that will shake you to your core; she pours every fiber of her being into this tragic character, whether she’s belting an indelible torch ballad, working up a sweat in a 15-minute showstopping medley, or describing the helpless, lonely feeling of loving someone who’s slowly self-destructing before your eyes.\u003c/p>\n\u003ch3>\u003cstrong>Judy in retrospect\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>\u003cem>Judy at Carnegie Hall \u003c/em>\u003c/strong>\u003cstrong>(1961)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Jc1C4Pw6rxo&list=PLtpFM3sDaV_gA7QfNrH01Upo1ppGvwUdm&index=2\u003c/p>\n\u003cp>This live album has been called “the greatest night in show business history” for a reason. It’s Garland, following a particularly dark period in her life, flourishing in one of the only environments where she ever seemed truly at peace—live, unfiltered, on a stage, with her audience. And the audience \u003cem>adores \u003c/em>her; you can hear it in their effusive laughs whenever she tells a self-deprecating joke and in their rapturous chants for encores. Her voice, more rugged and raw than in her younger years, sounds fabulous, and as she moves through her hits and beloved standards, each one is reimagined in the process. “Over the Rainbow” has never sounded more achingly wistful than it does here; “The Man That Got Away” somehow feels even bigger and more unstoppable than it did in \u003cem>A Star Is Born\u003c/em>. You will listen once, and then, surely, you’ll want to listen again, and again.\u003c/p>\n\u003cp>\u003cstrong>“Judy Sings Lena Sings Judy,” \u003c/strong>\u003cem>\u003cstrong>The Judy Garland Show\u003c/strong>\u003c/em> \u003cstrong>(1963)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dtuqejF0Jg8\u003c/p>\n\u003cp>\u003cstrong>“Get Happy/Happy Days Are Here Again,” \u003c/strong>\u003cstrong>\u003cem>The Judy Garland Show \u003c/em>\u003c/strong>\u003cstrong>(1963)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zFVxX3RtyhQ\u003c/p>\n\u003cp>\u003cem>The Judy Garland Show \u003c/em>was short-lived—it was canceled after one season—but there are countless gems to be found streaming online. Two of the best moments find Garland dueting with another powerhouse female vocalist, Lena Horne and then-newcomer Barbra Streisand. In the former, the legends take turns singing each other’s biggest hits, and it’s an utter delight to see how their styles contrast, like Horne’s slinky, exaggerated take on “Meet Me in St. Louis” (“I didn’t know it was a sexy song!” Garland exclaims while bowling over with laughter) and Garland’s hep vibrato over “Honeysuckle Rose.” When they come together in unison for a spirited rendition of Ralph Blane and Hugh Martin’s standard “Love,” the energy is so high it can hardly be contained.\u003c/p>\n\u003cp>And then, of course, there’s the Babs. Mashing up “Get Happy” and “Happy Days Are Here Again,” their voices complement each other beautifully—Streisand’s clean and clear vocals dance lightly over Judy’s more guttural tones for most of the song, but then their bravados meld together in a triumphant climax. It’s been called a passing of the torch, as it were, from one (gay) icon to the next, and everything about it is perfect.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003c/em>\u003ca href=\"http://n.pr/3xNgYt9\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Apple Podcasts\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"http://n.pr/3ELR3n6\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Spotify\u003c/em>\u003c/a>\u003cem>. \u003c/em>\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=Judy+Garland+at+100%3A+A+starter+guide+beyond+the+Yellow+Brick+Road&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s safe to say \u003cem>The Wizard of Oz \u003c/em>has been an entry point to Judy Garland for many generations. It’s hard to imagine it any other way; encountering the movie as a child could almost be a rite of passage, and Garland’s performance as Dorothy remains indelibly embedded in popular culture more than 80 years later.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But the powerhouse entertainer born Frances Ethel Gumm famously (and luckily, for us) had so much more to give audiences over the course of her relatively short and tumultuous life. Her musical catalog is stacked with songs she introduced or made her own, and they aren’t all “Over the Rainbow.” (One among them has become \u003ca href=\"https://www.youtube.com/watch?v=CreWsnhQwzY\" target=\"_blank\" rel=\"noopener noreferrer\">a certified Christmas classic\u003c/a>.) In adulthood, she’d garner Oscar nominations and Grammy wins, and shine in performances alongside other contemporary greats, like Fred Astaire and Sammy Davis, Jr. And her artistry, vulnerability, and perseverance under the unforgiving glare of the industry and public eye firmly established her as a \u003ca href=\"https://www.bbc.com/culture/article/20190923-why-is-judy-garland-the-ultimate-gay-icon\" target=\"_blank\" rel=\"noopener noreferrer\">queer icon\u003c/a>.\u003c/p>\n\u003cp>Though she died at 47 in 1969 from what was ruled an accidental barbiturate overdose, she’s remained in the public consciousness through biopics (including 2019’s \u003cem>Judy\u003c/em>, which earned Renée Zellweger her second Oscar), movie and TV show \u003ca href=\"https://www.elle.com/culture/movies-tv/a38860125/euphoria-season-2-songs/\" target=\"_blank\" rel=\"noopener noreferrer\">needle drops\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=dyff83vrmKY#t=04m06s\" target=\"_blank\" rel=\"noopener noreferrer\">drag queens\u003c/a>, and even \u003ca href=\"https://www.tiktok.com/tag/judygarland?lang=en\" target=\"_blank\" rel=\"noopener noreferrer\">Tik Tok\u003c/a>.\u003c/p>\n\u003cp>And so in 2022, Judy Garland endures, for a myriad of reasons beyond \u003cem>The Wizard of Oz\u003c/em>. This month marks the centennial of her birth—the perfect occasion for the Garland-curious to finally dive into her work and unpack what made her so special, then and now. Movie \u003ca href=\"https://www.tcm.com/articles/Programming%20Article/021613/star-of-the-month-judy-garland\" target=\"_blank\" rel=\"noopener noreferrer\">retrospectives\u003c/a> are \u003ca href=\"https://www.criterionchannel.com/starring-judy-garland-2\" target=\"_blank\" rel=\"noopener noreferrer\">happening\u003c/a>, and YouTube has a plethora of clips to comb through; here’s a guide to help jumpstart you on your journey beyond the yellow brick road.\u003c/p>\n\u003ch3>\u003cstrong>The beginning: little girl, big voice\u003c/strong>\u003c/h3>\n\u003cp>\u003cem>\u003cstrong>Every Sunday \u003c/strong>\u003c/em>\u003cstrong>(1936)\u003c/strong>\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/00aP8m5sBJo'\n title='//www.youtube.com/embed/00aP8m5sBJo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>By the time Garland was signed to a contract with MGM Studios in 1935 at the young age of 13, she’d already been in show business for almost her entire life, having worked the vaudeville circuit in an act alongside her two older siblings, performing as the Gumm Sisters. This short film catches her on the precipice of stardom, showcasing her powerful vibrato and effervescent stage presence via a song written specifically for her, “The Americana.” Fun fact: It was designed by the studio as a screen test for the executives to decide whether to keep Garland or her co-star, Deanna Durbin, a classically trained opera singer. Ultimately, Garland would stay on and Durbin would sign with Universal Studios.\u003c/p>\n\u003ch3>\u003cstrong>A star is born\u003c/strong>\u003c/h3>\n\u003cp>By 1946, a decade into her tenure at MGM, the 24-year-old Garland had made more than 20 films. They feature wonderful performances by her, but also come with asterisks for those who may be new to her work and/or to the rhythms of classic filmmaking in general. Like many musicals of its era, \u003cem>Strike Up the Band\u003c/em> primarily exists to string a bunch of \u003ca href=\"https://www.youtube.com/watch?v=fxiACPtyg6o\" target=\"_blank\" rel=\"noopener noreferrer\">rousing numbers\u003c/a> together, which may or may not be your bag. And like many performers of her era, Garland’s legacy does include unfortunate instances of \u003ca href=\"https://www.youtube.com/watch?v=UnRkS5eSu6w\" target=\"_blank\" rel=\"noopener noreferrer\">blackface\u003c/a>, in \u003cem>Everybody Sing\u003c/em> and \u003cem>Babes In Arms.\u003c/em>\u003c/p>\n\u003cp>Start with these signature roles from her MGM years instead:\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Meet Me In St. Louis\u003c/em>\u003c/strong> \u003cstrong>(1944)\u003c/strong>\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/OL3EIVwZ60w'\n title='//www.youtube.com/embed/OL3EIVwZ60w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>She had many peaks throughout her career, and this is one of them. Garland plays Esther Smith, one of the eldest daughters in a prominent family living in St. Louis at the beginning of the 20\u003csup>th\u003c/sup> century. Through modern eyes, it’s a movie with very low stakes drama—the primary source of conflict is the family’s displeasure with the news they’ll be uprooted from their hometown to move to New York City, where a new job awaits the father, played by Leon Ames. But to paraphrase \u003ca href=\"https://www.youtube.com/watch?v=9YNFU4q_Buo\" target=\"_blank\" rel=\"noopener noreferrer\">Liza Minnelli\u003c/a>, Garland’s oldest daughter, it’s all about the feelings conveyed. And here, in one of her early transitions away from child roles, Garland give us all the feelings as an assertive, vivacious young woman determined to stay in St. Louis and catch the eye of the clueless boy next door.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Easter Parade \u003c/em>\u003c/strong>\u003cstrong>(1948)\u003c/strong>\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/J3aUAiLU0TI'\n title='//www.youtube.com/embed/J3aUAiLU0TI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Try to ignore the awkward age gap between Garland and her onscreen love interest Fred Astaire (23 years!) and enjoy their chemistry as a song-and-dance team in their only onscreen pairing. Astaire plays Don Hewes, a vaudeville star whose girlfriend and dance partner Nadine Hale (Ann Miller) breaks the news that she’s leaving him to pursue solo stardom. (This occurs on Easter Sunday, hence the title.) Hoping to make Nadine jealous, he hires chorus girl Hannah Brown (Garland) and vows to turn her into a star. The songs were written by Irving Berlin, and standouts include the silly tramp number “A Couple of Swells” and the torch song “Better Luck Next Time.”\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Summer Stock \u003c/em>\u003c/strong>\u003cstrong>(1950)\u003c/strong>\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/q7d0NRewzW4'\n title='//www.youtube.com/embed/q7d0NRewzW4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>By all accounts, Garland’s life was a shambles and her behavior behind the scenes erratic during production of this movie, her last before she was fired by MGM. Yet that’s imperceptible here, because she’s as plucky and game as ever, playing Jane, a farm owner who allows her sister’s theater troupe to rehearse in her barn. (Why yes, this is quite literally a barnyard musical.) Gene Kelly is her co-star, and Garland holds her own alongside him on the dance floor. And of course, there’s the \u003ca href=\"https://www.youtube.com/watch?v=kVYzQ5OPOHQ\" target=\"_blank\" rel=\"noopener noreferrer\">oft-referenced\u003c/a> highlight: That black fedora and tuxedo jacket, and Judy slinking along to the irresistible “Get Happy.”\u003c/p>\n\u003ch3>\u003cstrong>The drama queen\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>\u003cem>The Clock \u003c/em>\u003c/strong>\u003cstrong>(1945)\u003c/strong>\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/4PwA6K_EmAQ'\n title='//www.youtube.com/embed/4PwA6K_EmAQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It was extremely rare for a Garland performance not to call upon her to belt at least one tune, but she could sell a straight performance just as well as she could a song. In \u003cem>The Clock\u003c/em>, she plays a woman who meets and falls in love with a soldier, played by Robert Walker, who’s on 48-hour leave in New York City. As directed by Vincente Minnelli, the movie effectively captures the whirlwind romance and tension that grows out of their initial meet-cute in the middle of Penn Station, and Garland imbues the role with a quiet, radiating warmth.\u003c/p>\n\u003cp>This was her second collaboration with Minnelli (following \u003cem>Meet Me in St. Louis\u003c/em>) and by this point they were already romantically involved; they’d marry the same year this movie was released. The director’s admiration of Garland is evident in the way he frames her soft, ethereal close-ups.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>A Star Is Born \u003c/em>\u003c/strong>\u003cstrong>(1954)\u003c/strong>\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/K48JkClgYIs'\n title='//www.youtube.com/embed/K48JkClgYIs'\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>Versions of \u003cem>A Star Is Born\u003c/em> have come before and after Garland’s turn, but this remains the definitive iteration, perhaps because it so closely parallels aspects of its star’s life. Here she plays Esther Blodgett, a talented singer-turned movie star whose career and marriage are threatened by the presence of an addiction—except said addiction is not her own, but that of her alcoholic husband, the fading screen idol Norman Maine (James Mason). This is top-tier Garland, a performance steeped in pathos and vulnerability that will shake you to your core; she pours every fiber of her being into this tragic character, whether she’s belting an indelible torch ballad, working up a sweat in a 15-minute showstopping medley, or describing the helpless, lonely feeling of loving someone who’s slowly self-destructing before your eyes.\u003c/p>\n\u003ch3>\u003cstrong>Judy in retrospect\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>\u003cem>Judy at Carnegie Hall \u003c/em>\u003c/strong>\u003cstrong>(1961)\u003c/strong>\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/Jc1C4Pw6rxo'\n title='//www.youtube.com/embed/Jc1C4Pw6rxo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This live album has been called “the greatest night in show business history” for a reason. It’s Garland, following a particularly dark period in her life, flourishing in one of the only environments where she ever seemed truly at peace—live, unfiltered, on a stage, with her audience. And the audience \u003cem>adores \u003c/em>her; you can hear it in their effusive laughs whenever she tells a self-deprecating joke and in their rapturous chants for encores. Her voice, more rugged and raw than in her younger years, sounds fabulous, and as she moves through her hits and beloved standards, each one is reimagined in the process. “Over the Rainbow” has never sounded more achingly wistful than it does here; “The Man That Got Away” somehow feels even bigger and more unstoppable than it did in \u003cem>A Star Is Born\u003c/em>. You will listen once, and then, surely, you’ll want to listen again, and again.\u003c/p>\n\u003cp>\u003cstrong>“Judy Sings Lena Sings Judy,” \u003c/strong>\u003cem>\u003cstrong>The Judy Garland Show\u003c/strong>\u003c/em> \u003cstrong>(1963)\u003c/strong>\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/dtuqejF0Jg8'\n title='//www.youtube.com/embed/dtuqejF0Jg8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>“Get Happy/Happy Days Are Here Again,” \u003c/strong>\u003cstrong>\u003cem>The Judy Garland Show \u003c/em>\u003c/strong>\u003cstrong>(1963)\u003c/strong>\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/zFVxX3RtyhQ'\n title='//www.youtube.com/embed/zFVxX3RtyhQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>The Judy Garland Show \u003c/em>was short-lived—it was canceled after one season—but there are countless gems to be found streaming online. Two of the best moments find Garland dueting with another powerhouse female vocalist, Lena Horne and then-newcomer Barbra Streisand. In the former, the legends take turns singing each other’s biggest hits, and it’s an utter delight to see how their styles contrast, like Horne’s slinky, exaggerated take on “Meet Me in St. Louis” (“I didn’t know it was a sexy song!” Garland exclaims while bowling over with laughter) and Garland’s hep vibrato over “Honeysuckle Rose.” When they come together in unison for a spirited rendition of Ralph Blane and Hugh Martin’s standard “Love,” the energy is so high it can hardly be contained.\u003c/p>\n\u003cp>And then, of course, there’s the Babs. Mashing up “Get Happy” and “Happy Days Are Here Again,” their voices complement each other beautifully—Streisand’s clean and clear vocals dance lightly over Judy’s more guttural tones for most of the song, but then their bravados meld together in a triumphant climax. It’s been called a passing of the torch, as it were, from one (gay) icon to the next, and everything about it is perfect.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003c/em>\u003ca href=\"http://n.pr/3xNgYt9\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Apple Podcasts\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"http://n.pr/3ELR3n6\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Spotify\u003c/em>\u003c/a>\u003cem>. \u003c/em>\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=Judy+Garland+at+100%3A+A+starter+guide+beyond+the+Yellow+Brick+Road&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Ms. Marvel' Star Iman Vellani is Ready to Officially Join the MCU",
"headTitle": "‘Ms. Marvel’ Star Iman Vellani is Ready to Officially Join the MCU | KQED",
"content": "\u003cp>From the butterflies in your stomach when you’re crushing on someone to the anxiety you feel about life after high school\u003cem>—\u003c/em>every emotion can be heightened when you’re a teen.\u003c/p>\n\u003cp>Sometimes even minor inconveniences can make you feel as if the world is ending, which is how it was for 19-year-old Iman Vellani.\u003c/p>\n\u003cp>But there was one thing she didn’t have to worry about: what she was going to do next. Her future was \u003cem>Ms. Marvel\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13914446\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914446\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/aav1523_101_trl_comp_v052_d00a8f7f_custom-9cbd448a11b298a3b1f7e62967dad6556db71b8d-800x471.jpe\" alt=\"A girl of Pakistani descent stares dumbfounded into the camera, her eyes glowing red.\" width=\"800\" height=\"471\">\u003cfigcaption class=\"wp-caption-text\">Kamala Khan, portrayed by Iman Vellani, is a Pakistani American teen living in Jersey City who discovers she has superpowers.\u003c/figcaption>\u003c/figure>\n\u003cp>Before the end of her senior year, Vellani had gotten the news she was going to star as Kamala Khan, Marvel’s first Muslim superhero to headline her own comic, in the new Disney+ show.\u003c/p>\n\u003cp>For Vellani, whose childhood was spent reading comics and watching Marvel movies, this was a dream come true. But her new reality as a star in the Marvel Cinematic Universe still feels surreal.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s like when you walk into a room that you’re not supposed to be in, but no one kicks you out. That’s what’s happening here,” she tells NPR’s \u003cem>All Things Considered\u003c/em>.\u003c/p>\n\u003cp>Scheduled to premiere Wednesday, \u003ca href=\"https://www.npr.org/2019/09/02/756679264/live-action-ms-marvel-is-coming-to-disney-streaming\" target=\"_blank\" rel=\"noopener noreferrer\">the show follows Khan\u003c/a>, a Pakistani-American 16-year-old from Jersey City who spends her free time making online videos about the Avengers—and soon discovers she has powers of her own.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=m9EX0f6V11Y\u003c/p>\n\u003cp>Like her character, Vellani’s parents emigrated from Pakistan, and the actress is happy to see—and be part of—a superhero show that represents her culture and community.\u003c/p>\n\u003cp>Vellani discussed the filming of \u003cem>Ms. Marvel\u003c/em>, how it helped her get back in touch with her roots and why representation in TV and film matters.\u003c/p>\n\u003cp>\u003cem>This interview has been edited and condensed for clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>On how filming\u003cem> Ms. Marvel\u003c/em> helped her reconnect with her heritage:\u003c/strong>\u003c/p>\n\u003cp>[aside postid='arts_10137029']I was born in Pakistan, and we moved to Canada when I was 1. But my parents really did try to make me as connected with my culture and religion as possible because they were in touch with that part of themselves. But growing up in Canada and being so enamored by American pop culture and Hollywood, I was super dismissive of being Pakistani. It was never something I saw value in up until filming the show, where my eyes were opened. I was meeting so many Muslims and South Asians that are so in touch with their roots, and that really made me go back and reconnect with mine. It’s so cool [that] I can kind of find myself again.\u003c/p>\n\u003cp>\u003cstrong>On what it means to have Kamala Khan as part of the Marvel Cinematic Universe: \u003c/strong>\u003c/p>\n\u003cp>Marvel is one of the most accessible franchises in the entire world, and film and TV totally shape how we see people in this world. I think it’s so wonderful to show a child of immigrant parents who’s proud of their culture and doesn’t neglect it. I think it’s great that we’re showing Muslims on screen having fun. Every time you picture Brown people, it’s either they’re super serious or they’re a terrorist. So it’s really great that we can bring some humanity to this culture.\u003c/p>\n\u003cp>\u003cstrong>On what advice she would offer other teens:\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I really think it’s important to find a passion and explore it. You don’t have to have everything figured out at 16. You’re not supposed to. And I think young people should hopefully be comforted by Kamala as a character and see that even a superhero doesn’t have her life figured out.\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=%27Ms.+Marvel%27+star+Iman+Vellani+is+ready+to+officially+join+the+MCU&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>From the butterflies in your stomach when you’re crushing on someone to the anxiety you feel about life after high school\u003cem>—\u003c/em>every emotion can be heightened when you’re a teen.\u003c/p>\n\u003cp>Sometimes even minor inconveniences can make you feel as if the world is ending, which is how it was for 19-year-old Iman Vellani.\u003c/p>\n\u003cp>But there was one thing she didn’t have to worry about: what she was going to do next. Her future was \u003cem>Ms. Marvel\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13914446\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914446\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/aav1523_101_trl_comp_v052_d00a8f7f_custom-9cbd448a11b298a3b1f7e62967dad6556db71b8d-800x471.jpe\" alt=\"A girl of Pakistani descent stares dumbfounded into the camera, her eyes glowing red.\" width=\"800\" height=\"471\">\u003cfigcaption class=\"wp-caption-text\">Kamala Khan, portrayed by Iman Vellani, is a Pakistani American teen living in Jersey City who discovers she has superpowers.\u003c/figcaption>\u003c/figure>\n\u003cp>Before the end of her senior year, Vellani had gotten the news she was going to star as Kamala Khan, Marvel’s first Muslim superhero to headline her own comic, in the new Disney+ show.\u003c/p>\n\u003cp>For Vellani, whose childhood was spent reading comics and watching Marvel movies, this was a dream come true. But her new reality as a star in the Marvel Cinematic Universe still feels surreal.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s like when you walk into a room that you’re not supposed to be in, but no one kicks you out. That’s what’s happening here,” she tells NPR’s \u003cem>All Things Considered\u003c/em>.\u003c/p>\n\u003cp>Scheduled to premiere Wednesday, \u003ca href=\"https://www.npr.org/2019/09/02/756679264/live-action-ms-marvel-is-coming-to-disney-streaming\" target=\"_blank\" rel=\"noopener noreferrer\">the show follows Khan\u003c/a>, a Pakistani-American 16-year-old from Jersey City who spends her free time making online videos about the Avengers—and soon discovers she has powers of her own.\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/m9EX0f6V11Y'\n title='//www.youtube.com/embed/m9EX0f6V11Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Like her character, Vellani’s parents emigrated from Pakistan, and the actress is happy to see—and be part of—a superhero show that represents her culture and community.\u003c/p>\n\u003cp>Vellani discussed the filming of \u003cem>Ms. Marvel\u003c/em>, how it helped her get back in touch with her roots and why representation in TV and film matters.\u003c/p>\n\u003cp>\u003cem>This interview has been edited and condensed for clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>On how filming\u003cem> Ms. Marvel\u003c/em> helped her reconnect with her heritage:\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>I was born in Pakistan, and we moved to Canada when I was 1. But my parents really did try to make me as connected with my culture and religion as possible because they were in touch with that part of themselves. But growing up in Canada and being so enamored by American pop culture and Hollywood, I was super dismissive of being Pakistani. It was never something I saw value in up until filming the show, where my eyes were opened. I was meeting so many Muslims and South Asians that are so in touch with their roots, and that really made me go back and reconnect with mine. It’s so cool [that] I can kind of find myself again.\u003c/p>\n\u003cp>\u003cstrong>On what it means to have Kamala Khan as part of the Marvel Cinematic Universe: \u003c/strong>\u003c/p>\n\u003cp>Marvel is one of the most accessible franchises in the entire world, and film and TV totally shape how we see people in this world. I think it’s so wonderful to show a child of immigrant parents who’s proud of their culture and doesn’t neglect it. I think it’s great that we’re showing Muslims on screen having fun. Every time you picture Brown people, it’s either they’re super serious or they’re a terrorist. So it’s really great that we can bring some humanity to this culture.\u003c/p>\n\u003cp>\u003cstrong>On what advice she would offer other teens:\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I really think it’s important to find a passion and explore it. You don’t have to have everything figured out at 16. You’re not supposed to. And I think young people should hopefully be comforted by Kamala as a character and see that even a superhero doesn’t have her life figured out.\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=%27Ms.+Marvel%27+star+Iman+Vellani+is+ready+to+officially+join+the+MCU&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There’s a chilling lack of oxygen in David Cronenberg’s new film \u003ci>Crimes of the Future\u003c/i>. The director of \u003ci>The Fly\u003c/i> (1986) and \u003ci>Naked Lunch\u003c/i> (1991) places the actors in a series of tomblike airless rooms. There are no windows because, in this vision of the future, no view is worth taking in. Sunshine blinds rather than warms the souls of these seaside residents. Every interior wall is rotting and worn down. The ocean is a corrosive force advancing the city’s turn to decay. It’s as if Cronenberg has, with his characteristic morbidity, created the visual equivalent of Albert Camus’ city of Oran, from the 1947 novel \u003ci>The Plague\u003c/i>.\u003c/p>\n\u003cp>Saul (Viggo Mortensen), the director’s antihero, gasps for breath while he’s sleeping, while he’s talking, while he’s walking and while he’s eating. The relentlessness of his unnamed illness suggests that an enlightened era of medical cures is far behind us. To ease his body’s stressors, ghoulish, partially organic machines wrap themselves around Saul’s body. To help him eat, Cronenberg has reimagined a baby’s high chair as a skull-less, fleshy skeleton that rocks and spoon feeds Saul mush. His bed-cum-cradle, suspended from the ceiling, resembles an extracted uterus. \u003c/p>\n\u003cfigure id=\"attachment_13914394\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/COTF_2-800x450-1.jpeg\" alt=\"Woman in red dress sits by man laying down in black hooded cloak, to right woman crouches in light blue outfit\" width=\"800\" height=\"450\" class=\"size-full wp-image-13914394\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/COTF_2-800x450-1.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/COTF_2-800x450-1-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/COTF_2-800x450-1-768x432.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Léa Seydoux, Viggo Mortensen and Kristen Stewart in ‘Crimes of the Future.’\u003cbr> \u003ccite>(Courtesy NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Saul lives with the pristinely dressed Caprice (Léa Seydoux), who was a surgeon in a former life. Their relationship may contain elements of love and affection but they primarily work together as performance artists. In this universe, performance artists are idolized, the way that actors and reality stars are today. Each member of the audience brings their own camera to the show, to film every second, the director implies, so they can titillate their erogenous zones when they get back home. Largely unable to interact with each other, the crowd represents an exhausted collective unconscious that feels familiar. Is this the inevitable future that comes from obsessively archiving our experiences, instantly and infinitely, draining them of any meaning? \u003c/p>\n\u003cp>In this nightmare realm, connection is only possible through pain. People “hook up” in public places with actual hooks. Cronenberg films multiple close-ups of background characters slicing into each other’s skins followed by orgasmic reaction shots. What separates Saul and Caprice from these ordinary citizens is their approach to surgery. Saul is a kind of mutant. He’s evolved with the ability to grow what are essentially vestigial organs. \u003c/p>\n\u003cp>Their performances, and others we see by their peers, are atrocity exhibitions. Cronenberg has been documenting our moral decline from the equally surgical \u003ci>Dead Ringers\u003c/i> (1988) to his more recent \u003ci>Maps of the Stars\u003c/i> (2014). But \u003ci>Crimes of the Future\u003c/i> suggests that the decline is behind us. The characters are suffering through the aftermath, where the psychic shrapnel of despair has permanently dislodged humane codes of shared conduct.\u003c/p>\n\u003cfigure id=\"attachment_13914396\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/COTF_5-800x450-1.jpeg\" alt=\"Woman touches man's face as if about to kiss\" width=\"800\" height=\"450\" class=\"size-full wp-image-13914396\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/COTF_5-800x450-1.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/COTF_5-800x450-1-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/COTF_5-800x450-1-768x432.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kristen Stewart and Viggo Mortensen in ‘Crimes of the Future.’ \u003ccite>(Courtesy NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cronenberg would like the audience to compare Saul’s mutations to the work of an artist. In particular to that of the director’s. \u003ci>Crimes of the Future\u003c/i> is a portrait of an artist as an old man. Saul’s organ-birthing process—like a filmmaker inventing an alternate future—is straining his body. All the physical pleasures from the past now cause pain. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This is Cronenberg’s fourth film starring Mortensen and the sparest in terms of plot and character development. The actor is still a reliable avatar of masculine vulnerability, but his performance here doesn’t have much of an arc. Mortensen is buoyed, however, by Howard Shore’s synthed-up soundtrack, and his wardrobe. He’s dressed in the same black-hooded, medieval getup as the knight attempting to outwit Death in Ingmar Bergman’s allegorical film \u003ci>The Seventh Seal\u003c/i> (1957). \u003c/p>\n\u003cfigure id=\"attachment_13914393\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/COTF_1-800x450-1.jpeg\" alt=\"Man in black hooded cloak looks to left\" width=\"800\" height=\"450\" class=\"size-full wp-image-13914393\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/COTF_1-800x450-1.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/COTF_1-800x450-1-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/COTF_1-800x450-1-768x432.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Viggo Mortensen in ‘Crimes of the Future.’ \u003ccite>(Courtesy NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite Mortensen’t attire, death isn’t the antagonist for Cronenberg. Other people are. Like those louche commercials celebrating Las Vegas, unrestrained freedom is his equivalent of the seven deadly sins; or, the ne plus ultra culmination of them. One subplot in particular embodies this criminal sense of detachment from the repugnant behavior it depicts. It involves the profoundly upsetting death of a child, an aspect of \u003ci>Crimes of the Future\u003c/i> that left a fixed feeling of dread in my stomach. Underdeveloped and under-explained, that storyline is the film’s own vestigial organ: it should have been cut out.\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>\n\u003cp>\u003ci>‘Crimes of the Future’ opens in Bay Area theaters on Friday, June 3.\u003c/i> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s a chilling lack of oxygen in David Cronenberg’s new film \u003ci>Crimes of the Future\u003c/i>. The director of \u003ci>The Fly\u003c/i> (1986) and \u003ci>Naked Lunch\u003c/i> (1991) places the actors in a series of tomblike airless rooms. There are no windows because, in this vision of the future, no view is worth taking in. Sunshine blinds rather than warms the souls of these seaside residents. Every interior wall is rotting and worn down. The ocean is a corrosive force advancing the city’s turn to decay. It’s as if Cronenberg has, with his characteristic morbidity, created the visual equivalent of Albert Camus’ city of Oran, from the 1947 novel \u003ci>The Plague\u003c/i>.\u003c/p>\n\u003cp>Saul (Viggo Mortensen), the director’s antihero, gasps for breath while he’s sleeping, while he’s talking, while he’s walking and while he’s eating. The relentlessness of his unnamed illness suggests that an enlightened era of medical cures is far behind us. To ease his body’s stressors, ghoulish, partially organic machines wrap themselves around Saul’s body. To help him eat, Cronenberg has reimagined a baby’s high chair as a skull-less, fleshy skeleton that rocks and spoon feeds Saul mush. His bed-cum-cradle, suspended from the ceiling, resembles an extracted uterus. \u003c/p>\n\u003cfigure id=\"attachment_13914394\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/COTF_2-800x450-1.jpeg\" alt=\"Woman in red dress sits by man laying down in black hooded cloak, to right woman crouches in light blue outfit\" width=\"800\" height=\"450\" class=\"size-full wp-image-13914394\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/COTF_2-800x450-1.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/COTF_2-800x450-1-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/COTF_2-800x450-1-768x432.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Léa Seydoux, Viggo Mortensen and Kristen Stewart in ‘Crimes of the Future.’\u003cbr> \u003ccite>(Courtesy NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Saul lives with the pristinely dressed Caprice (Léa Seydoux), who was a surgeon in a former life. Their relationship may contain elements of love and affection but they primarily work together as performance artists. In this universe, performance artists are idolized, the way that actors and reality stars are today. Each member of the audience brings their own camera to the show, to film every second, the director implies, so they can titillate their erogenous zones when they get back home. Largely unable to interact with each other, the crowd represents an exhausted collective unconscious that feels familiar. Is this the inevitable future that comes from obsessively archiving our experiences, instantly and infinitely, draining them of any meaning? \u003c/p>\n\u003cp>In this nightmare realm, connection is only possible through pain. People “hook up” in public places with actual hooks. Cronenberg films multiple close-ups of background characters slicing into each other’s skins followed by orgasmic reaction shots. What separates Saul and Caprice from these ordinary citizens is their approach to surgery. Saul is a kind of mutant. He’s evolved with the ability to grow what are essentially vestigial organs. \u003c/p>\n\u003cp>Their performances, and others we see by their peers, are atrocity exhibitions. Cronenberg has been documenting our moral decline from the equally surgical \u003ci>Dead Ringers\u003c/i> (1988) to his more recent \u003ci>Maps of the Stars\u003c/i> (2014). But \u003ci>Crimes of the Future\u003c/i> suggests that the decline is behind us. The characters are suffering through the aftermath, where the psychic shrapnel of despair has permanently dislodged humane codes of shared conduct.\u003c/p>\n\u003cfigure id=\"attachment_13914396\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/COTF_5-800x450-1.jpeg\" alt=\"Woman touches man's face as if about to kiss\" width=\"800\" height=\"450\" class=\"size-full wp-image-13914396\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/COTF_5-800x450-1.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/COTF_5-800x450-1-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/COTF_5-800x450-1-768x432.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kristen Stewart and Viggo Mortensen in ‘Crimes of the Future.’ \u003ccite>(Courtesy NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cronenberg would like the audience to compare Saul’s mutations to the work of an artist. In particular to that of the director’s. \u003ci>Crimes of the Future\u003c/i> is a portrait of an artist as an old man. Saul’s organ-birthing process—like a filmmaker inventing an alternate future—is straining his body. All the physical pleasures from the past now cause pain. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This is Cronenberg’s fourth film starring Mortensen and the sparest in terms of plot and character development. The actor is still a reliable avatar of masculine vulnerability, but his performance here doesn’t have much of an arc. Mortensen is buoyed, however, by Howard Shore’s synthed-up soundtrack, and his wardrobe. He’s dressed in the same black-hooded, medieval getup as the knight attempting to outwit Death in Ingmar Bergman’s allegorical film \u003ci>The Seventh Seal\u003c/i> (1957). \u003c/p>\n\u003cfigure id=\"attachment_13914393\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/COTF_1-800x450-1.jpeg\" alt=\"Man in black hooded cloak looks to left\" width=\"800\" height=\"450\" class=\"size-full wp-image-13914393\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/COTF_1-800x450-1.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/COTF_1-800x450-1-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/COTF_1-800x450-1-768x432.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Viggo Mortensen in ‘Crimes of the Future.’ \u003ccite>(Courtesy NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite Mortensen’t attire, death isn’t the antagonist for Cronenberg. Other people are. Like those louche commercials celebrating Las Vegas, unrestrained freedom is his equivalent of the seven deadly sins; or, the ne plus ultra culmination of them. One subplot in particular embodies this criminal sense of detachment from the repugnant behavior it depicts. It involves the profoundly upsetting death of a child, an aspect of \u003ci>Crimes of the Future\u003c/i> that left a fixed feeling of dread in my stomach. Underdeveloped and under-explained, that storyline is the film’s own vestigial organ: it should have been cut out.\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>\n\u003cp>\u003ci>‘Crimes of the Future’ opens in Bay Area theaters on Friday, June 3.\u003c/i> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Racist 'Star Wars' Fans Aren't New. Why Doesn't Disney Do More to Protect its Actors?",
"headTitle": "Racist ‘Star Wars’ Fans Aren’t New. Why Doesn’t Disney Do More to Protect its Actors? | KQED",
"content": "\u003cp>The most surprising thing about the racism directed at \u003cem>Obi-Wan Kenobi\u003c/em> star Moses Ingram is the fact that some people are still surprised by it.\u003c/p>\n\u003cp>After all, other actors of color who have joined the \u003cem>Star Wars\u003c/em> universe in recent years have complained about racist attacks from fans online, including \u003ca href=\"https://www.vanityfair.com/hollywood/2020/09/john-boyega-star-wars-racism-interview\" target=\"_blank\" rel=\"noopener noreferrer\">John Boyega\u003c/a> and \u003ca href=\"https://www.insider.com/kelly-marie-tran-racist-sexist-trolls-social-media-2021-3\" target=\"_blank\" rel=\"noopener noreferrer\">Kelly Marie Tran\u003c/a>.\u003c/p>\n\u003cp>So it wasn’t exactly shocking to this non-white \u003cem>Star Wars\u003c/em> fan when Ingram–whose turn as villainous Inquisitor Reva Sevander lights up the series—shared messages she received on social media from trolls using insults and the n-word to denigrate one of the most powerful Black women to join the franchise.\u003c/p>\n\u003cp>https://twitter.com/ReignOfApril/status/1531660224456626177\u003c/p>\n\u003cp>Here’s what is surprising to me: that the media companies behind the \u003cem>Star Wars \u003c/em>juggernaut—Lucasfilm and its owner, Disney—haven’t done more to proactively support non-white actors and push back against the racism they regularly face when taking prominent roles in the franchise.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Why did Ingram have to reveal deeply hurtful and traumatizing messages to get this conversation out in the open? She has said that the studio \u003ca href=\"https://www.indiewire.com/2022/05/obi-wan-kenobi-moses-ingram-lucasfilm-warned-star-wars-racism-1234727577/\" target=\"_blank\" rel=\"noopener noreferrer\">warned her privately \u003c/a>racist fans would come after her when the TV series debuted—why didn’t they take action beforehand to denounce what they knew would likely come?\u003c/p>\n\u003cp>[aside postid='arts_13892633']Let’s see prominent executives talk about the racism among fans before actors of color have to go public with their trauma. Let’s see an advertising campaign directed specifically at calling out racists and uplifting non-white performers. How about social media events with fans aimed at celebrating franchise diversity before a new TV show or film even debuts?\u003c/p>\n\u003cp>It is well past time for the companies which make billions from these media properties to take action before the racists do.\u003c/p>\n\u003ch3>Diversity in the franchise brings new challenges\u003c/h3>\n\u003cp>Producers are filling \u003cem>Star Wars\u003c/em> movies with non-white stars, moving away from the franchise’s white-centered narratives in a way which makes the new stories more appealing to young audiences raised in a more multicultural society. Upcoming series \u003cem>Andor, Ahsoka \u003c/em>and \u003cem>Lando\u003c/em> have been announced, starring non-white actors Diego Luna, Rosario Dawson and Donald Glover.\u003c/p>\n\u003cp>But that diversity, welcome as it is, also turns these actors of color into targets for a disaffected portion of the fanbase who seem personally threatened by the changes. These performers already face tremendous pressure to maintain the quality of a legendary franchise; now, the public can see the extra burden they face in the form of online harassment and insults.\u003c/p>\n\u003cp>https://twitter.com/YNB/status/1531760996489961472\u003c/p>\n\u003cp>This is also a unique crystallization of a debate we have been having in the public space over many different issues. Does amping up the racial and ethnic diversity of a storied franchise improve its storytelling or needlessly hobble it?\u003c/p>\n\u003cp>In other words, is diversity an institution’s strength or a weakness?\u003c/p>\n\u003cp>To be honest, this is a question I thought was answered long ago. Especially after one look at Chadwick Boseman in \u003cem>Black Panther\u003c/em>, Zendaya and Jacob Batalon in Marvel’s recent \u003cem>Spider-Man\u003c/em> movies, Pedro Pascal in \u003cem>The Mandalorian \u003c/em>and Dawson’s amazing performances \u003ca href=\"https://www.vanityfair.com/hollywood/2020/11/rosario-dawson-dave-filoni-mandalorian-ahsoka-tano-grogu\" target=\"_blank\" rel=\"noopener noreferrer\">bringing to life\u003c/a> the character of former Jedi Padawan Ahsoka Tano. These gifted performers have enriched the movie and TV franchises where they have appeared, thrilling us fans.\u003c/p>\n\u003cp>But they shouldn’t have to face abuse from an online mob alone to do it.\u003c/p>\n\u003ch3>An issue that reaches back to the beginning\u003c/h3>\n\u003cp>In a way, these problems trace back to the beginnings of the franchise. As I noted \u003ca href=\"https://www.npr.org/2022/05/27/1101767449/obi-wan-kenobi-star-wars-disney-review\" target=\"_blank\" rel=\"noopener noreferrer\">in my review\u003c/a> of \u003cem>Obi-Wan Kenobi,\u003c/em> \u003cem>Star Wars\u003c/em> creator George Lucas has acknowledged that the Japanese film \u003cem>The Hidden Fortress\u003c/em> \u003ca href=\"https://daily.jstor.org/is-star-wars-cultural-appropriation/\" target=\"_blank\" rel=\"noopener noreferrer\">inspired aspects of his films\u003c/a>. The style of the Jedi Knights’ clothing, their fighting style and mysticism all seem lifted from that ethos—an unfortunate example of Hollywood’s tendency to appropriate Asian culture without featuring Asian actors or characters.\u003c/p>\n\u003cp>[aside postid='arts_13889379']Because of this, and because the original films had so little space for characters of color, it has been tough for some racist fans of the franchise to see a version of \u003cem>Star Wars\u003c/em> that is more inclusive without feeling it is somehow compromised. On one level, it is bizarre to think that people could object to Black, Latinx or Asian actors in a story set in a faraway galaxy including non-human characters that resemble outsize dogs and goldfish.\u003c/p>\n\u003cp>But quality science fiction stories are always about us humans in the time they were written, regardless of when or where they are set. So it makes sense that our current debates about tribalism, multiculturalism and equality would pop up here, too.\u003c/p>\n\u003cp>(Look up \u003ca href=\"https://en.wikipedia.org/wiki/Group_threat_theory\" target=\"_blank\" rel=\"noopener noreferrer\">the definition of\u003c/a> Group Threat Theory to see an academic explanation for how a group in the majority reacts when a smaller minority gets more power.)\u003c/p>\n\u003cp>I’m glad Ingram revealed this publicly. As a Black man who writes often about race and media, I’ve been on the receiving end of a lot of racist vitriol online myself, and it is seriously traumatizing to experience—let alone talk about openly. Still, detailing these messages are the only way to show the extent of the problem, and marshal support from non-racist fans, the studio, the press and \u003ca href=\"https://ew.com/tv/ewan-mcgregor-youre-no-star-wars-fan-bullying-moses-ingram/\" target=\"_blank\" rel=\"noopener noreferrer\">fellow actors\u003c/a>.\u003c/p>\n\u003cp>https://twitter.com/starwars/status/1531804726165401600\u003c/p>\n\u003cp>I’m also glad Disney and Lucasfilm are committed to the kind of casting choices which may anger some fans, but ultimately prove that science fiction and fantasy stories are places where anyone can be a hero. Young children of color today who imagine themselves as the good guys in a \u003cem>Star Wars\u003c/em> story while at play, don’t have to also imagine that they are white—like fans from my generation mostly had to do.\u003c/p>\n\u003cp>[aside postid='pop_83529']It is time now to protect that progress by protecting the actors of color who make it possible. Lucasfilm and Disney must find ways to help move this conversation along—in public—so that racist fans feel less welcome to express their noxious views and actors of color don’t have to feel like targets.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>These actors shouldn’t have to shoulder the extra burden of figuring out how to handle the racism unloaded on them by dozens of nameless fans. But to make that happen, the companies which employ them need to get visibly and substantially involved in working to drown out toxic voices attacking the franchise’s future.\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=Racist+%27Star+Wars%27+fans+aren%27t+new.+Why+doesn%27t+Disney+do+more+to+protect+its+actors%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The most surprising thing about the racism directed at \u003cem>Obi-Wan Kenobi\u003c/em> star Moses Ingram is the fact that some people are still surprised by it.\u003c/p>\n\u003cp>After all, other actors of color who have joined the \u003cem>Star Wars\u003c/em> universe in recent years have complained about racist attacks from fans online, including \u003ca href=\"https://www.vanityfair.com/hollywood/2020/09/john-boyega-star-wars-racism-interview\" target=\"_blank\" rel=\"noopener noreferrer\">John Boyega\u003c/a> and \u003ca href=\"https://www.insider.com/kelly-marie-tran-racist-sexist-trolls-social-media-2021-3\" target=\"_blank\" rel=\"noopener noreferrer\">Kelly Marie Tran\u003c/a>.\u003c/p>\n\u003cp>So it wasn’t exactly shocking to this non-white \u003cem>Star Wars\u003c/em> fan when Ingram–whose turn as villainous Inquisitor Reva Sevander lights up the series—shared messages she received on social media from trolls using insults and the n-word to denigrate one of the most powerful Black women to join the franchise.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Here’s what is surprising to me: that the media companies behind the \u003cem>Star Wars \u003c/em>juggernaut—Lucasfilm and its owner, Disney—haven’t done more to proactively support non-white actors and push back against the racism they regularly face when taking prominent roles in the franchise.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Why did Ingram have to reveal deeply hurtful and traumatizing messages to get this conversation out in the open? She has said that the studio \u003ca href=\"https://www.indiewire.com/2022/05/obi-wan-kenobi-moses-ingram-lucasfilm-warned-star-wars-racism-1234727577/\" target=\"_blank\" rel=\"noopener noreferrer\">warned her privately \u003c/a>racist fans would come after her when the TV series debuted—why didn’t they take action beforehand to denounce what they knew would likely come?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Let’s see prominent executives talk about the racism among fans before actors of color have to go public with their trauma. Let’s see an advertising campaign directed specifically at calling out racists and uplifting non-white performers. How about social media events with fans aimed at celebrating franchise diversity before a new TV show or film even debuts?\u003c/p>\n\u003cp>It is well past time for the companies which make billions from these media properties to take action before the racists do.\u003c/p>\n\u003ch3>Diversity in the franchise brings new challenges\u003c/h3>\n\u003cp>Producers are filling \u003cem>Star Wars\u003c/em> movies with non-white stars, moving away from the franchise’s white-centered narratives in a way which makes the new stories more appealing to young audiences raised in a more multicultural society. Upcoming series \u003cem>Andor, Ahsoka \u003c/em>and \u003cem>Lando\u003c/em> have been announced, starring non-white actors Diego Luna, Rosario Dawson and Donald Glover.\u003c/p>\n\u003cp>But that diversity, welcome as it is, also turns these actors of color into targets for a disaffected portion of the fanbase who seem personally threatened by the changes. These performers already face tremendous pressure to maintain the quality of a legendary franchise; now, the public can see the extra burden they face in the form of online harassment and insults.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>This is also a unique crystallization of a debate we have been having in the public space over many different issues. Does amping up the racial and ethnic diversity of a storied franchise improve its storytelling or needlessly hobble it?\u003c/p>\n\u003cp>In other words, is diversity an institution’s strength or a weakness?\u003c/p>\n\u003cp>To be honest, this is a question I thought was answered long ago. Especially after one look at Chadwick Boseman in \u003cem>Black Panther\u003c/em>, Zendaya and Jacob Batalon in Marvel’s recent \u003cem>Spider-Man\u003c/em> movies, Pedro Pascal in \u003cem>The Mandalorian \u003c/em>and Dawson’s amazing performances \u003ca href=\"https://www.vanityfair.com/hollywood/2020/11/rosario-dawson-dave-filoni-mandalorian-ahsoka-tano-grogu\" target=\"_blank\" rel=\"noopener noreferrer\">bringing to life\u003c/a> the character of former Jedi Padawan Ahsoka Tano. These gifted performers have enriched the movie and TV franchises where they have appeared, thrilling us fans.\u003c/p>\n\u003cp>But they shouldn’t have to face abuse from an online mob alone to do it.\u003c/p>\n\u003ch3>An issue that reaches back to the beginning\u003c/h3>\n\u003cp>In a way, these problems trace back to the beginnings of the franchise. As I noted \u003ca href=\"https://www.npr.org/2022/05/27/1101767449/obi-wan-kenobi-star-wars-disney-review\" target=\"_blank\" rel=\"noopener noreferrer\">in my review\u003c/a> of \u003cem>Obi-Wan Kenobi,\u003c/em> \u003cem>Star Wars\u003c/em> creator George Lucas has acknowledged that the Japanese film \u003cem>The Hidden Fortress\u003c/em> \u003ca href=\"https://daily.jstor.org/is-star-wars-cultural-appropriation/\" target=\"_blank\" rel=\"noopener noreferrer\">inspired aspects of his films\u003c/a>. The style of the Jedi Knights’ clothing, their fighting style and mysticism all seem lifted from that ethos—an unfortunate example of Hollywood’s tendency to appropriate Asian culture without featuring Asian actors or characters.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Because of this, and because the original films had so little space for characters of color, it has been tough for some racist fans of the franchise to see a version of \u003cem>Star Wars\u003c/em> that is more inclusive without feeling it is somehow compromised. On one level, it is bizarre to think that people could object to Black, Latinx or Asian actors in a story set in a faraway galaxy including non-human characters that resemble outsize dogs and goldfish.\u003c/p>\n\u003cp>But quality science fiction stories are always about us humans in the time they were written, regardless of when or where they are set. So it makes sense that our current debates about tribalism, multiculturalism and equality would pop up here, too.\u003c/p>\n\u003cp>(Look up \u003ca href=\"https://en.wikipedia.org/wiki/Group_threat_theory\" target=\"_blank\" rel=\"noopener noreferrer\">the definition of\u003c/a> Group Threat Theory to see an academic explanation for how a group in the majority reacts when a smaller minority gets more power.)\u003c/p>\n\u003cp>I’m glad Ingram revealed this publicly. As a Black man who writes often about race and media, I’ve been on the receiving end of a lot of racist vitriol online myself, and it is seriously traumatizing to experience—let alone talk about openly. Still, detailing these messages are the only way to show the extent of the problem, and marshal support from non-racist fans, the studio, the press and \u003ca href=\"https://ew.com/tv/ewan-mcgregor-youre-no-star-wars-fan-bullying-moses-ingram/\" target=\"_blank\" rel=\"noopener noreferrer\">fellow actors\u003c/a>.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>I’m also glad Disney and Lucasfilm are committed to the kind of casting choices which may anger some fans, but ultimately prove that science fiction and fantasy stories are places where anyone can be a hero. Young children of color today who imagine themselves as the good guys in a \u003cem>Star Wars\u003c/em> story while at play, don’t have to also imagine that they are white—like fans from my generation mostly had to do.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It is time now to protect that progress by protecting the actors of color who make it possible. Lucasfilm and Disney must find ways to help move this conversation along—in public—so that racist fans feel less welcome to express their noxious views and actors of color don’t have to feel like targets.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>These actors shouldn’t have to shoulder the extra burden of figuring out how to handle the racism unloaded on them by dozens of nameless fans. But to make that happen, the companies which employ them need to get visibly and substantially involved in working to drown out toxic voices attacking the franchise’s future.\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=Racist+%27Star+Wars%27+fans+aren%27t+new.+Why+doesn%27t+Disney+do+more+to+protect+its+actors%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "These Are the Movies NPR Critics Are Looking Forward to This Summer",
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"content": "\u003cp>Just like there’s \u003ca href=\"https://www.kqed.org/arts/13913871\" target=\"_blank\" rel=\"noopener noreferrer\">too much TV to keep track of\u003c/a>, the summer movie slate is jam-packed after years of pandemic-induced disruption.\u003c/p>\n\u003cp>As temperatures get hotter, burgers, bat mitzvahs and Baz Luhrmann are headed to the big screen. Here’s what NPR critics have their eyes on, in order of release date.\u003c/p>\n\u003ch3>The Bob’s Burgers Movie\u003c/h3>\n\u003cp>\u003cem>In theaters May 27\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hbGXqUumtqg\u003c/p>\n\u003cp>I’ve seen every episode of \u003cem>Bob’s Burgers\u003c/em> at least once. Every week my partner and I will sit down, have dinner and watch the newest episode. And we are excited for this movie.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Little has been divulged. We know the main cast will be there—Bob, Linda, Tina, all of them. Apparently, they have, like, a week to keep their restaurant afloat, and the kids get into a mystery of some sort to try and save it. The trailer is a lot of Gene yelling things at the other siblings, and lots of one-liners.\u003c/p>\n\u003cp>There are many things \u003cem>Bob’s Burgers\u003c/em> does well. But one of the best things is obviously the music and the songs, so I’m excited for those.\u003c/p>\n\u003cp>I do worry that this film has kind of gotten buried. It’s opening in theaters, but I probably would have been fine seeing it on streaming first. —\u003cstrong>Aisha Harris\u003c/strong>\u003c/p>\n\u003ch3>Fire Island\u003c/h3>\n\u003cp>\u003cem>Hulu, June 3\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6lKuKcVc3bU\u003c/p>\n\u003cp>This is a film written by and starring the very funny Joel Kim Booster, directed by Andrew Ahn. He directed two films I really like called \u003cem>Spa Night\u003c/em> and \u003cem>Driveways\u003c/em>. Both of those movies are really kind of quiet and introspective, but this doesn’t seem to be. This seems to be a kind of raucous gay romcom set in a very privileged queer vacation destination, Fire Island.\u003c/p>\n\u003cp>And the idea behind this movie is just so simple and inevitable. Take the bones of \u003cem>Pride And Prejudice\u003c/em>, and map it over the way that gay men tend to sort ourselves into these very insular cliques based on things like race and income level and age and body fat percentage, and frankly, it just works. It matters who’s telling the story, because the film’s two leads are Booster and Bowen Yang. It’s going to be telling this very familiar story from a perspective we haven’t seen a lot before. According to the trailer, at least, it’s going to be directly addressing the white, rich, cis privilege of the queer community, and of Fire Island in particular. —\u003cstrong>Glen Weldon\u003c/strong>\u003c/p>\n\u003ch3>Neptune Frost\u003c/h3>\n\u003cp>\u003cem>In theaters June 3\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Pss6jTzwxQ8\u003c/p>\n\u003cp>An afro-futurist, sci-fi musical set and shot in Rwanda, this first film by slam-poet/composer Saul Williams and actor/writer Anisia Uzeyman debuted in 2021 at Cannes, and became a festival darling invited to show at Toronto, Sundance, London, New York and a host of other fests last year. It’s enigmatic, poetic, allegorical, operatic, eerie, and so determinedly non-linear, it’s hard to tell what’s going on at any given moment. But if experimental and ambitious count as draws for you, this has plenty of both those qualities. —\u003cstrong>Bob Mondello\u003c/strong>\u003c/p>\n\u003ch3>Crimes of the Future\u003c/h3>\n\u003cp>\u003cem>In theaters June 3\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AD8dt9ndGgg\u003c/p>\n\u003cp>David Cronenberg is back, and back to his old trippy/gooey/disquietingly pulsating body-horror tricks, bless him. This time, Viggo Mortensen and Lea Seydoux are a pair of performance artists who perform live surgery in front of audiences, demonstrating how Viggo’s character can grow and mutate his internal organs due to a condition called “Accelerated Evolution Syndrome.” Sing with me: “Tale as old as tiiiiiiiiime….” —\u003cstrong>Glen Weldon\u003c/strong>\u003c/p>\n\u003ch3>Father of the Bride\u003c/h3>\n\u003cp>\u003cem>HBO Max, June 16\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Iwm0IO-NFRM\u003c/p>\n\u003cp>One of the movies that is a gigantic comfort-food pick for me is the ’90s-era Nancy Meyers \u003cem>Father Of The Bride\u003c/em> with Steve Martin. And that is obviously a remake of a Spencer Tracy movie, where Elizabeth Taylor played his daughter. Of course, you definitely do not want to spend too much time with the harried father paying for the expensive wedding. But I’ve always thought this movie was funny and ultimately, really sweet.\u003c/p>\n\u003cp>The ’90s version was a very particular era of Steve Martin. There’s a moment in that movie where Martin, who is a sneaker magnate, has a bedazzled pair of tennis shoes made for his daughter to wear under her wedding dress. And when my sister got married a few years after this movie, which we both loved, I made her a pair of bedazzled tennis shoes, which she wore at the reception under her dress when she got out of her heels.\u003c/p>\n\u003cp>They are doing a remake of this with a Latinx family; Andy Garcia is the patriarch, Gloria Estefan is the mom. And I am really psyched.\u003cstrong> —Linda Holmes\u003c/strong>\u003c/p>\n\u003ch3>Cha Cha Real Smooth\u003c/h3>\n\u003cp>\u003cem>In theaters and Apple TV+ June 17\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QRyyagJ9GPo\u003c/p>\n\u003cp>Cooper Raiff follows up his charming (if terribly titled) filmmaking debut \u003cem>S***house\u003c/em>, with an indie romance at least twice as charming. Raiff is writer/director and ingratiating leading man, fresh-out-of-college and sleeping on a cot in his little brother’s bedroom. When their mom makes him take the kid to a friend’s bat mitzvah, he meets and falls for Dakota Johnson, gets her autistic daughter to dance, and is immediately swarmed by Jewish mothers who want to hire him as a party-starter for their kids’ bar and bat mitzvahs.\u003c/p>\n\u003cp>Presumably, Raiff is more driven in real life than his character is—you don’t get two films produced in three years without having sharp elbows—but he makes puppyish vulnerability enormously appealing. \u003cstrong>—Bob Mondello\u003c/strong>\u003c/p>\n\u003ch3>Good Luck to You, Leo Grande\u003c/h3>\n\u003cp>\u003cem>In theaters and on Hulu June 17\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=UZAgk9-e_rc\u003c/p>\n\u003cp>A widowed ex-teacher (Emma Thompson) hires a much younger male escort (Daryl McCormack) hoping to make up for a lifetime of sexual timidity and boredom in this winning, surprising, funny, touching, and decidedly feminine (if not precisely feminist) take on self-discovery.\u003c/p>\n\u003cp>Sophie Hyde’s direction is sensitive, and the performers have great chemistry—Thompson initially deflecting the escort’s every attempt to do what she’s hired him to do; McCormack by turns reassuring (“you’re conflicted; conflict is interesting”) and gentle (“may I kiss you on the cheek?”). That their roles will alter over time is a given—”I have some feedback and a couple of attainment goals” says Thompson at the start of a second meeting—and the situation grows interestingly complex. —\u003cstrong>Bob Mondello\u003c/strong>\u003c/p>\n\u003ch3>Elvis\u003c/h3>\n\u003cp>\u003cem>In theaters June 24\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Gp2BNHwbwvI\u003c/p>\n\u003cp>Austin Butler is a hip-swiveling Elvis Presley and Tom Hanks his manipulative manager “Colonel” Tom Parker in what director Baz Luhrmann has been telling interviewers will be an impressionist tapestry exploring mid-20th century America, with all its hangups about race relations and celebrity culture.\u003c/p>\n\u003cp>“It’s a bit like [how] Shakespeare takes a historical figure and uses it to look at a bigger picture,” he told \u003cem>Entertainment Weekly\u003c/em>. Suspicious minds might question that, but since Luhrmann did a decent job with the Leonardo DiCaprio/Claire Danes \u003cem>Romeo and Juliet\u003c/em>, we can probably take him at his word. He went on to say it’s a tale of The King told in three acts—Elvis the punk, Elvis the family-friendly movie star, and Elvis the ’70s jumpsuit fan. \u003cstrong>—Bob Mondello\u003c/strong>\u003c/p>\n\u003ch3>The Princess\u003c/h3>\n\u003cp>\u003cem>Hulu, July 1\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13914148\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914148\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/pcs-04199_r_custom-455e7f865a983f6577d5fcfa5f1ac1c37a900912-800x533.jpg\" alt=\"A woman with wild red hair holds a bloody sword aloft as she stands back to back with another woman.\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Joey King and Veronica Ngo in ‘The Princess.’ \u003ccite>(2022 20th Century Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Little is known about this R-rated dark fantasy film, in which a princess (Joey King) refuses to marry the evil man to whom she is betrothed (Dominic Cooper), gets trapped in a tower, and proceeds to kick medieval butt to save her family as mercenaries attack. We do know it’s directed by Le-Van Kiet, the Vietnamese filmmaker whose 2019 feature \u003cem>Furie\u003c/em>, a gleefully over-the-top martial-arts action film, featured a mother rescuing her daughter from a trafficking ring. This princess is no damsel. \u003cstrong>—Glen Weldon\u003c/strong>\u003c/p>\n\u003ch3>Thor: Love and Thunder\u003c/h3>\n\u003cp>\u003cem>In theaters July 8\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Go8nTmfrQd8\u003c/p>\n\u003cp>Look, you’ve got in the world your \u003cem>Thor: Ragnarok\u003c/em> people and your not-so-much \u003cem>Thor: Ragnaro\u003c/em>k people. I am the former. I think \u003cem>Thor: Ragnarok \u003c/em>was full of good jokes. \u003cem>Thor: Love and Thunder\u003c/em> is another Taika Waititi \u003cem>Thor \u003c/em>movie, and I’m here for it.\u003c/p>\n\u003cp>Not for nothing, the thing that I liked the most about the original MCU \u003cem>Thor \u003c/em>was Natalie Portman, and Natalie Portman is coming back for this movie. You’ve also got your Chris Hemsworth, your Tessa Thompson. At this point with the MCU, I want funny movies. I am somewhat over practically everything else. \u003cstrong>—Linda Holmes\u003c/strong>\u003c/p>\n\u003ch3>Nope\u003c/h3>\n\u003cp>\u003cem>In theaters July 22\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=In8fuzj3gck\u003c/p>\n\u003cp>We know very little about what this movie is about, which is always a good sign with Jordan Peele. I feel like the less we know going into anything he’s working on, the better.\u003c/p>\n\u003cp>There are small hints in the trailer. It opens up with Keke Palmer’s character talking about how one of the first moving images created was of a Black man riding a horse. She claims that it’s her great-great-grandfather, and that she is now part of a collective of the only Black horse trainers in Hollywood. But then the trailer is just lots of images going back and forth, and it’s great. You have Stevie Wonder’s “Fingertips Part II” being cut and sliced and made into creepy music, the way we do with trailers.\u003c/p>\n\u003cp>I’ve seen people trying to decode the movie already, which – if you’re doing that, you’re doing it wrong. \u003cstrong>—Aisha Harris\u003c/strong>\u003c/p>\n\u003ch3>Bullet Train\u003c/h3>\n\u003cp>\u003cem>In theaters August 5\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0IOsk2Vlc4o\u003c/p>\n\u003cp>Five assassins are working interrelated missions on a 250-mph dash across Japan in stuntman-turned-director David Leitch’s action-comedy. Brad Pitt’s the one who left his gun at home—”if you put peace out in the world, you get peace back” he tells handler Sandra Bullock (who replaced Lady Gaga midway through the shoot).\u003c/p>\n\u003cp>Based on a novel by Kotaro Isaka, the film is encountering headwinds for casting non-Asian actors in leading roles, though the author’s on record as being enthusiastic. \u003cstrong>—Bob Mondello\u003c/strong>\u003c/p>\n\u003ch3>Three Thousand Years of Longing\u003c/h3>\n\u003cp>\u003cem>In theaters August 31\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=TWGvntl9itE\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Based on an A.S. Byatt short story, this fantasy film about a scholar (Tilda Swinton) who frees a Djinn (Idris Elba) while visiting Istanbul is co-writer/director George Miller’s first film since the jaw-dropping visual (and logistical) stunner \u003cem>Mad Max: Fury Road\u003c/em>. The trailer promises dazzling visuals, a millennia-spanning story that’s epic in scope (and kinda funny), and a protagonist who, thankfully, knows very well how stories about magical wish-granting usually end. \u003cstrong>—Glen Weldon\u003c/strong>\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=These+are+the+movies+NPR+critics+are+looking+forward+to+this+summer&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Just like there’s \u003ca href=\"https://www.kqed.org/arts/13913871\" target=\"_blank\" rel=\"noopener noreferrer\">too much TV to keep track of\u003c/a>, the summer movie slate is jam-packed after years of pandemic-induced disruption.\u003c/p>\n\u003cp>As temperatures get hotter, burgers, bat mitzvahs and Baz Luhrmann are headed to the big screen. Here’s what NPR critics have their eyes on, in order of release date.\u003c/p>\n\u003ch3>The Bob’s Burgers Movie\u003c/h3>\n\u003cp>\u003cem>In theaters May 27\u003c/em>\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/hbGXqUumtqg'\n title='//www.youtube.com/embed/hbGXqUumtqg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I’ve seen every episode of \u003cem>Bob’s Burgers\u003c/em> at least once. Every week my partner and I will sit down, have dinner and watch the newest episode. And we are excited for this movie.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Little has been divulged. We know the main cast will be there—Bob, Linda, Tina, all of them. Apparently, they have, like, a week to keep their restaurant afloat, and the kids get into a mystery of some sort to try and save it. The trailer is a lot of Gene yelling things at the other siblings, and lots of one-liners.\u003c/p>\n\u003cp>There are many things \u003cem>Bob’s Burgers\u003c/em> does well. But one of the best things is obviously the music and the songs, so I’m excited for those.\u003c/p>\n\u003cp>I do worry that this film has kind of gotten buried. It’s opening in theaters, but I probably would have been fine seeing it on streaming first. —\u003cstrong>Aisha Harris\u003c/strong>\u003c/p>\n\u003ch3>Fire Island\u003c/h3>\n\u003cp>\u003cem>Hulu, June 3\u003c/em>\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/6lKuKcVc3bU'\n title='//www.youtube.com/embed/6lKuKcVc3bU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This is a film written by and starring the very funny Joel Kim Booster, directed by Andrew Ahn. He directed two films I really like called \u003cem>Spa Night\u003c/em> and \u003cem>Driveways\u003c/em>. Both of those movies are really kind of quiet and introspective, but this doesn’t seem to be. This seems to be a kind of raucous gay romcom set in a very privileged queer vacation destination, Fire Island.\u003c/p>\n\u003cp>And the idea behind this movie is just so simple and inevitable. Take the bones of \u003cem>Pride And Prejudice\u003c/em>, and map it over the way that gay men tend to sort ourselves into these very insular cliques based on things like race and income level and age and body fat percentage, and frankly, it just works. It matters who’s telling the story, because the film’s two leads are Booster and Bowen Yang. It’s going to be telling this very familiar story from a perspective we haven’t seen a lot before. According to the trailer, at least, it’s going to be directly addressing the white, rich, cis privilege of the queer community, and of Fire Island in particular. —\u003cstrong>Glen Weldon\u003c/strong>\u003c/p>\n\u003ch3>Neptune Frost\u003c/h3>\n\u003cp>\u003cem>In theaters June 3\u003c/em>\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/Pss6jTzwxQ8'\n title='//www.youtube.com/embed/Pss6jTzwxQ8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>An afro-futurist, sci-fi musical set and shot in Rwanda, this first film by slam-poet/composer Saul Williams and actor/writer Anisia Uzeyman debuted in 2021 at Cannes, and became a festival darling invited to show at Toronto, Sundance, London, New York and a host of other fests last year. It’s enigmatic, poetic, allegorical, operatic, eerie, and so determinedly non-linear, it’s hard to tell what’s going on at any given moment. But if experimental and ambitious count as draws for you, this has plenty of both those qualities. —\u003cstrong>Bob Mondello\u003c/strong>\u003c/p>\n\u003ch3>Crimes of the Future\u003c/h3>\n\u003cp>\u003cem>In theaters June 3\u003c/em>\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/AD8dt9ndGgg'\n title='//www.youtube.com/embed/AD8dt9ndGgg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>David Cronenberg is back, and back to his old trippy/gooey/disquietingly pulsating body-horror tricks, bless him. This time, Viggo Mortensen and Lea Seydoux are a pair of performance artists who perform live surgery in front of audiences, demonstrating how Viggo’s character can grow and mutate his internal organs due to a condition called “Accelerated Evolution Syndrome.” Sing with me: “Tale as old as tiiiiiiiiime….” —\u003cstrong>Glen Weldon\u003c/strong>\u003c/p>\n\u003ch3>Father of the Bride\u003c/h3>\n\u003cp>\u003cem>HBO Max, June 16\u003c/em>\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/Iwm0IO-NFRM'\n title='//www.youtube.com/embed/Iwm0IO-NFRM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>One of the movies that is a gigantic comfort-food pick for me is the ’90s-era Nancy Meyers \u003cem>Father Of The Bride\u003c/em> with Steve Martin. And that is obviously a remake of a Spencer Tracy movie, where Elizabeth Taylor played his daughter. Of course, you definitely do not want to spend too much time with the harried father paying for the expensive wedding. But I’ve always thought this movie was funny and ultimately, really sweet.\u003c/p>\n\u003cp>The ’90s version was a very particular era of Steve Martin. There’s a moment in that movie where Martin, who is a sneaker magnate, has a bedazzled pair of tennis shoes made for his daughter to wear under her wedding dress. And when my sister got married a few years after this movie, which we both loved, I made her a pair of bedazzled tennis shoes, which she wore at the reception under her dress when she got out of her heels.\u003c/p>\n\u003cp>They are doing a remake of this with a Latinx family; Andy Garcia is the patriarch, Gloria Estefan is the mom. And I am really psyched.\u003cstrong> —Linda Holmes\u003c/strong>\u003c/p>\n\u003ch3>Cha Cha Real Smooth\u003c/h3>\n\u003cp>\u003cem>In theaters and Apple TV+ June 17\u003c/em>\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/QRyyagJ9GPo'\n title='//www.youtube.com/embed/QRyyagJ9GPo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Cooper Raiff follows up his charming (if terribly titled) filmmaking debut \u003cem>S***house\u003c/em>, with an indie romance at least twice as charming. Raiff is writer/director and ingratiating leading man, fresh-out-of-college and sleeping on a cot in his little brother’s bedroom. When their mom makes him take the kid to a friend’s bat mitzvah, he meets and falls for Dakota Johnson, gets her autistic daughter to dance, and is immediately swarmed by Jewish mothers who want to hire him as a party-starter for their kids’ bar and bat mitzvahs.\u003c/p>\n\u003cp>Presumably, Raiff is more driven in real life than his character is—you don’t get two films produced in three years without having sharp elbows—but he makes puppyish vulnerability enormously appealing. \u003cstrong>—Bob Mondello\u003c/strong>\u003c/p>\n\u003ch3>Good Luck to You, Leo Grande\u003c/h3>\n\u003cp>\u003cem>In theaters and on Hulu June 17\u003c/em>\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/UZAgk9-e_rc'\n title='//www.youtube.com/embed/UZAgk9-e_rc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A widowed ex-teacher (Emma Thompson) hires a much younger male escort (Daryl McCormack) hoping to make up for a lifetime of sexual timidity and boredom in this winning, surprising, funny, touching, and decidedly feminine (if not precisely feminist) take on self-discovery.\u003c/p>\n\u003cp>Sophie Hyde’s direction is sensitive, and the performers have great chemistry—Thompson initially deflecting the escort’s every attempt to do what she’s hired him to do; McCormack by turns reassuring (“you’re conflicted; conflict is interesting”) and gentle (“may I kiss you on the cheek?”). That their roles will alter over time is a given—”I have some feedback and a couple of attainment goals” says Thompson at the start of a second meeting—and the situation grows interestingly complex. —\u003cstrong>Bob Mondello\u003c/strong>\u003c/p>\n\u003ch3>Elvis\u003c/h3>\n\u003cp>\u003cem>In theaters June 24\u003c/em>\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/Gp2BNHwbwvI'\n title='//www.youtube.com/embed/Gp2BNHwbwvI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Austin Butler is a hip-swiveling Elvis Presley and Tom Hanks his manipulative manager “Colonel” Tom Parker in what director Baz Luhrmann has been telling interviewers will be an impressionist tapestry exploring mid-20th century America, with all its hangups about race relations and celebrity culture.\u003c/p>\n\u003cp>“It’s a bit like [how] Shakespeare takes a historical figure and uses it to look at a bigger picture,” he told \u003cem>Entertainment Weekly\u003c/em>. Suspicious minds might question that, but since Luhrmann did a decent job with the Leonardo DiCaprio/Claire Danes \u003cem>Romeo and Juliet\u003c/em>, we can probably take him at his word. He went on to say it’s a tale of The King told in three acts—Elvis the punk, Elvis the family-friendly movie star, and Elvis the ’70s jumpsuit fan. \u003cstrong>—Bob Mondello\u003c/strong>\u003c/p>\n\u003ch3>The Princess\u003c/h3>\n\u003cp>\u003cem>Hulu, July 1\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13914148\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914148\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/pcs-04199_r_custom-455e7f865a983f6577d5fcfa5f1ac1c37a900912-800x533.jpg\" alt=\"A woman with wild red hair holds a bloody sword aloft as she stands back to back with another woman.\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Joey King and Veronica Ngo in ‘The Princess.’ \u003ccite>(2022 20th Century Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Little is known about this R-rated dark fantasy film, in which a princess (Joey King) refuses to marry the evil man to whom she is betrothed (Dominic Cooper), gets trapped in a tower, and proceeds to kick medieval butt to save her family as mercenaries attack. We do know it’s directed by Le-Van Kiet, the Vietnamese filmmaker whose 2019 feature \u003cem>Furie\u003c/em>, a gleefully over-the-top martial-arts action film, featured a mother rescuing her daughter from a trafficking ring. This princess is no damsel. \u003cstrong>—Glen Weldon\u003c/strong>\u003c/p>\n\u003ch3>Thor: Love and Thunder\u003c/h3>\n\u003cp>\u003cem>In theaters July 8\u003c/em>\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/Go8nTmfrQd8'\n title='//www.youtube.com/embed/Go8nTmfrQd8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Look, you’ve got in the world your \u003cem>Thor: Ragnarok\u003c/em> people and your not-so-much \u003cem>Thor: Ragnaro\u003c/em>k people. I am the former. I think \u003cem>Thor: Ragnarok \u003c/em>was full of good jokes. \u003cem>Thor: Love and Thunder\u003c/em> is another Taika Waititi \u003cem>Thor \u003c/em>movie, and I’m here for it.\u003c/p>\n\u003cp>Not for nothing, the thing that I liked the most about the original MCU \u003cem>Thor \u003c/em>was Natalie Portman, and Natalie Portman is coming back for this movie. You’ve also got your Chris Hemsworth, your Tessa Thompson. At this point with the MCU, I want funny movies. I am somewhat over practically everything else. \u003cstrong>—Linda Holmes\u003c/strong>\u003c/p>\n\u003ch3>Nope\u003c/h3>\n\u003cp>\u003cem>In theaters July 22\u003c/em>\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>We know very little about what this movie is about, which is always a good sign with Jordan Peele. I feel like the less we know going into anything he’s working on, the better.\u003c/p>\n\u003cp>There are small hints in the trailer. It opens up with Keke Palmer’s character talking about how one of the first moving images created was of a Black man riding a horse. She claims that it’s her great-great-grandfather, and that she is now part of a collective of the only Black horse trainers in Hollywood. But then the trailer is just lots of images going back and forth, and it’s great. You have Stevie Wonder’s “Fingertips Part II” being cut and sliced and made into creepy music, the way we do with trailers.\u003c/p>\n\u003cp>I’ve seen people trying to decode the movie already, which – if you’re doing that, you’re doing it wrong. \u003cstrong>—Aisha Harris\u003c/strong>\u003c/p>\n\u003ch3>Bullet Train\u003c/h3>\n\u003cp>\u003cem>In theaters August 5\u003c/em>\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/0IOsk2Vlc4o'\n title='//www.youtube.com/embed/0IOsk2Vlc4o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Five assassins are working interrelated missions on a 250-mph dash across Japan in stuntman-turned-director David Leitch’s action-comedy. Brad Pitt’s the one who left his gun at home—”if you put peace out in the world, you get peace back” he tells handler Sandra Bullock (who replaced Lady Gaga midway through the shoot).\u003c/p>\n\u003cp>Based on a novel by Kotaro Isaka, the film is encountering headwinds for casting non-Asian actors in leading roles, though the author’s on record as being enthusiastic. \u003cstrong>—Bob Mondello\u003c/strong>\u003c/p>\n\u003ch3>Three Thousand Years of Longing\u003c/h3>\n\u003cp>\u003cem>In theaters August 31\u003c/em>\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/TWGvntl9itE'\n title='//www.youtube.com/embed/TWGvntl9itE'\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>Based on an A.S. Byatt short story, this fantasy film about a scholar (Tilda Swinton) who frees a Djinn (Idris Elba) while visiting Istanbul is co-writer/director George Miller’s first film since the jaw-dropping visual (and logistical) stunner \u003cem>Mad Max: Fury Road\u003c/em>. The trailer promises dazzling visuals, a millennia-spanning story that’s epic in scope (and kinda funny), and a protagonist who, thankfully, knows very well how stories about magical wish-granting usually end. \u003cstrong>—Glen Weldon\u003c/strong>\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=These+are+the+movies+NPR+critics+are+looking+forward+to+this+summer&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "‘Americanized’ Explores Identity On and Off the Basketball Court at CAAM Fest",
"headTitle": "‘Americanized’ Explores Identity On and Off the Basketball Court at CAAM Fest | KQED",
"content": "\u003cp>High school. Whether you loved it or hated it, you’ll never forget those four years. Cue the not-so-cute braces, growing body parts and beginner booze. Hpnotiq, I’m looking at you.\u003c/p>\n\u003cp>While classic films like \u003cem>The Breakfast Club\u003c/em>, \u003cem>Love & Basketball\u003c/em> and \u003cem>Clueless\u003c/em> fixated on jocks, popular kids, nerds and misfits, the high school experience in a city as dynamic as Oakland is a universe of its own.\u003c/p>\n\u003cp>Writer and director \u003ca href=\"https://www.ericaeng.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Erica Eng\u003c/a> brings us back to those formative years in her 2021 short film \u003ca href=\"https://www.ericaeng.com/americanized\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Americanized\u003c/em>\u003c/a>, shot at her old stomping grounds at Skyline High School in The Town.\u003c/p>\n\u003cp>https://youtu.be/kDoBVpN5rY0\u003c/p>\n\u003cp>The film, which screens on May 22 at Oakland’s New Parkway Theater as part of \u003ca href=\"https://caamedia.org/caamfest/\" target=\"_blank\" rel=\"noopener noreferrer\">CAAMFest\u003c/a>, starts off with a cornrowed basketball player (also named Eng) slappin’ Zion I’s “\u003ca href=\"https://www.youtube.com/watch?v=Tt7wJnQxWwg\" target=\"_blank\" rel=\"noopener noreferrer\">The Bay\u003c/a>,” a track the Oakland-bred director listened to on repeat in college.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Having been benched most of the season, the protagonist (played by Terry Hu) must fight hard to prove that, even as a newbie, she deserves her shot on the court. And like Eng in real life, the main character grapples with her identity and fitting in.\u003c/p>\n\u003cp>Looking back at her teenage years, Eng says, “I felt very Bay Area-culture embedded. I felt proud of coming from the city, and just being a part of the Bay.” The writer-director graduated high school in the early 2000s, when the hyphy movement was taking off thanks to now-iconic tracks like Mac Dre’s “Thizzle Dance.”\u003c/p>\n\u003cp>If you’re from the Bay, an unwritten code exists. It’s like, if you know, you know. “The music, the style, like the hip-hop culture, it was all to show how the main character identified with American culture the most,” Eng says.\u003c/p>\n\u003cfigure id=\"attachment_13913662\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913662\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Americanized-BTS-1-photo-cred-Pete-Lee-800x533.jpeg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Americanized-BTS-1-photo-cred-Pete-Lee-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Americanized-BTS-1-photo-cred-Pete-Lee-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Americanized-BTS-1-photo-cred-Pete-Lee-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Americanized-BTS-1-photo-cred-Pete-Lee-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Americanized-BTS-1-photo-cred-Pete-Lee-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Americanized-BTS-1-photo-cred-Pete-Lee-2048x1366.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Americanized-BTS-1-photo-cred-Pete-Lee-1920x1280.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Erica Eng (center right) on the set of ‘Americanized.’ \u003ccite>(Pete Lee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Off the court, it’s another battle in the 17-minute narrative. Skyline’s Asian clique doesn’t see eye to eye with the main character and deems her too “Americanized.” “Others might feel like she doesn’t know where she comes from,” Eng explains. “And that could also be true too.”\u003c/p>\n\u003cp>The film explores Eng’s Chinese heritage when we see the protagonist’s home life and her affectionate relationship with her grandmother. However, the fictional Eng pushes her family aside. Like most teenagers, she wants to find acceptance with the kids at school instead. [aside postid='arts_13823736']\u003c/p>\n\u003cp>“My understanding of my identity didn’t just happen in high school,” Eng reflects. “It’s been something I’ve always been kind of working through until my late 20s. So, I think some of the realizations I’ve had in my life I tried to condense into the day in the life of a girl.”\u003c/p>\n\u003cp>Societal norms create all-or-nothing depictions of identity, but \u003cem>Americanized\u003c/em> refuses to put its main character in a box. “I know people look at it like, ‘Oh, the only Asian on the team,’ and I was. But it’s not about race on the team. And if people were to watch the film carefully, they never talked about race,” Eng explains. “The end of the film really talks about how she’s a bad player. And that to me was really important that people understood that nuance.”\u003c/p>\n\u003cfigure id=\"attachment_13913660\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913660\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Americanized_FilmStill_3-DP-Drew-Daniels-800x292.jpeg\" alt=\"\" width=\"800\" height=\"292\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Americanized_FilmStill_3-DP-Drew-Daniels-800x292.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Americanized_FilmStill_3-DP-Drew-Daniels-1020x372.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Americanized_FilmStill_3-DP-Drew-Daniels-160x58.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Americanized_FilmStill_3-DP-Drew-Daniels-768x280.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Americanized_FilmStill_3-DP-Drew-Daniels-1536x561.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Americanized_FilmStill_3-DP-Drew-Daniels-2048x748.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Americanized_FilmStill_3-DP-Drew-Daniels-1920x701.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Americanized.’ \u003ccite>(Courtesy of Erica Eng. Director of photography: Drew Daniels.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a director, Eng has created commercials for Netflix, Verizon, McAfee and Bank of America as well as numerous music videos, such as D Smoke’s “\u003ca href=\"https://www.youtube.com/watch?v=sprU1lvqacU\" target=\"_blank\" rel=\"noopener noreferrer\">Fighter\u003c/a>” and J.Lately’s “\u003ca href=\"https://www.youtube.com/watch?v=Y6fYrOmmT-w\" target=\"_blank\" rel=\"noopener noreferrer\">Papayas & Blunt Smoke\u003c/a>.”\u003c/p>\n\u003cp>\u003cem>Americanized\u003c/em> is the first short film Eng wrote and directed herself. It’s taken home 16 awards, including Best Dramatic Short and Audience Choice Award at Cinequest Film & VR Festival and the Young Cineastes Award at Palm Springs International ShortFest.\u003c/p>\n\u003cp>On the big screen, we get a feel of Eng’s cinematic style, alongside that of Drew Daniels, the director of photography. The film’s visual appeal comes from a mix of handheld, point-of-view tracking and close-up shots that set viewers right in the center of it all–almost like you’re a friend tagging along. [aside postid='arts_13913577']\u003c/p>\n\u003cp>Recently, Eng was chosen for Disney’s Launchpad Shorts Incubator program, SHOOT Magazine’s New Directors Showcase and Commercial Directors Diversity Program. Eng’s next short, titled \u003cem>Off Fairfax\u003c/em>, will premiere at New York’s Tribeca Film Festival in June.\u003c/p>\n\u003cp>\u003cem>Americanized\u003c/em> is a story about learning who you are and accepting the parts that you or others may view as not enough. “We’re all so similar,” Eng says. “We’re all the same, but we all feel like we’re so isolated when we’re young.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/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>Americanized is part of \u003ca href=\"https://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=734799~d7bba85b-e59d-45d4-98ef-a83d94035b4e&epguid=9e517fbf-c251-4398-89a8-971865c19146&\" target=\"_blank\" rel=\"noopener noreferrer\">CAAMFest’s Homegrown Shorts\u003c/a> program alongside My Name is Lai (directed by Lucy Saephan), Crashing Wheels on Concrete (directed by So Young Shelly Yo), Love & Corona (directed by Nicole Maxali) and Hannah’s Biography (directed by Patricia Lee). The screening takes place on May 22 at 2pm at New Parkway Theater.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Erica Eng's autobiographical short film navigates belonging and Chinese heritage in Oakland.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>High school. Whether you loved it or hated it, you’ll never forget those four years. Cue the not-so-cute braces, growing body parts and beginner booze. Hpnotiq, I’m looking at you.\u003c/p>\n\u003cp>While classic films like \u003cem>The Breakfast Club\u003c/em>, \u003cem>Love & Basketball\u003c/em> and \u003cem>Clueless\u003c/em> fixated on jocks, popular kids, nerds and misfits, the high school experience in a city as dynamic as Oakland is a universe of its own.\u003c/p>\n\u003cp>Writer and director \u003ca href=\"https://www.ericaeng.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Erica Eng\u003c/a> brings us back to those formative years in her 2021 short film \u003ca href=\"https://www.ericaeng.com/americanized\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Americanized\u003c/em>\u003c/a>, shot at her old stomping grounds at Skyline High School in The Town.\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/kDoBVpN5rY0'\n title='//www.youtube.com/embed/kDoBVpN5rY0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The film, which screens on May 22 at Oakland’s New Parkway Theater as part of \u003ca href=\"https://caamedia.org/caamfest/\" target=\"_blank\" rel=\"noopener noreferrer\">CAAMFest\u003c/a>, starts off with a cornrowed basketball player (also named Eng) slappin’ Zion I’s “\u003ca href=\"https://www.youtube.com/watch?v=Tt7wJnQxWwg\" target=\"_blank\" rel=\"noopener noreferrer\">The Bay\u003c/a>,” a track the Oakland-bred director listened to on repeat in college.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Having been benched most of the season, the protagonist (played by Terry Hu) must fight hard to prove that, even as a newbie, she deserves her shot on the court. And like Eng in real life, the main character grapples with her identity and fitting in.\u003c/p>\n\u003cp>Looking back at her teenage years, Eng says, “I felt very Bay Area-culture embedded. I felt proud of coming from the city, and just being a part of the Bay.” The writer-director graduated high school in the early 2000s, when the hyphy movement was taking off thanks to now-iconic tracks like Mac Dre’s “Thizzle Dance.”\u003c/p>\n\u003cp>If you’re from the Bay, an unwritten code exists. It’s like, if you know, you know. “The music, the style, like the hip-hop culture, it was all to show how the main character identified with American culture the most,” Eng says.\u003c/p>\n\u003cfigure id=\"attachment_13913662\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913662\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Americanized-BTS-1-photo-cred-Pete-Lee-800x533.jpeg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Americanized-BTS-1-photo-cred-Pete-Lee-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Americanized-BTS-1-photo-cred-Pete-Lee-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Americanized-BTS-1-photo-cred-Pete-Lee-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Americanized-BTS-1-photo-cred-Pete-Lee-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Americanized-BTS-1-photo-cred-Pete-Lee-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Americanized-BTS-1-photo-cred-Pete-Lee-2048x1366.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Americanized-BTS-1-photo-cred-Pete-Lee-1920x1280.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Erica Eng (center right) on the set of ‘Americanized.’ \u003ccite>(Pete Lee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Off the court, it’s another battle in the 17-minute narrative. Skyline’s Asian clique doesn’t see eye to eye with the main character and deems her too “Americanized.” “Others might feel like she doesn’t know where she comes from,” Eng explains. “And that could also be true too.”\u003c/p>\n\u003cp>The film explores Eng’s Chinese heritage when we see the protagonist’s home life and her affectionate relationship with her grandmother. However, the fictional Eng pushes her family aside. Like most teenagers, she wants to find acceptance with the kids at school instead. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“My understanding of my identity didn’t just happen in high school,” Eng reflects. “It’s been something I’ve always been kind of working through until my late 20s. So, I think some of the realizations I’ve had in my life I tried to condense into the day in the life of a girl.”\u003c/p>\n\u003cp>Societal norms create all-or-nothing depictions of identity, but \u003cem>Americanized\u003c/em> refuses to put its main character in a box. “I know people look at it like, ‘Oh, the only Asian on the team,’ and I was. But it’s not about race on the team. And if people were to watch the film carefully, they never talked about race,” Eng explains. “The end of the film really talks about how she’s a bad player. And that to me was really important that people understood that nuance.”\u003c/p>\n\u003cfigure id=\"attachment_13913660\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913660\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Americanized_FilmStill_3-DP-Drew-Daniels-800x292.jpeg\" alt=\"\" width=\"800\" height=\"292\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Americanized_FilmStill_3-DP-Drew-Daniels-800x292.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Americanized_FilmStill_3-DP-Drew-Daniels-1020x372.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Americanized_FilmStill_3-DP-Drew-Daniels-160x58.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Americanized_FilmStill_3-DP-Drew-Daniels-768x280.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Americanized_FilmStill_3-DP-Drew-Daniels-1536x561.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Americanized_FilmStill_3-DP-Drew-Daniels-2048x748.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Americanized_FilmStill_3-DP-Drew-Daniels-1920x701.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Americanized.’ \u003ccite>(Courtesy of Erica Eng. Director of photography: Drew Daniels.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a director, Eng has created commercials for Netflix, Verizon, McAfee and Bank of America as well as numerous music videos, such as D Smoke’s “\u003ca href=\"https://www.youtube.com/watch?v=sprU1lvqacU\" target=\"_blank\" rel=\"noopener noreferrer\">Fighter\u003c/a>” and J.Lately’s “\u003ca href=\"https://www.youtube.com/watch?v=Y6fYrOmmT-w\" target=\"_blank\" rel=\"noopener noreferrer\">Papayas & Blunt Smoke\u003c/a>.”\u003c/p>\n\u003cp>\u003cem>Americanized\u003c/em> is the first short film Eng wrote and directed herself. It’s taken home 16 awards, including Best Dramatic Short and Audience Choice Award at Cinequest Film & VR Festival and the Young Cineastes Award at Palm Springs International ShortFest.\u003c/p>\n\u003cp>On the big screen, we get a feel of Eng’s cinematic style, alongside that of Drew Daniels, the director of photography. The film’s visual appeal comes from a mix of handheld, point-of-view tracking and close-up shots that set viewers right in the center of it all–almost like you’re a friend tagging along. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Recently, Eng was chosen for Disney’s Launchpad Shorts Incubator program, SHOOT Magazine’s New Directors Showcase and Commercial Directors Diversity Program. Eng’s next short, titled \u003cem>Off Fairfax\u003c/em>, will premiere at New York’s Tribeca Film Festival in June.\u003c/p>\n\u003cp>\u003cem>Americanized\u003c/em> is a story about learning who you are and accepting the parts that you or others may view as not enough. “We’re all so similar,” Eng says. “We’re all the same, but we all feel like we’re so isolated when we’re young.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/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>Americanized is part of \u003ca href=\"https://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=734799~d7bba85b-e59d-45d4-98ef-a83d94035b4e&epguid=9e517fbf-c251-4398-89a8-971865c19146&\" target=\"_blank\" rel=\"noopener noreferrer\">CAAMFest’s Homegrown Shorts\u003c/a> program alongside My Name is Lai (directed by Lucy Saephan), Crashing Wheels on Concrete (directed by So Young Shelly Yo), Love & Corona (directed by Nicole Maxali) and Hannah’s Biography (directed by Patricia Lee). The screening takes place on May 22 at 2pm at New Parkway Theater.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Vangelis, Famed Film Composer and Synth Pioneer, Dies at 79",
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"content": "\u003cp>Composer Vangelis, who gave the movie \u003cem>Chariots of Fire \u003c/em>its signature synth-driven sound, has died. He was 79 years old. According to his assistant Lefteris Zermas, Vangelis died on the May 17 in a hospital in Paris, due to heart failure. \u003c/p>\n\u003cp>Vangelis was born Evangelos Odysseas Papathanassiou in the Greek town of Agria. He was a self-taught musician who became a young piano prodigy. Then he moved to Paris and co-founded the popular prog-rock group \u003ca href=\"https://www.youtube.com/watch?v=3KCbqhJt16k\">Aphrodite’s Child\u003c/a>. The band eventually split and Vangelis got a solo record deal with RCA Records. \u003c/p>\n\u003cp>In 1981 he composed the score for \u003cem>Chariots of Fire\u003c/em>. Its opening theme, with its uplifting inspirational swell and ornate arrangement, was released as a single and reached the top of the \u003ca href=\"https://www.billboard.com/artist/vangelis/chart-history/tlp/\">Billboard Hot 100\u003c/a>. His efforts earned him a win for best original score at the Academy Awards. \u003c/p>\n\u003cp>The success led him to other film work. Notably, he composed the soundtrack for the original \u003cem>Blade Runner\u003c/em>, as well as Carl Sagan’s PBS documentary series \u003cem>Cosmos\u003c/em>. Outside of composing scores, Vangelis was prolific in his solo career, regularly releasing albums up until last year’s \u003cem>Juno to Jupiter. \u003c/em>\u003c/p>\n\u003cp>While he was most associated with the synthesizer, the instrument was also a source of frustration for him. “I’ve been using synthesizers for so many years, but they’ve never been designed properly. They create a lot of problems.” \u003ca href=\"https://www.npr.org/2016/10/17/497797809/from-composer-vangelis-a-true-story-set-in-outer-space\">he told NPR in 2016.\u003c/a> “The computers have completely different logic than the human logic.” So for his 2016 record \u003cem>Rosetta\u003c/em>, dedicated to the space probe of the same name, he simply built his own synthesizer. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Vangelis had a lifelong interest in space which was reflected in his music — in its breadth and atmosphere. He believed that there was something inherent in humans to want to discover — whether that meant up in the sky or in a studio.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For Vangelis, becoming a musician was never a conscious decision. “It’s very difficult \u003cem>not\u003c/em> to make music,” Vangelis told NPR in 1977. “It’s as natural as I eat, as I make love. Music is the same.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2022 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Vangelis%2C+famed+film+composer+and+synth+pioneer%2C+dead+at+79&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"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.",
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"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>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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},
"radiolab": {
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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