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"content": "\u003cp>Muslims are very rarely depicted in movies, and when they are, it’s usually as a stereotypical terrorist, \u003ca href=\"https://variety.com/2021/film/news/riz-ahmed-muslim-study-usc-annenberg-inclusion-initiative-pillars-fund-1234993247/\" target=\"_blank\" rel=\"noopener noreferrer\">what Oscar nominated actor Riz Ahmed calls a “dangerous trope.”\u003c/a> Having spoken out about this issue for several years, he’s been looking for hard data. Now’s he got it. This week, The University of Southern California’s Annenberg Inclusion Initiative came out with the report he asked for. It’s titled \u003ca href=\"https://assets.uscannenberg.org/docs/aii-muslim-rep-global-film-2021-06-09.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Missing and Maligned: The Reality of Muslims in Popular Global Movies.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>USC’s researchers combed through 200 popular films from the U.S., the U.K., Australia and New Zealand from 2017 to 2019. They found that only six of them had a Muslim in a co-leading role, and only one of those was female. Of the nearly 9,000 speaking parts, fewer than two percent were Muslim. And there were none in animated movies.\u003c/p>\n\u003cp>“Being confronted with the hard stats themselves was in a way shocking to see how bad it was,” Ahmed told NPR. “Just the extent of Muslim erasure, the extent in particular of erasure of Black Muslims, and Muslim women, it was really shocking.”\u003c/p>\n\u003cp>[aside postid='arts_13880993']The report pointed to several examples, including the film \u003cem>Hotel Mumbai\u003c/em>, which featured Muslims as terrorists. Movies such as \u003cem>Aladdin\u003c/em> depicted Muslim characters only in the past. Other films portrayed Muslims as outsiders or subservient to white characters. In 2017’s \u003cem>Wonder Woman\u003c/em>, the character Sameer had to play up a stereotype. He later complains about his limited opportunities. “Not everyone gets to be what they want to be all the time,” he says to the superhero. “Me? I am an actor. I love acting.”\u003c/p>\n\u003cp>Ahmed and the Inclusion Initiative also worked on the study with The Pillars Fund, a foundation for Muslims in the U.S. The group’s cofounder and president, Kashif Shaikh says that while the Muslim community is racially and ethnically diverse, it’s rarely shown that way in movies. He said Hollywood has created and reinforced dangerous portrayals.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“When you are constantly depicting Muslims as terrorists, there are consequences to that,” says Shaikh. “It’s easy … to now dehumanize us.”\u003c/p>\n\u003cp>Shaikh says his group is not necessarily calling for only positive portrayals, but he advocates for more Muslim roles with nuance. 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"content": "\u003cdiv class=\"post-body\">\u003cp>“I recoiled when that MI5 agent said ‘did you become an actor to further the Muslim struggle?,'” he recalls, saying he’d much rather be acting than be a poster boy for this issue. But he says he realized later he had to speak up.\u003c/p>\n\u003cp>“Maybe I did become an actor to be seen and portrayed with empathy and dignity, to be seen as fully human as much as any other character.”\u003c/p>\n\u003cp>The report includes a “blueprint” for Muslim inclusion: solutions for film studios, film schools, and philanthropies. The Pillars Fund is awarding a new fellowship for Muslim artists. Ahmed is also teaming with Mahershala Ali, Ramy Youssef, Sana Amanat, Karim Amer, Rosa Attab, Nida Manzoor and Jehane Noujaim. They’re challenging film companies to secure deals with Muslim creators and to “sunset” the old tropes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Rose Friedman, and adapted for the web by Rose Friedman and Mandalit del Barco.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Just+10%25+Of+Popular+Movies+Had+A+Muslim+Character.+Riz+Ahmed+Wants+To+Change+That&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! Frameline Hits the High Notes",
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"content": "\u003cp>As we gradually return to pre-pandemic patterns and routines—rush hour traffic! public drinking! berating minimum-wage workers!—the final step, for many of us, will be sitting in a movie theater. Whether you are in a frame of mind to do it physically or vicariously, \u003ca href=\"https://www.frameline.org/festival\" rel=\"noopener noreferrer\" target=\"_blank\">Frameline45\u003c/a> (a.k.a. San Francisco International LGBTQ+ Film Festival) marks a watershed: In its range of venues, but especially in its extraordinary breadth of programming, Frameline45 (June 10–27) heralds a return to true community-based festival-going.\u003c/p>\n\u003cp>I certainly don’t mean to slight SF DocFest (continuing through June 20), with its expansive slate to go with its Roxie playdates (through June 17). But identity-based festivals like Frameline fulfill their mission—to recognize the invisible, the mocked, the persecuted and the “other”—with public showings where people come out and see each other, along with whoever’s on the screen. And if you’re including every corner of that extended and sometimes niche-y community, you have to show a wide range of films.\u003c/p>\n\u003cfigure id=\"attachment_13898587\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/Everybodys-Talking-About-Jamie-1_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13898587\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Everybodys-Talking-About-Jamie-1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Everybodys-Talking-About-Jamie-1_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Everybodys-Talking-About-Jamie-1_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Everybodys-Talking-About-Jamie-1_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Everybodys-Talking-About-Jamie-1_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Jonathan Butterell’s ‘Everybody’s Talking About Jamie,’ 2021. \u003ccite>(Courtesy Frameline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To be sure, sometimes it’s mainstream fare, like the big-screen adaptations of Lin-Manuel Miranda’s hit stage musical \u003cem>\u003ca href=\"https://www.frameline.org/year-round/audience/calendar/in-the-heights\" rel=\"noopener noreferrer\" target=\"_blank\">In the Heights\u003c/a>\u003c/em> and the British musical triumph \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/everybodyand8217s-talking-about-jamie\" rel=\"noopener noreferrer\" target=\"_blank\">Everybody’s Talking About Jamie\u003c/a>\u003c/em> (June 12 and 13, respectively at Oracle Park, the home of the Giants).\u003c/p>\n\u003cp>Sometimes the hook is celebrity talent, like the doc \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/truman-and-tennessee-an-intimate-conversation\" rel=\"noopener noreferrer\" target=\"_blank\">Truman and Tennessee: An Intimate Conversation\u003c/a>\u003c/em> (with Jim Parsons and Zachary Quinto voicing the writers) and the equally sharp-tongued dramedy \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/swan-song\" rel=\"noopener noreferrer\" target=\"_blank\">Swan Song\u003c/a>\u003c/em>, starring Udo Kier as an Ohio hairdresser summoned from retirement for one last job. Cloris Leachman plays a stalwart elder with a drag-queen grandson in the Canadian drama \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/jump-darling-(in-theatres)\" rel=\"noopener noreferrer\" target=\"_blank\">Jump, Darling\u003c/a>\u003c/em> (June 26 at the, yes, Castro). The dance docs \u003cem>Ailey\u003c/em> and \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/can-you-bring-it-bill-t-jones-and-d-man-in-the-waters\" rel=\"noopener noreferrer\" target=\"_blank\">Can You Bring It: Bill T. Jones and D-Man in the Waters\u003c/a>\u003c/em> likewise speak (in gestures) for themselves.\u003c/p>\n\u003cp>Then there are the people who should be household names. \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/nelly-queen-the-life-and-times-of-josand233-sarria\" rel=\"noopener noreferrer\" target=\"_blank\">Nelly Queen: The Life and Times of José Sarria\u003c/a>\u003c/em> profiles the lifelong entertainer, activist and first openly gay candidate for public office in the U.S. (he ran for S.F. supervisor 60 years ago). Academy Award-winning S.F. documentary maker Debra Chasnoff was loved and admired by many, but her journey through terminal cancer, which she documented in \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/prognosis-notes-on-living\" rel=\"noopener noreferrer\" target=\"_blank\">Prognosis: Notes on Living\u003c/a>\u003c/em> (completed after her death by her trusted collaborators and premiering online June 19), places her among the immortals.\u003c/p>\n\u003cfigure id=\"attachment_13898588\" class=\"wp-caption aligncenter\" style=\"max-width: 1060px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/NellyQueen2.jpg\" alt=\"\" width=\"1060\" height=\"1073\" class=\"size-full wp-image-13898588\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NellyQueen2.jpg 1060w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NellyQueen2-800x810.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NellyQueen2-1020x1033.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NellyQueen2-160x162.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NellyQueen2-768x777.jpg 768w\" sizes=\"(max-width: 1060px) 100vw, 1060px\">\u003cfigcaption class=\"wp-caption-text\">A photograph of José Sarria in Joseph R. Castel’s ‘Nelly Queen: The Life and Times of José Sarria,’ 2020. \u003ccite>(Courtesy Frameline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The ’70s all-woman rock band Fanny deserves an exhibit in the Rock & Roll Hall of Fame, and \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/fanny-the-right-to-rock-(drive-in)\" rel=\"noopener noreferrer\" target=\"_blank\">Fanny: The Right to Rock\u003c/a>\u003c/em> (June 10 at the West Wind Solano Drive-in and then online) will help that righteous cause. Speaking of knocking down walls through popular art, East Bay filmmaker Vivian Kleiman’s \u003cem>No Straight Lines: The Rise of Queer Comics\u003c/em> (June 27 at the Castro) salutes the late Howard Cruse, Alison Bechdel and other graphic novelists who animated (and satirized) gay and lesbian life with pen and ink.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Monika Treut’s late-’90s portrait of gender-fluid San Franciscans, \u003cem>Gendernauts\u003c/em>, was a revelation (in Europe, certainly, if not here). Her pre-pandemic sequel, \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/genderation\" rel=\"noopener noreferrer\" target=\"_blank\">Genderation\u003c/a>\u003c/em>, brings us up to speed 20 years down the road with Susan Stryker, Annie Sprinkle and other rebels and disruptors. Is the past prologue? Jose Enrique Tiglao’s Filipino intersex adolescent drama \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/metamorphosis\" rel=\"noopener noreferrer\" target=\"_blank\">Metamorphosis\u003c/a>\u003c/em>, among other Frameline45 entries, continues the work of expanding the mainstream.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Frameline45 takes place in person at various Bay Area venues June 10–27 and streams nationally June 17–27. \u003ca href=\"https://www.frameline.org/festival\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As we gradually return to pre-pandemic patterns and routines—rush hour traffic! public drinking! berating minimum-wage workers!—the final step, for many of us, will be sitting in a movie theater. Whether you are in a frame of mind to do it physically or vicariously, \u003ca href=\"https://www.frameline.org/festival\" rel=\"noopener noreferrer\" target=\"_blank\">Frameline45\u003c/a> (a.k.a. San Francisco International LGBTQ+ Film Festival) marks a watershed: In its range of venues, but especially in its extraordinary breadth of programming, Frameline45 (June 10–27) heralds a return to true community-based festival-going.\u003c/p>\n\u003cp>I certainly don’t mean to slight SF DocFest (continuing through June 20), with its expansive slate to go with its Roxie playdates (through June 17). But identity-based festivals like Frameline fulfill their mission—to recognize the invisible, the mocked, the persecuted and the “other”—with public showings where people come out and see each other, along with whoever’s on the screen. And if you’re including every corner of that extended and sometimes niche-y community, you have to show a wide range of films.\u003c/p>\n\u003cfigure id=\"attachment_13898587\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/Everybodys-Talking-About-Jamie-1_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13898587\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Everybodys-Talking-About-Jamie-1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Everybodys-Talking-About-Jamie-1_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Everybodys-Talking-About-Jamie-1_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Everybodys-Talking-About-Jamie-1_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Everybodys-Talking-About-Jamie-1_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Jonathan Butterell’s ‘Everybody’s Talking About Jamie,’ 2021. \u003ccite>(Courtesy Frameline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To be sure, sometimes it’s mainstream fare, like the big-screen adaptations of Lin-Manuel Miranda’s hit stage musical \u003cem>\u003ca href=\"https://www.frameline.org/year-round/audience/calendar/in-the-heights\" rel=\"noopener noreferrer\" target=\"_blank\">In the Heights\u003c/a>\u003c/em> and the British musical triumph \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/everybodyand8217s-talking-about-jamie\" rel=\"noopener noreferrer\" target=\"_blank\">Everybody’s Talking About Jamie\u003c/a>\u003c/em> (June 12 and 13, respectively at Oracle Park, the home of the Giants).\u003c/p>\n\u003cp>Sometimes the hook is celebrity talent, like the doc \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/truman-and-tennessee-an-intimate-conversation\" rel=\"noopener noreferrer\" target=\"_blank\">Truman and Tennessee: An Intimate Conversation\u003c/a>\u003c/em> (with Jim Parsons and Zachary Quinto voicing the writers) and the equally sharp-tongued dramedy \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/swan-song\" rel=\"noopener noreferrer\" target=\"_blank\">Swan Song\u003c/a>\u003c/em>, starring Udo Kier as an Ohio hairdresser summoned from retirement for one last job. Cloris Leachman plays a stalwart elder with a drag-queen grandson in the Canadian drama \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/jump-darling-(in-theatres)\" rel=\"noopener noreferrer\" target=\"_blank\">Jump, Darling\u003c/a>\u003c/em> (June 26 at the, yes, Castro). The dance docs \u003cem>Ailey\u003c/em> and \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/can-you-bring-it-bill-t-jones-and-d-man-in-the-waters\" rel=\"noopener noreferrer\" target=\"_blank\">Can You Bring It: Bill T. Jones and D-Man in the Waters\u003c/a>\u003c/em> likewise speak (in gestures) for themselves.\u003c/p>\n\u003cp>Then there are the people who should be household names. \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/nelly-queen-the-life-and-times-of-josand233-sarria\" rel=\"noopener noreferrer\" target=\"_blank\">Nelly Queen: The Life and Times of José Sarria\u003c/a>\u003c/em> profiles the lifelong entertainer, activist and first openly gay candidate for public office in the U.S. (he ran for S.F. supervisor 60 years ago). Academy Award-winning S.F. documentary maker Debra Chasnoff was loved and admired by many, but her journey through terminal cancer, which she documented in \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/prognosis-notes-on-living\" rel=\"noopener noreferrer\" target=\"_blank\">Prognosis: Notes on Living\u003c/a>\u003c/em> (completed after her death by her trusted collaborators and premiering online June 19), places her among the immortals.\u003c/p>\n\u003cfigure id=\"attachment_13898588\" class=\"wp-caption aligncenter\" style=\"max-width: 1060px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/NellyQueen2.jpg\" alt=\"\" width=\"1060\" height=\"1073\" class=\"size-full wp-image-13898588\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NellyQueen2.jpg 1060w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NellyQueen2-800x810.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NellyQueen2-1020x1033.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NellyQueen2-160x162.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NellyQueen2-768x777.jpg 768w\" sizes=\"(max-width: 1060px) 100vw, 1060px\">\u003cfigcaption class=\"wp-caption-text\">A photograph of José Sarria in Joseph R. Castel’s ‘Nelly Queen: The Life and Times of José Sarria,’ 2020. \u003ccite>(Courtesy Frameline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The ’70s all-woman rock band Fanny deserves an exhibit in the Rock & Roll Hall of Fame, and \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/fanny-the-right-to-rock-(drive-in)\" rel=\"noopener noreferrer\" target=\"_blank\">Fanny: The Right to Rock\u003c/a>\u003c/em> (June 10 at the West Wind Solano Drive-in and then online) will help that righteous cause. Speaking of knocking down walls through popular art, East Bay filmmaker Vivian Kleiman’s \u003cem>No Straight Lines: The Rise of Queer Comics\u003c/em> (June 27 at the Castro) salutes the late Howard Cruse, Alison Bechdel and other graphic novelists who animated (and satirized) gay and lesbian life with pen and ink.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Monika Treut’s late-’90s portrait of gender-fluid San Franciscans, \u003cem>Gendernauts\u003c/em>, was a revelation (in Europe, certainly, if not here). Her pre-pandemic sequel, \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/genderation\" rel=\"noopener noreferrer\" target=\"_blank\">Genderation\u003c/a>\u003c/em>, brings us up to speed 20 years down the road with Susan Stryker, Annie Sprinkle and other rebels and disruptors. Is the past prologue? Jose Enrique Tiglao’s Filipino intersex adolescent drama \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/metamorphosis\" rel=\"noopener noreferrer\" target=\"_blank\">Metamorphosis\u003c/a>\u003c/em>, among other Frameline45 entries, continues the work of expanding the mainstream.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Frameline45 takes place in person at various Bay Area venues June 10–27 and streams nationally June 17–27. \u003ca href=\"https://www.frameline.org/festival\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Watch: The Surreal Silent Film the Oakland Tribune Made in 1925 ... About a Reader’s Dream",
"headTitle": "Watch: The Surreal Silent Film the Oakland Tribune Made in 1925 … About a Reader’s Dream | KQED",
"content": "\u003cp>“Have you ever received a warning or intimation of approaching good or ill while wrapt in dreamy slumber? Have you ever been the victim of baffling situations, mysterious penalties, grotesque associations, or weird inconsistencies, because all the while you were enchanted in the stable fetters of sleep?”\u003c/p>\n\u003cp>This is how, on Nov. 16, 1925, the \u003ca href=\"https://twitter.com/OakTribNews\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Oakland Tribune\u003c/em>\u003c/a> launched the most surreal competition in its history: The Tribune-American Theater Dream Contest. Readers were asked to send in detailed descriptions of strange dreams they’d had, for the chance to win $25 and a movie role. “The winning dream,” the \u003cem>Tribune\u003c/em> explained, “will be made with local backgrounds and with the dreamers themselves re-enacting their slumber visions.” The film would then be shown at the American Theatre—then located on San Pablo Avenue near the corner of 17th Street.\u003c/p>\n\u003cfigure id=\"attachment_13898285\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13898285\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/Screen-Shot-2021-06-03-at-3.25.58-PM-800x289.png\" alt=\"The dream contest form, as seen in 'The Oakland Tribune' throughout November and December 1925.\" width=\"800\" height=\"289\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-03-at-3.25.58-PM-800x289.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-03-at-3.25.58-PM-1020x369.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-03-at-3.25.58-PM-160x58.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-03-at-3.25.58-PM-768x278.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-03-at-3.25.58-PM.png 1350w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The dream contest form, as seen in ‘The Oakland Tribune’ throughout November and December 1925. \u003ccite>(The Oakland Tribune)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Within days, the newspaper was bombarded with entries from all over the Bay Area. “The chance to ‘see yourself in the movies’ has appealed to many aspirants who have long desired a screen test of themselves,” the \u003cem>Tribune\u003c/em> reported, “and numerous replies have been received from kiddies ambitious to make their screen debut.” In addition to entries from Oakland, Alameda and Berkeley, one story proudly stated, the paper also received dream summaries from “Stege, Avon, Glen Ellen, Hayward, Niles, Pinole, Watsonville and San Jose.”\u003c/p>\n\u003cp>[aside postid='arts_13884403']Readers told of dreams in which they died, became British royalty, received “nocturnal warnings,” and rode whales to France. The Nov. 19 \u003cem>Tribune\u003c/em> listed highlights from the “Dream Editor’s mail.” These included tales about “the Prince of Wales in a 1913 aeroplane, golden winged birds in fairy castles, a pedestrian jaunt across San Francisco Bay, a wicked hermit having a bodyguard of fierce lions, a midnight sky full of waving American flags,” and many more.\u003c/p>\n\u003cp>Some lucky entries were even given the dream analysis treatment in the \u003cem>Tribune\u003c/em>—a practice that had grown increasingly fashionable since Sigmund Freud published \u003cem>The Interpretation of Dreams\u003c/em> in 1900. (“To see one’s self beheaded is a sign that loyal friends are near you,” a \u003cem>Tribune\u003c/em> interpreter advised one reader.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Then on Nov. 23, the \u003cem>Tribune\u003c/em> finally announced its winner: a Mrs. L. L. Nicholson of 3812 San Juan St., Oakland, who dreamed her baby stole the family car and got a speeding ticket. Nicholson, her husband, and their baby boy, Bobby, made a special appearance in the newspaper, photographed while receiving their $25 check.\u003c/p>\n\u003cfigure id=\"attachment_13898264\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13898264\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/Screen-Shot-2021-06-02-at-5.18.31-PM-800x717.png\" alt=\"The Nicholson family, as seen in the 'Oakland Tribune' on Nov. 28, 1925.\" width=\"800\" height=\"717\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-02-at-5.18.31-PM-800x717.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-02-at-5.18.31-PM-1020x914.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-02-at-5.18.31-PM-160x143.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-02-at-5.18.31-PM-768x688.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-02-at-5.18.31-PM.png 1216w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Nicholson family, as seen in the ‘Oakland Tribune’ on Nov. 28, 1925. \u003ccite>(The Oakland Tribune)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Five days before they appeared, the \u003cem>Tribune\u003c/em> had excitedly announced, “OAKLAND BOY, 11 MONTHS, TO STAR IN DREAM MOVIE.” The resulting seven-and-a-half-minute silent film starts at the family’s home in Oakland, travels to the ferry building in San Francisco, then back to the East Bay in a row boat. There are peculiar subplots involving two fish, and an “auto” acting “queerly.”\u003c/p>\n\u003cp>The Nicholson family’s dream movie can be seen in all its glory below:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=f3E0INvKAwQ\u003c/p>\n\u003cp>The \u003cem>Tribune\u003c/em> ran the dream competition two more times before the end of 1925. The second winner—Miss Carolyn Flowers of 5437 Thomas St.—won for a dream in which a KLX radio orchestra struggled to survive “repeated sinister interruptions.” A third winner was supposed to be named in mid-December, but that announcement can’t be found in the available \u003cem>Tribune\u003c/em> archives.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The curious competition ultimately leaves us with a fascinating snapshot of the pop culture trends of 1925. Dreams, this contest leads us to believe, were celebrated as a wonderful form of escapism. As the \u003cem>Tribune\u003c/em> reported on Dec. 7: “In dreamland you abolish the limitations of time and space. You explore the weedy depths of the seven seas and are present at the birth of the morning.”\u003c/p>\n\n",
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"excerpt": "Winners of the hugely popular Tribune-American Theatre Dream Contest got $25 and a starring role in their own dream movie. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Have you ever received a warning or intimation of approaching good or ill while wrapt in dreamy slumber? Have you ever been the victim of baffling situations, mysterious penalties, grotesque associations, or weird inconsistencies, because all the while you were enchanted in the stable fetters of sleep?”\u003c/p>\n\u003cp>This is how, on Nov. 16, 1925, the \u003ca href=\"https://twitter.com/OakTribNews\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Oakland Tribune\u003c/em>\u003c/a> launched the most surreal competition in its history: The Tribune-American Theater Dream Contest. Readers were asked to send in detailed descriptions of strange dreams they’d had, for the chance to win $25 and a movie role. “The winning dream,” the \u003cem>Tribune\u003c/em> explained, “will be made with local backgrounds and with the dreamers themselves re-enacting their slumber visions.” The film would then be shown at the American Theatre—then located on San Pablo Avenue near the corner of 17th Street.\u003c/p>\n\u003cfigure id=\"attachment_13898285\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13898285\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/Screen-Shot-2021-06-03-at-3.25.58-PM-800x289.png\" alt=\"The dream contest form, as seen in 'The Oakland Tribune' throughout November and December 1925.\" width=\"800\" height=\"289\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-03-at-3.25.58-PM-800x289.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-03-at-3.25.58-PM-1020x369.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-03-at-3.25.58-PM-160x58.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-03-at-3.25.58-PM-768x278.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-03-at-3.25.58-PM.png 1350w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The dream contest form, as seen in ‘The Oakland Tribune’ throughout November and December 1925. \u003ccite>(The Oakland Tribune)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Within days, the newspaper was bombarded with entries from all over the Bay Area. “The chance to ‘see yourself in the movies’ has appealed to many aspirants who have long desired a screen test of themselves,” the \u003cem>Tribune\u003c/em> reported, “and numerous replies have been received from kiddies ambitious to make their screen debut.” In addition to entries from Oakland, Alameda and Berkeley, one story proudly stated, the paper also received dream summaries from “Stege, Avon, Glen Ellen, Hayward, Niles, Pinole, Watsonville and San Jose.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Readers told of dreams in which they died, became British royalty, received “nocturnal warnings,” and rode whales to France. The Nov. 19 \u003cem>Tribune\u003c/em> listed highlights from the “Dream Editor’s mail.” These included tales about “the Prince of Wales in a 1913 aeroplane, golden winged birds in fairy castles, a pedestrian jaunt across San Francisco Bay, a wicked hermit having a bodyguard of fierce lions, a midnight sky full of waving American flags,” and many more.\u003c/p>\n\u003cp>Some lucky entries were even given the dream analysis treatment in the \u003cem>Tribune\u003c/em>—a practice that had grown increasingly fashionable since Sigmund Freud published \u003cem>The Interpretation of Dreams\u003c/em> in 1900. (“To see one’s self beheaded is a sign that loyal friends are near you,” a \u003cem>Tribune\u003c/em> interpreter advised one reader.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Then on Nov. 23, the \u003cem>Tribune\u003c/em> finally announced its winner: a Mrs. L. L. Nicholson of 3812 San Juan St., Oakland, who dreamed her baby stole the family car and got a speeding ticket. Nicholson, her husband, and their baby boy, Bobby, made a special appearance in the newspaper, photographed while receiving their $25 check.\u003c/p>\n\u003cfigure id=\"attachment_13898264\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13898264\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/Screen-Shot-2021-06-02-at-5.18.31-PM-800x717.png\" alt=\"The Nicholson family, as seen in the 'Oakland Tribune' on Nov. 28, 1925.\" width=\"800\" height=\"717\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-02-at-5.18.31-PM-800x717.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-02-at-5.18.31-PM-1020x914.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-02-at-5.18.31-PM-160x143.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-02-at-5.18.31-PM-768x688.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-02-at-5.18.31-PM.png 1216w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Nicholson family, as seen in the ‘Oakland Tribune’ on Nov. 28, 1925. \u003ccite>(The Oakland Tribune)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Five days before they appeared, the \u003cem>Tribune\u003c/em> had excitedly announced, “OAKLAND BOY, 11 MONTHS, TO STAR IN DREAM MOVIE.” The resulting seven-and-a-half-minute silent film starts at the family’s home in Oakland, travels to the ferry building in San Francisco, then back to the East Bay in a row boat. There are peculiar subplots involving two fish, and an “auto” acting “queerly.”\u003c/p>\n\u003cp>The Nicholson family’s dream movie can be seen in all its glory below:\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/f3E0INvKAwQ'\n title='//www.youtube.com/embed/f3E0INvKAwQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The \u003cem>Tribune\u003c/em> ran the dream competition two more times before the end of 1925. The second winner—Miss Carolyn Flowers of 5437 Thomas St.—won for a dream in which a KLX radio orchestra struggled to survive “repeated sinister interruptions.” A third winner was supposed to be named in mid-December, but that announcement can’t be found in the available \u003cem>Tribune\u003c/em> archives.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The curious competition ultimately leaves us with a fascinating snapshot of the pop culture trends of 1925. Dreams, this contest leads us to believe, were celebrated as a wonderful form of escapism. As the \u003cem>Tribune\u003c/em> reported on Dec. 7: “In dreamland you abolish the limitations of time and space. You explore the weedy depths of the seven seas and are present at the birth of the morning.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Listen Carefully: The Tense 'Quiet Place' Sequel Speaks to Our Present Time",
"headTitle": "Listen Carefully: The Tense ‘Quiet Place’ Sequel Speaks to Our Present Time | KQED",
"content": "\u003cp>In the sensational 2018 thriller \u003ca href=\"https://www.npr.org/2018/04/05/598796456/a-quiet-place-will-leave-you-shhhhhhaken\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>A Quiet Place\u003c/em>\u003c/a>, humanity has been ravaged by hideous alien predators with extraordinary powers of hearing. The story follows the Abbotts, a family of survivors who must stay quiet at all times, unable to talk or sneeze or step on a creaky floorboard or they’ll likely be dead.\u003c/p>\n\u003cp>It was a killer word-of-mouth hook: Here was a movie you \u003cem>had\u003c/em> to watch in a theater in your own state of silence, with no slurping or popcorn crunching allowed.\u003c/p>\n\u003cp>\u003cem>A Quiet Place \u003c/em>became a huge success, and its filmmaker and star, John Krasinski, wrote and directed a sequel that was supposed to open in March 2020. But then the COVID-19 pandemic forced theaters to close, and the movie’s release was postponed.\u003c/p>\n\u003cp>[aside postid='pop_110691']Now, more than a year later, theaters have reopened, and \u003cem>A Quiet Place Part II \u003c/em>is drawing large audiences. Is it too soon to go back to theaters, with the pandemic not yet fully subsided? I wondered as much when I watched the film at a recent media screening. I felt pretty safe: I was wearing a mask in a nearly empty theater and had been fully vaccinated weeks earlier. But I also felt privileged to be seeing a film on a big screen with strict precautions in place.\u003c/p>\n\u003cp>Whether you go to see it now or wait until it begins streaming, \u003cem>A Quiet Place Part II \u003c/em>is likely to make you a little jumpy. It doesn’t have the same claustrophobic intensity as its predecessor, but it’s just as taut, suspenseful and beautifully made.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BpdDN9d9Jio\u003c/p>\n\u003cp>As before, Krasinski doesn’t explain why the aliens are here in the first place. But he does give us an opening flashback to the terrible day they arrived, laying waste to the Abbotts’ small town in upstate New York—and other towns and cities all over the globe. Many people die, but the Abbotts survive, mainly because they’re quick to realize that the monsters hunt by sound.\u003c/p>\n\u003cp>Then the movie flashes forward many months, picking up right after the events of the first film. Krasinski’s character, Lee Abbott, has been tragically killed, leaving behind his wife, Evelyn, played by a fierce \u003ca href=\"https://www.npr.org/2014/12/21/372117734/desperate-to-speak-how-emily-blunt-found-her-voice\" target=\"_blank\" rel=\"noopener noreferrer\">Emily Blunt\u003c/a>, and their children. (Krasinski and Blunt are married in real life.)\u003c/p>\n\u003cp>The family is shaken but resilient: They’ve finally discovered the aliens’ fatal weakness, and they’re curious about making contact with other survivors. And so they set out from their farmhouse and make their way across an overgrown post-apocalyptic landscape where danger lurks around every corner.\u003c/p>\n\u003cp>The fact that the characters can’t speak out loud is one reason the \u003cem>Quiet Place\u003c/em> movies are so effective: Not being able to fall back on verbal exposition has forced Krasinski to become a ruthlessly efficient visual storyteller. It’s often said that Alfred Hitchcock’s movies are so sharply directed, you could turn the sound off and still follow the action—a truth that applies to these movies as well.\u003c/p>\n\u003cp>[aside postid='pop_6114']It helps that the Abbotts are fluent in American Sign Language since their oldest child, Regan, is deaf—as is the actor who plays her, the remarkable Millicent Simmonds. As in the first film, Regan emerges as the story’s truest hero: She’s tough, courageous and determined to help as many other people as she can. Less eager to take action is her traumatized younger brother, Marcus, heartbreakingly played by Noah Jupe.\u003c/p>\n\u003cp>Eventually the Abbotts take temporary shelter in an abandoned steel factory where they reunite with an old family friend, Emmett, played by a grave Cillian Murphy. Emmett is grieving the loss of his family and has become deeply cynical about humanity, at one point saying, “The people that are left … they’re not worth saving.” Regan disagrees; not only are people worth saving, she says, but if enough of them join forces, they might be able to fight back against the aliens.\u003c/p>\n\u003cp>The movie seems to think they both have a point. As Regan and Emmett embark on a perilous journey in search of survivors, they find themselves in situations that give rise to both hope and despair. Some of the people they meet are as predatory as the monsters; others are as brave and compassionate as Regan. That makes \u003cem>A Quiet Place Part II\u003c/em> an unexpectedly resonant film for the present moment as this country slowly emerges from a crisis that—while surely less terrifying than an alien apocalypse—has revealed humanity at its best and its worst.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The movie ends on an inconclusive note, leaving the door open for another sequel, which is both frustrating and heartening. I’m already looking forward to finding out what happens next—hopefully in a dark theater, watching as quietly as I can.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=Listen+Carefully%3A+The+Tense+%27Quiet+Place%27+Sequel+Speaks+To+Our+Present+Time&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the sensational 2018 thriller \u003ca href=\"https://www.npr.org/2018/04/05/598796456/a-quiet-place-will-leave-you-shhhhhhaken\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>A Quiet Place\u003c/em>\u003c/a>, humanity has been ravaged by hideous alien predators with extraordinary powers of hearing. The story follows the Abbotts, a family of survivors who must stay quiet at all times, unable to talk or sneeze or step on a creaky floorboard or they’ll likely be dead.\u003c/p>\n\u003cp>It was a killer word-of-mouth hook: Here was a movie you \u003cem>had\u003c/em> to watch in a theater in your own state of silence, with no slurping or popcorn crunching allowed.\u003c/p>\n\u003cp>\u003cem>A Quiet Place \u003c/em>became a huge success, and its filmmaker and star, John Krasinski, wrote and directed a sequel that was supposed to open in March 2020. But then the COVID-19 pandemic forced theaters to close, and the movie’s release was postponed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Now, more than a year later, theaters have reopened, and \u003cem>A Quiet Place Part II \u003c/em>is drawing large audiences. Is it too soon to go back to theaters, with the pandemic not yet fully subsided? I wondered as much when I watched the film at a recent media screening. I felt pretty safe: I was wearing a mask in a nearly empty theater and had been fully vaccinated weeks earlier. But I also felt privileged to be seeing a film on a big screen with strict precautions in place.\u003c/p>\n\u003cp>Whether you go to see it now or wait until it begins streaming, \u003cem>A Quiet Place Part II \u003c/em>is likely to make you a little jumpy. It doesn’t have the same claustrophobic intensity as its predecessor, but it’s just as taut, suspenseful and beautifully made.\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/BpdDN9d9Jio'\n title='//www.youtube.com/embed/BpdDN9d9Jio'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As before, Krasinski doesn’t explain why the aliens are here in the first place. But he does give us an opening flashback to the terrible day they arrived, laying waste to the Abbotts’ small town in upstate New York—and other towns and cities all over the globe. Many people die, but the Abbotts survive, mainly because they’re quick to realize that the monsters hunt by sound.\u003c/p>\n\u003cp>Then the movie flashes forward many months, picking up right after the events of the first film. Krasinski’s character, Lee Abbott, has been tragically killed, leaving behind his wife, Evelyn, played by a fierce \u003ca href=\"https://www.npr.org/2014/12/21/372117734/desperate-to-speak-how-emily-blunt-found-her-voice\" target=\"_blank\" rel=\"noopener noreferrer\">Emily Blunt\u003c/a>, and their children. (Krasinski and Blunt are married in real life.)\u003c/p>\n\u003cp>The family is shaken but resilient: They’ve finally discovered the aliens’ fatal weakness, and they’re curious about making contact with other survivors. And so they set out from their farmhouse and make their way across an overgrown post-apocalyptic landscape where danger lurks around every corner.\u003c/p>\n\u003cp>The fact that the characters can’t speak out loud is one reason the \u003cem>Quiet Place\u003c/em> movies are so effective: Not being able to fall back on verbal exposition has forced Krasinski to become a ruthlessly efficient visual storyteller. It’s often said that Alfred Hitchcock’s movies are so sharply directed, you could turn the sound off and still follow the action—a truth that applies to these movies as well.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It helps that the Abbotts are fluent in American Sign Language since their oldest child, Regan, is deaf—as is the actor who plays her, the remarkable Millicent Simmonds. As in the first film, Regan emerges as the story’s truest hero: She’s tough, courageous and determined to help as many other people as she can. Less eager to take action is her traumatized younger brother, Marcus, heartbreakingly played by Noah Jupe.\u003c/p>\n\u003cp>Eventually the Abbotts take temporary shelter in an abandoned steel factory where they reunite with an old family friend, Emmett, played by a grave Cillian Murphy. Emmett is grieving the loss of his family and has become deeply cynical about humanity, at one point saying, “The people that are left … they’re not worth saving.” Regan disagrees; not only are people worth saving, she says, but if enough of them join forces, they might be able to fight back against the aliens.\u003c/p>\n\u003cp>The movie seems to think they both have a point. As Regan and Emmett embark on a perilous journey in search of survivors, they find themselves in situations that give rise to both hope and despair. Some of the people they meet are as predatory as the monsters; others are as brave and compassionate as Regan. That makes \u003cem>A Quiet Place Part II\u003c/em> an unexpectedly resonant film for the present moment as this country slowly emerges from a crisis that—while surely less terrifying than an alien apocalypse—has revealed humanity at its best and its worst.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The movie ends on an inconclusive note, leaving the door open for another sequel, which is both frustrating and heartening. I’m already looking forward to finding out what happens next—hopefully in a dark theater, watching as quietly as I can.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=Listen+Carefully%3A+The+Tense+%27Quiet+Place%27+Sequel+Speaks+To+Our+Present+Time&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "A Kinder 'Cruella'? Film Reimagines the Dalmatian Villain With Spotty Success",
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"content": "\u003cp>Chalk it up to our eternal fascination with human evil or to a movie industry that’s short on original ideas, but it seems like almost every classic villain nowadays is guaranteed their own feature-length backstory. The results have been a mixed but not uninteresting bag, and they’ve allowed some fine actors to go entertainingly over-the-top: \u003ca href=\"https://www.npr.org/2014/01/21/264524233/phoenix-to-self-why-am-i-talking-about-this-joaquin-shut-up\" target=\"_blank\" rel=\"noopener noreferrer\">Joaquin Phoenix\u003c/a> won an Oscar for his psychic meltdown as the \u003ca href=\"https://www.npr.org/2019/10/03/765082771/joker-is-wild-ly-dull\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Joker\u003c/em>\u003c/a>, and \u003ca href=\"https://www.npr.org/2019/10/17/770272123/maleficent-mistress-of-evil-clips-angelina-jolie-s-wings\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Maleficent\u003c/em>\u003c/a>, a clever reframing of \u003cem>Sleeping Beauty\u003c/em>, remains one of only a few movies that have put Angelina Jolie’s otherworldly screen presence to effective use.\u003c/p>\n\u003cp>The latest example of this trend is \u003cem>Cruella\u003c/em>, and it’s, well, a mixed but not uninteresting bag. Like \u003cem>Maleficent\u003c/em>, it’s a Disney live-action movie inspired by an earlier Disney animated classic—in this case, \u003cem>One Hundred and One Dalmatians\u003c/em>. It’s set in 1970s London, and it means to show us the youthful origins of Cruella de Vil, that fascist fashionista who kidnapped a litter of Dalmatian puppies and tried to turn them into a spotted fur coat.\u003c/p>\n\u003cp>The thing is, though, that dog killers aren’t the most sympathetic protagonists, and this movie definitely wants us to sympathize. As a result, this Cruella doesn’t really seem evil enough to commit puppycide by movie’s end. She’s presented as a rebel—impatient, perpetually misunderstood and unwilling to play by the rules of a world that casts her aside at every turn.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gmRKv7n2If8\u003c/p>\n\u003cp>Cruella is already a mischief maker when we first meet her as a young girl named Estella. Her loving mother tries to put her on the straight and narrow, but after a series of tragic events, Estella is orphaned and left to fend for herself on the streets of London. A few years later, Estella, now played by Emma Stone, is a seasoned grifter committing robberies with her buddies Horace and Jasper. (They’re played by Paul Walter Hauser and Joel Fry.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='arts_13896604']Estella has an extraordinary eye for fashion; she sews amazing disguises for herself and her partners in crime, with a bit of inspiration from a vintage store owner, Artie, played by John McCrea. Before long, Estella lucks her way into a job as a designer for the Baroness, an imperious queen of couture who runs the most exclusive fashion label in London.\u003c/p>\n\u003cp>As the Baroness, the great \u003ca href=\"https://www.npr.org/2014/01/09/261044820/not-so-cheery-disposition-emma-thompson-on-poppins-cranky-creator\" target=\"_blank\" rel=\"noopener noreferrer\">Emma Thompson \u003c/a>gives a performance of diabolical wit—she’s half wicked stepmother, half Miranda Priestly from \u003cem>The Devil Wears Prada\u003c/em>. The Baroness brings out a madly competitive streak in Estella, who soon unleashes her pent-up alter ego, Cruella, as a kind of glam-punk performance artist of the fashion world.\u003c/p>\n\u003cp>Determined to upstage her nemesis while still guarding her secret identity as Estella, Cruella begins crashing the Baroness’ galas and parties in attention-grabbing gowns—the work of the brilliant costume designer Jenny Beavan, in her biggest showcase since \u003ca href=\"https://www.npr.org/2015/05/14/406009465/a-visceral-inventive-blockbuster-roars-to-life-in-mad-max-fury-road\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Mad Max: Fury Road\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>The Emma-vs.-Emma matchup is as irresistible onscreen as it must have been on paper. But their rivalry also points out a conceptual weakness in the movie, and perhaps in the ongoing trend of trying to recast villains as sympathetic antiheroes. Thompson’s Baroness is flat-out monstrous in ways that put this Cruella to shame. In a movie that’s supposed to be about the rise of a great villain, the Baroness turns out to be the actual great villain.\u003c/p>\n\u003cp>Nonetheless, Stone gives it her all in a tricky role with echoes of the lowly young woman turned ruthless schemer she played in \u003ca href=\"https://www.npr.org/2018/11/28/670833369/the-favourite-sou-smart-sou-wicked-sou-witty-sou-gououd\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Favourite\u003c/em>\u003c/a>. Here, she’s frankly more interesting as Estella, smartly biding her time and plotting her next move, than she is as Cruella, who is often upstaged by her own wardrobe. Is Cruella meant to come off as misguided, unhinged or genuinely unscrupulous? The script tries to suggest a complicated mix of all three and winds up feeling mostly confused.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[aside postid='arts_13892167']\u003cem>Cruella\u003c/em> was flashily directed by Craig Gillespie, who previously made the darkly comic Tonya Harding biopic \u003ca href=\"https://www.npr.org/2017/12/07/567460570/i-tonya-you-implicated\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>I, Tonya\u003c/em>\u003c/a>\u003cem>. \u003c/em>His filmmaking in \u003cem>Cruella\u003c/em> is all on the surface, but that surface is undeniably entertaining. The soaring, whooshing camerawork sometimes seems to be channeling \u003cem>Goodfellas\u003c/em>-era \u003ca href=\"https://www.npr.org/2020/01/15/796276592/can-a-person-change-martin-scorsese-on-gangsters-death-and-redemption\" target=\"_blank\" rel=\"noopener noreferrer\">Martin Scorsese\u003c/a>, and the rebellion-themed soundtrack is crammed with ’60s and ’70s hits from the Rolling Stones, the Doors, The Clash, Blondie and more. \u003cem>Cruella\u003c/em> is much too long and undisciplined at two hours and 14 minutes, but in its best moments, it surges with a rude punk energy. It’s not a bad movie, even if its protagonist isn’t nearly bad enough.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=A+Kinder+%27Cruella%27%3F+Film+Reimagines+The+Dalmatian+Villain+With+Spotty+Success&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Chalk it up to our eternal fascination with human evil or to a movie industry that’s short on original ideas, but it seems like almost every classic villain nowadays is guaranteed their own feature-length backstory. The results have been a mixed but not uninteresting bag, and they’ve allowed some fine actors to go entertainingly over-the-top: \u003ca href=\"https://www.npr.org/2014/01/21/264524233/phoenix-to-self-why-am-i-talking-about-this-joaquin-shut-up\" target=\"_blank\" rel=\"noopener noreferrer\">Joaquin Phoenix\u003c/a> won an Oscar for his psychic meltdown as the \u003ca href=\"https://www.npr.org/2019/10/03/765082771/joker-is-wild-ly-dull\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Joker\u003c/em>\u003c/a>, and \u003ca href=\"https://www.npr.org/2019/10/17/770272123/maleficent-mistress-of-evil-clips-angelina-jolie-s-wings\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Maleficent\u003c/em>\u003c/a>, a clever reframing of \u003cem>Sleeping Beauty\u003c/em>, remains one of only a few movies that have put Angelina Jolie’s otherworldly screen presence to effective use.\u003c/p>\n\u003cp>The latest example of this trend is \u003cem>Cruella\u003c/em>, and it’s, well, a mixed but not uninteresting bag. Like \u003cem>Maleficent\u003c/em>, it’s a Disney live-action movie inspired by an earlier Disney animated classic—in this case, \u003cem>One Hundred and One Dalmatians\u003c/em>. It’s set in 1970s London, and it means to show us the youthful origins of Cruella de Vil, that fascist fashionista who kidnapped a litter of Dalmatian puppies and tried to turn them into a spotted fur coat.\u003c/p>\n\u003cp>The thing is, though, that dog killers aren’t the most sympathetic protagonists, and this movie definitely wants us to sympathize. As a result, this Cruella doesn’t really seem evil enough to commit puppycide by movie’s end. She’s presented as a rebel—impatient, perpetually misunderstood and unwilling to play by the rules of a world that casts her aside at every turn.\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/gmRKv7n2If8'\n title='//www.youtube.com/embed/gmRKv7n2If8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Cruella is already a mischief maker when we first meet her as a young girl named Estella. Her loving mother tries to put her on the straight and narrow, but after a series of tragic events, Estella is orphaned and left to fend for herself on the streets of London. A few years later, Estella, now played by Emma Stone, is a seasoned grifter committing robberies with her buddies Horace and Jasper. (They’re played by Paul Walter Hauser and Joel Fry.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Estella has an extraordinary eye for fashion; she sews amazing disguises for herself and her partners in crime, with a bit of inspiration from a vintage store owner, Artie, played by John McCrea. Before long, Estella lucks her way into a job as a designer for the Baroness, an imperious queen of couture who runs the most exclusive fashion label in London.\u003c/p>\n\u003cp>As the Baroness, the great \u003ca href=\"https://www.npr.org/2014/01/09/261044820/not-so-cheery-disposition-emma-thompson-on-poppins-cranky-creator\" target=\"_blank\" rel=\"noopener noreferrer\">Emma Thompson \u003c/a>gives a performance of diabolical wit—she’s half wicked stepmother, half Miranda Priestly from \u003cem>The Devil Wears Prada\u003c/em>. The Baroness brings out a madly competitive streak in Estella, who soon unleashes her pent-up alter ego, Cruella, as a kind of glam-punk performance artist of the fashion world.\u003c/p>\n\u003cp>Determined to upstage her nemesis while still guarding her secret identity as Estella, Cruella begins crashing the Baroness’ galas and parties in attention-grabbing gowns—the work of the brilliant costume designer Jenny Beavan, in her biggest showcase since \u003ca href=\"https://www.npr.org/2015/05/14/406009465/a-visceral-inventive-blockbuster-roars-to-life-in-mad-max-fury-road\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Mad Max: Fury Road\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>The Emma-vs.-Emma matchup is as irresistible onscreen as it must have been on paper. But their rivalry also points out a conceptual weakness in the movie, and perhaps in the ongoing trend of trying to recast villains as sympathetic antiheroes. Thompson’s Baroness is flat-out monstrous in ways that put this Cruella to shame. In a movie that’s supposed to be about the rise of a great villain, the Baroness turns out to be the actual great villain.\u003c/p>\n\u003cp>Nonetheless, Stone gives it her all in a tricky role with echoes of the lowly young woman turned ruthless schemer she played in \u003ca href=\"https://www.npr.org/2018/11/28/670833369/the-favourite-sou-smart-sou-wicked-sou-witty-sou-gououd\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Favourite\u003c/em>\u003c/a>. Here, she’s frankly more interesting as Estella, smartly biding her time and plotting her next move, than she is as Cruella, who is often upstaged by her own wardrobe. Is Cruella meant to come off as misguided, unhinged or genuinely unscrupulous? The script tries to suggest a complicated mix of all three and winds up feeling mostly confused.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Cruella\u003c/em> was flashily directed by Craig Gillespie, who previously made the darkly comic Tonya Harding biopic \u003ca href=\"https://www.npr.org/2017/12/07/567460570/i-tonya-you-implicated\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>I, Tonya\u003c/em>\u003c/a>\u003cem>. \u003c/em>His filmmaking in \u003cem>Cruella\u003c/em> is all on the surface, but that surface is undeniably entertaining. The soaring, whooshing camerawork sometimes seems to be channeling \u003cem>Goodfellas\u003c/em>-era \u003ca href=\"https://www.npr.org/2020/01/15/796276592/can-a-person-change-martin-scorsese-on-gangsters-death-and-redemption\" target=\"_blank\" rel=\"noopener noreferrer\">Martin Scorsese\u003c/a>, and the rebellion-themed soundtrack is crammed with ’60s and ’70s hits from the Rolling Stones, the Doors, The Clash, Blondie and more. \u003cem>Cruella\u003c/em> is much too long and undisciplined at two hours and 14 minutes, but in its best moments, it surges with a rude punk energy. It’s not a bad movie, even if its protagonist isn’t nearly bad enough.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=A+Kinder+%27Cruella%27%3F+Film+Reimagines+The+Dalmatian+Villain+With+Spotty+Success&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">[dropcap]“T[/dropcap]hings have changed.” These were the resigned words of Scott Peterson, general manager of San Francisco’s leather and cruise bar \u003ca href=\"https://www.powerhousebar.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Powerhouse\u003c/a>.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s been nearly two years since Peterson and his patrons have been able to celebrate Pride in proper style, with cruising, a wet underwear contest and, of course, lots of dancing and mingling. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Although Governor Gavin Newsom announced a plan to \u003ca href=\"https://www.kqed.org/news/11874669/californias-june-15-reopening-will-scrap-social-distancing-and-capacity-requirements\" target=\"_blank\" rel=\"noopener noreferrer\">remove most COVID restrictions\u003c/a> on June 15, Peterson was wary and decided not to plan a big event. Several uncertainties hung in the air: Would Pride celebrants be ready to party in a crowded space after a year of distancing? And would tourism return to San Francisco? Then there were masks—after suggesting that California will lift its mask mandate on June 15, the \u003ca href=\"https://abc7news.com/california-to-end-covid-mask-mandates-face-requirement-coronavirus-guidelines-newsom/10620733/\" target=\"_blank\" rel=\"noopener noreferrer\">governor clarified\u003c/a> that may not be the case for all indoor activities. That left Peterson hesitant. “It would be nice to see everybody smile,” he said, adding, “I’m not even sure if we’ll be able to do the Folsom Street Fair in September.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Over a year of the pandemic has left its mark on Powerhouse and its manager. The bar is weighed down by a sizable debt, and requirements like table service and masking have dulled its dive bar vibe. Though businesses will be able to operate at 100% capacity come June 15, Peterson was reluctant to promise a party that might not come together.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">While some in-person celebrations are still happening this year, 2021 will be a year of adjustment for LGBTQ+ artists, performers and events presenters, for whom June is typically the busiest month of the year.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13874543\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874543\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/sf-pride-800x450.jpg\" alt=\"People march during the San Francisco gay pride parade in San Francisco, California on June, 24, 2018\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/sf-pride-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/sf-pride-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/sf-pride-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/sf-pride-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/sf-pride.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">People march during the San Francisco gay pride parade in San Francisco, California on June, 24, 2018. \u003ccite>(Josh Edelson/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">The main \u003ca href=\"https://sfpride.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Pride\u003c/a> celebrations are going to be muted this year. Billed as “the best version of what is possible at this time,” there will be no centerpiece Pride parade, and the planned Pride Expo—which would have replaced the annual street celebration in the Civic Center—has been cancelled due to the uncertainty surrounding changing COVID restrictions. That leaves two film screenings in conjunction with the \u003ca href=\"https://www.frameline.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Frameline Film Festival\u003c/a> at Oracle Park on June 11–12 and a Black Liberation Event in conjunction with the African American Art & Culture Complex on Juneteenth.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Having a truncated Pride two years running is a loss for the LGBTQ+ community. Peterson knows this firsthand: growing up in Minnesota, he clung to spaces that were accepting of LGBTQ+ identities. Even though it’s now decades later and many things have changed, it’s still necessary to have spaces for LGBTQ+ individuals to feel safe, seen and understood. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Peterson regards Pride as a unique time of year, when people just seem happier, the city gripped by a special energy. “It’s a celebration of who we are, and in San Francisco we can do it better than anywhere else,” he said.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Fortunately, some of that will still be happening in person. Community arts space SOMArts will offer a Pride Kickoff Party on June 23, highlighting the work of queer Black artists and featuring an art party with DJs on its back patio. \u003ca href=\"https://www.oaklandblackpride.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Black Pride\u003c/a> has a slate of in-person and virtual events planned throughout June, including a pub crawl and kickball tournament. On June 25, longtime Pride stalwart El Río will host an outdoor \u003c/span>\u003ca href=\"https://www.elriosf.com/calendar\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">T for T party\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> featuring trans and nonbinary DJs and performance artists, with seating limited to three two-hour time slots. And on June 26, it will also host an outdoor \u003c/span>\u003ca href=\"https://www.facebook.com/mangosf\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Mango SF\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> party. [aside postid='arts_13894499']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Devon Devine, co-founder and producer of \u003ca href=\"https://hardfrench.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hard French\u003c/a>—a raging dance party that styles itself as a home for all of those who feel left out of mainstream Pride—is embracing 2021 as a year of slow emergence after collective trauma. “The pandemic stripped us of our ability to celebrate and give our gift back to the community, which was awful,” he said. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It’s a healing thing. I’m in a state of re-entering the world, and that’s a lot to take on,” he added. “I’m relearning social skills, learning how to do an event again.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For months, Devine and his collaborators were wracked by indecision, uncertain of whether or not they’d try to do a major Hard French for Pride, or even if they could with such little clarity on what COVID restrictions would look like in June. He’s been experimenting with doing smaller, COVID-safe events, but that didn’t feel right for Pride. “A seated party with masks just wouldn’t feel like a special Pride party,” he said, adding that “it all really goes back to the dancing. We should be hard cruising, but right now we’re hard sitting.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Like Peterson and many others, Devine sees the Folsom Street Fair in September, or even events this coming fall and winter, as more natural points at which to rev up LGBTQ+ celebrations to full blast. “We’re lucky to have multiple queer high holy days,” he said. “Folsom is where my brain is at right now.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For event presenters like him, there are benefits in having more time to plan. “We’ve all been working in silos for a year,” Devine explained. “We haven’t been comparing notes or seeing each other, and we’ve had to be a lot more intentional about communication. We need time to re-establish those connections and learn to work together again.” That means waiting until 2022 for another Pride Hard French.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[dropcap]O[/dropcap]ther events are moving ahead at full steam—albeit virtually. Sean Dorsey, artistic director and founder of \u003ca href=\"https://freshmeatproductions.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Meat Productions\u003c/a>, a producer of performance art by trans and gender-nonconforming individuals, is celebrating 20 years of the Fresh Meat Festival with a bigger lineup than ever before. As living with COVID has become more a fact of life, Dorsey’s stance on virtual Pride changed. [aside postid='arts_13882546']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Last year, the idea of doing Pride online two years in a row would have generated a lot of sad-faced emojis,” he said. “I’ve been processing it a month at a time, and while it’s hard to miss connecting with communities for so long, I’m glad to still be investing in artists and commissioning new work.” An online event has its upsides: Dorsey said that this year Fresh Meat Productions will present more national artists than even before. The festival will run on two consecutive weekends, June 18–27, with a full festival program and free ticket registration \u003c/span>\u003ca href=\"https://freshmeatproductions.org/20th-anniversary-fresh-meat-festival/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">available online\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> on May 28.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The \u003ca href=\"https://festival2021.qwocmap.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Queer Women of Color Film Festival\u003c/a> has followed a similar COVID trajectory. A project of the Queer Women of Color Media Arts Project, which came together in 2000, the festival is now in its 17th year. In 2020 it was able to pivot to an all-streaming schedule at the last minute, resulting in a worldwide audience several times larger than what it could host in its usual location, Brava Theater Center. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We were blown away,” said founding executive/artistic director Madeleine Lim, noting that last year’s festival was filled with “unexpected joys and thrills.”\u003c/span>\u003c/p>\n\u003cp>https://vimeo.com/540408520\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This year the Queer Women of Color Film Festival is coming back stronger than ever with 19 new short films. The festival will run June 11–13, with \u003c/span>\u003ca href=\"https://festival2021.qwocmap.org/\">\u003cspan style=\"font-weight: 400\">free ticket registration\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> required beforehand. Lim and her team are trying to compensate for inequities caused by COVID shutdowns. The festival has undertaken outreach efforts to make the films accessible to those who have been left behind by the digital divide—such as older viewers who may not have the technological know-how to view streaming content—a shortcoming that the festival was not able to address in the hasty 2020 pivot to streaming.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There will be other virtual spaces to celebrate. Drag festival \u003c/span>\u003ca href=\"https://www.oaklash.com/lineup\">\u003cspan style=\"font-weight: 400\">Oaklash\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> is happening mostly online through May 31, and, in addition to a dozens of performances, it includes panels about disability justice, housing and harm reduction. The Transgender District will host two Zoom panels on the state of trans visibility. The one on June 7 will focus on politics, policy and social justice, with panelists Sarah McBride, Andrea Jenkins, Chase Strangio, Honey Mahogany and Mariah Moore (moderated by Imara Jones); and one on June 16 will focus on Hollywood, with panelists TS Madison, Zoey Luna, Amiyah Scott, Ian Harvie and Nava Mau (moderated by Raquel Willis). The \u003c/span>\u003ca href=\"https://www.frameline.org/year-round/frameline-blog/frameline45-festival-dates-announced\">\u003cspan style=\"font-weight: 400\">Frameline LGBT Film Festival\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> will run for an unprecedented 18 days, June 10–27, with a mixture of over 50 outdoor, drive-in and streaming films. [aside postid='arts_13896684']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With vaccination rates climbing and COVID infections falling, it’s tempting to hope for a Pride that resembles the pre-COVID normal, but it’s clear that this will be a transitional year—not quite 2019, but not 2020 either. For Devine, this story of misfortunate followed by slow, steady reemergence is typical of how the queer community deals with setbacks. He noted that queer creators have had a whole year to discover new strengths and new sides to their creativity. “I won a literary award this year,” said Devine, “and I never would have seen myself as a writer without the pandemic.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I feel in my gut like we’re on the brink of a queer renaissance right now,” Devine said. June 2021 won’t be quite the Pride he’s hoping for, but it will be the beginning of something major. “Down the line, all these venues are going to be the sites of some amazing experiences.”\u003c/span>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Correction: \u003c/strong>\u003c/em>\u003cem>This story listed the original location of the Queer Women of Color Film Festival as the Yerba Buena Center for the Arts. In fact, it is the Brava Theater Center. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">“T\u003c/span>\u003c/p>\u003cp>hings have changed.” These were the resigned words of Scott Peterson, general manager of San Francisco’s leather and cruise bar \u003ca href=\"https://www.powerhousebar.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Powerhouse\u003c/a>.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s been nearly two years since Peterson and his patrons have been able to celebrate Pride in proper style, with cruising, a wet underwear contest and, of course, lots of dancing and mingling. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Although Governor Gavin Newsom announced a plan to \u003ca href=\"https://www.kqed.org/news/11874669/californias-june-15-reopening-will-scrap-social-distancing-and-capacity-requirements\" target=\"_blank\" rel=\"noopener noreferrer\">remove most COVID restrictions\u003c/a> on June 15, Peterson was wary and decided not to plan a big event. Several uncertainties hung in the air: Would Pride celebrants be ready to party in a crowded space after a year of distancing? And would tourism return to San Francisco? Then there were masks—after suggesting that California will lift its mask mandate on June 15, the \u003ca href=\"https://abc7news.com/california-to-end-covid-mask-mandates-face-requirement-coronavirus-guidelines-newsom/10620733/\" target=\"_blank\" rel=\"noopener noreferrer\">governor clarified\u003c/a> that may not be the case for all indoor activities. That left Peterson hesitant. “It would be nice to see everybody smile,” he said, adding, “I’m not even sure if we’ll be able to do the Folsom Street Fair in September.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Over a year of the pandemic has left its mark on Powerhouse and its manager. The bar is weighed down by a sizable debt, and requirements like table service and masking have dulled its dive bar vibe. Though businesses will be able to operate at 100% capacity come June 15, Peterson was reluctant to promise a party that might not come together.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">While some in-person celebrations are still happening this year, 2021 will be a year of adjustment for LGBTQ+ artists, performers and events presenters, for whom June is typically the busiest month of the year.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13874543\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874543\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/sf-pride-800x450.jpg\" alt=\"People march during the San Francisco gay pride parade in San Francisco, California on June, 24, 2018\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/sf-pride-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/sf-pride-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/sf-pride-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/sf-pride-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/sf-pride.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">People march during the San Francisco gay pride parade in San Francisco, California on June, 24, 2018. \u003ccite>(Josh Edelson/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">The main \u003ca href=\"https://sfpride.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Pride\u003c/a> celebrations are going to be muted this year. Billed as “the best version of what is possible at this time,” there will be no centerpiece Pride parade, and the planned Pride Expo—which would have replaced the annual street celebration in the Civic Center—has been cancelled due to the uncertainty surrounding changing COVID restrictions. That leaves two film screenings in conjunction with the \u003ca href=\"https://www.frameline.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Frameline Film Festival\u003c/a> at Oracle Park on June 11–12 and a Black Liberation Event in conjunction with the African American Art & Culture Complex on Juneteenth.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Having a truncated Pride two years running is a loss for the LGBTQ+ community. Peterson knows this firsthand: growing up in Minnesota, he clung to spaces that were accepting of LGBTQ+ identities. Even though it’s now decades later and many things have changed, it’s still necessary to have spaces for LGBTQ+ individuals to feel safe, seen and understood. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Peterson regards Pride as a unique time of year, when people just seem happier, the city gripped by a special energy. “It’s a celebration of who we are, and in San Francisco we can do it better than anywhere else,” he said.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Fortunately, some of that will still be happening in person. Community arts space SOMArts will offer a Pride Kickoff Party on June 23, highlighting the work of queer Black artists and featuring an art party with DJs on its back patio. \u003ca href=\"https://www.oaklandblackpride.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Black Pride\u003c/a> has a slate of in-person and virtual events planned throughout June, including a pub crawl and kickball tournament. On June 25, longtime Pride stalwart El Río will host an outdoor \u003c/span>\u003ca href=\"https://www.elriosf.com/calendar\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">T for T party\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> featuring trans and nonbinary DJs and performance artists, with seating limited to three two-hour time slots. And on June 26, it will also host an outdoor \u003c/span>\u003ca href=\"https://www.facebook.com/mangosf\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Mango SF\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> party. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Devon Devine, co-founder and producer of \u003ca href=\"https://hardfrench.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hard French\u003c/a>—a raging dance party that styles itself as a home for all of those who feel left out of mainstream Pride—is embracing 2021 as a year of slow emergence after collective trauma. “The pandemic stripped us of our ability to celebrate and give our gift back to the community, which was awful,” he said. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It’s a healing thing. I’m in a state of re-entering the world, and that’s a lot to take on,” he added. “I’m relearning social skills, learning how to do an event again.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For months, Devine and his collaborators were wracked by indecision, uncertain of whether or not they’d try to do a major Hard French for Pride, or even if they could with such little clarity on what COVID restrictions would look like in June. He’s been experimenting with doing smaller, COVID-safe events, but that didn’t feel right for Pride. “A seated party with masks just wouldn’t feel like a special Pride party,” he said, adding that “it all really goes back to the dancing. We should be hard cruising, but right now we’re hard sitting.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Like Peterson and many others, Devine sees the Folsom Street Fair in September, or even events this coming fall and winter, as more natural points at which to rev up LGBTQ+ celebrations to full blast. “We’re lucky to have multiple queer high holy days,” he said. “Folsom is where my brain is at right now.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For event presenters like him, there are benefits in having more time to plan. “We’ve all been working in silos for a year,” Devine explained. “We haven’t been comparing notes or seeing each other, and we’ve had to be a lot more intentional about communication. We need time to re-establish those connections and learn to work together again.” That means waiting until 2022 for another Pride Hard French.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">O\u003c/span>\u003c/p>\u003cp>ther events are moving ahead at full steam—albeit virtually. Sean Dorsey, artistic director and founder of \u003ca href=\"https://freshmeatproductions.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Meat Productions\u003c/a>, a producer of performance art by trans and gender-nonconforming individuals, is celebrating 20 years of the Fresh Meat Festival with a bigger lineup than ever before. As living with COVID has become more a fact of life, Dorsey’s stance on virtual Pride changed. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Last year, the idea of doing Pride online two years in a row would have generated a lot of sad-faced emojis,” he said. “I’ve been processing it a month at a time, and while it’s hard to miss connecting with communities for so long, I’m glad to still be investing in artists and commissioning new work.” An online event has its upsides: Dorsey said that this year Fresh Meat Productions will present more national artists than even before. The festival will run on two consecutive weekends, June 18–27, with a full festival program and free ticket registration \u003c/span>\u003ca href=\"https://freshmeatproductions.org/20th-anniversary-fresh-meat-festival/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">available online\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> on May 28.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The \u003ca href=\"https://festival2021.qwocmap.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Queer Women of Color Film Festival\u003c/a> has followed a similar COVID trajectory. A project of the Queer Women of Color Media Arts Project, which came together in 2000, the festival is now in its 17th year. In 2020 it was able to pivot to an all-streaming schedule at the last minute, resulting in a worldwide audience several times larger than what it could host in its usual location, Brava Theater Center. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We were blown away,” said founding executive/artistic director Madeleine Lim, noting that last year’s festival was filled with “unexpected joys and thrills.”\u003c/span>\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">This year the Queer Women of Color Film Festival is coming back stronger than ever with 19 new short films. The festival will run June 11–13, with \u003c/span>\u003ca href=\"https://festival2021.qwocmap.org/\">\u003cspan style=\"font-weight: 400\">free ticket registration\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> required beforehand. Lim and her team are trying to compensate for inequities caused by COVID shutdowns. The festival has undertaken outreach efforts to make the films accessible to those who have been left behind by the digital divide—such as older viewers who may not have the technological know-how to view streaming content—a shortcoming that the festival was not able to address in the hasty 2020 pivot to streaming.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There will be other virtual spaces to celebrate. Drag festival \u003c/span>\u003ca href=\"https://www.oaklash.com/lineup\">\u003cspan style=\"font-weight: 400\">Oaklash\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> is happening mostly online through May 31, and, in addition to a dozens of performances, it includes panels about disability justice, housing and harm reduction. The Transgender District will host two Zoom panels on the state of trans visibility. The one on June 7 will focus on politics, policy and social justice, with panelists Sarah McBride, Andrea Jenkins, Chase Strangio, Honey Mahogany and Mariah Moore (moderated by Imara Jones); and one on June 16 will focus on Hollywood, with panelists TS Madison, Zoey Luna, Amiyah Scott, Ian Harvie and Nava Mau (moderated by Raquel Willis). The \u003c/span>\u003ca href=\"https://www.frameline.org/year-round/frameline-blog/frameline45-festival-dates-announced\">\u003cspan style=\"font-weight: 400\">Frameline LGBT Film Festival\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> will run for an unprecedented 18 days, June 10–27, with a mixture of over 50 outdoor, drive-in and streaming films. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With vaccination rates climbing and COVID infections falling, it’s tempting to hope for a Pride that resembles the pre-COVID normal, but it’s clear that this will be a transitional year—not quite 2019, but not 2020 either. For Devine, this story of misfortunate followed by slow, steady reemergence is typical of how the queer community deals with setbacks. He noted that queer creators have had a whole year to discover new strengths and new sides to their creativity. “I won a literary award this year,” said Devine, “and I never would have seen myself as a writer without the pandemic.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I feel in my gut like we’re on the brink of a queer renaissance right now,” Devine said. June 2021 won’t be quite the Pride he’s hoping for, but it will be the beginning of something major. “Down the line, all these venues are going to be the sites of some amazing experiences.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Correction: \u003c/strong>\u003c/em>\u003cem>This story listed the original location of the Queer Women of Color Film Festival as the Yerba Buena Center for the Arts. In fact, it is the Brava Theater Center. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Thirty Years After ‘Thelma & Louise,’ Feminist Revenge Movie Endings Still Suck",
"headTitle": "Thirty Years After ‘Thelma & Louise,’ Feminist Revenge Movie Endings Still Suck | KQED",
"content": "\u003cp>Spoiler alert: You’re about to hear, in detail, the endings of the movies \u003cem>Promising Young Woman\u003c/em> and \u003cem>Things Heard and Seen\u003c/em>. If you don’t want to, please leave now.\u003c/p>\n\u003cp>I’m about to talk about the ending of \u003cem>Thelma & Louise\u003c/em> too, but if you still haven’t seen that, this probably isn’t the essay for you. The movie turned 30 on May 24 and is, at this point, woven deep into the American consciousness. Who could ever forget the image of the brand-new outlaws driving that ’66 T-Bird into the Grand Canyon, hands locked together in united defiance? Women who would rather die a fiery death on their own terms than live under the thumbs of any more men. It’s an iconic ending to an unerringly feminist movie.\u003c/p>\n\u003cp>And I absolutely hate it.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=66CP-pq7Cx0\u003c/p>\n\u003cp>Allow me to give my ire some context. In \u003cem>Thelma & Louise\u003c/em>, the titular characters are on the run after Louise murders a man who is in the process of violently raping Thelma. (We find out later that Louise had, some years earlier, herself survived a deeply traumatizing sexual assault.) After Louise’s life savings are stolen by a hitchhiker who Thelma spends the night with, Thelma robs a convenience store in order to get gas money. The friends then blow up the truck of a man who is persistently sexually harassing them as they desperately try to reach Mexico.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>These outlaws aren’t just easy to root for, they offer wish fulfillment to every woman watching. Then, after a few days of living free for the first time in their entire lives, and discovering strength they never knew they had, they just… \u003cem>die\u003c/em>.\u003c/p>\n\u003cp>[aside postid='pop_105090']Imagine, for a moment, how you’d feel if, at the end of \u003cem>The Shawshank Redemption\u003c/em>, instead of making it to Zihuatanejo, Andy and Red just died instead? Right at the moment when they were almost free, no less. Well, that’s how I feel every time I watch \u003cem>Thelma & Louise\u003c/em>. I also think about this every time I watch \u003cem>True Romance\u003c/em> and see that even Clarence and Alabama Worley got to their beach in time. Why is it, I wonder, that Thelma and Louise are denied the happy ending granted to other pop culture outlaws?\u003c/p>\n\u003cp>Two movies released in the last six months offer some answers. The first is \u003cem>Things Heard and Seen\u003c/em>, a supernatural thriller set in 1980 and starring Amanda Seyfried. The second is \u003cem>Promising Young Woman\u003c/em>, one of the most talked about movies of the last year, starring Carey Mulligan. Like \u003cem>Thelma & Louise\u003c/em>, both of these films are driven by feminist themes. And like \u003cem>Thelma & Louise\u003c/em>, they both end with our heroines dying brutal, untimely deaths.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HCAaonjgDEA\u003c/p>\n\u003cp>In \u003cem>Things Heard and Seen\u003c/em>, Seyfried’s character, Catherine, abandons a rewarding career and relocates to upstate New York at the behest of her (cheating, gaslighting) husband, George. The two move into an old farmhouse where supernatural events occur nightly. Catherine soon comes to find that the house has borne witness to two separate incidents of femicide at the hands of violent husbands.\u003c/p>\n\u003cp>After seeing that Catherine is having a hard time advocating for herself, Catherine’s assertive new friend Justine invites her to a women’s group. George objects to this kind of female solidarity. Then, after Justine finds out that George is having an affair \u003cem>and\u003c/em> that he got his job through fraudulent means, he runs her car off the road, leaving her in a coma. When Catherine finally reaches her breaking point and readies herself to leave him, George drugs Catherine and kills her with an axe.\u003c/p>\n\u003cp>[aside postid='pop_112098']One of the most startling things about this conclusion is that the viewer is supposed to find some semblance of satisfaction in the aftermath of Catherine’s gory murder. We see her spirit join forces with the ghost of the last woman murdered in the house, to make sure that George doesn’t get away. They wake Justine from her coma so she can tell police what George did. Then they guide a sailboat carrying an escaping George into the eye of a storm, and to his certain death.\u003c/p>\n\u003cp>Writer/director \u003ca href=\"https://www.imdb.com/name/nm0075849/\" target=\"_blank\" rel=\"noopener noreferrer\">Shari Springer Berman\u003c/a> told \u003cem>Decider\u003c/em> that she viewed the movie’s message as empowering. “I was excited to make a film where we showed a woman trying to find her voice, and to get her voice with the help of some very unexpected allies.”\u003c/p>\n\u003cp>That’s all well and good, but in \u003cem>Things Heard and Seen\u003c/em>—just as in \u003cem>Thelma & Louise\u003c/em>—the punishment for a woman seeking liberation is death. The fact that the movie asks us to celebrate this outcome because it results in the punishment of a sociopath is fairly astonishing. Even more so because it’s also exactly what happens at the end of \u003cem>Promising Young Woman\u003c/em>.\u003c/p>\n\u003cp>For the first half of its narrative, \u003cem>Promising Young Woman\u003c/em>—also like \u003cem>Thelma & Louise\u003c/em>—offers wish fulfillment for women. When we meet her, Cassie is already wide awake to life’s misogynistic realities. She has been since her best friend Nina’s rape and subsequent suicide in college. Now, in a defiant expression of vengeance, Cassie goes to clubs alone, acts inebriated and waits for a “nice guy” to help her. Once these men try to take physical advantage of her (and they always do), Cassie snaps awake and teaches them a lesson.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7i5kiFDunk8\u003c/p>\n\u003cp>One of \u003cem>Promising Young Woman\u003c/em>’s great successes is in its portrayal of predators. These are not outwardly creepy, drooling boogie men. They are men who look and act, on the surface at least, like people you know. Driving the point home further is the fact that each of them is played by a beloved comic actor—\u003ca href=\"https://www.imdb.com/name/nm3931538/?ref_=tt_cl_t3\" target=\"_blank\" rel=\"noopener noreferrer\">Sam Richardson\u003c/a>, \u003ca href=\"https://www.imdb.com/name/nm0111013/?ref_=tt_cl_t1\" target=\"_blank\" rel=\"noopener noreferrer\">Adam Brody\u003c/a>, and \u003ca href=\"https://www.imdb.com/name/nm0339011/?ref_=ttfc_fc_cl_t23\" target=\"_blank\" rel=\"noopener noreferrer\">Max Greenfield\u003c/a> all appear. This, the movie quietly informs the men watching, is why women live in fear. It’s impossible to tell the difference between the nice guys and the would-be rapists until it’s too late.\u003c/p>\n\u003cp>It is when Cassie tries to exact revenge on Al, the man who raped Nina, that the narrative goes wildly awry. Al manages to get free from Cassie’s handcuffs and murders her; smothering her to death before callously burning her body. It’s a vicious and deeply disappointing end for a realistically flawed character who simply wanted to feel some semblance of justice in her lifetime. Similar to \u003cem>Things Heard and Seen\u003c/em>, the viewer is supposed to find subsequent relief from the fact that Cassie’s death sets off a chain of events that results in the arrest of Nina’s rapist—this time, for murder.\u003c/p>\n\u003cp>[aside postid='pop_103560']\u003ca href=\"https://variety.com/2020/film/news/promising-young-woman-carey-mulligan-emerald-fennell-1234848775/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Variety\u003c/em>\u003c/a> called \u003cem>Promising Young Woman\u003c/em> “the most audacious, feminist movie of the year.” And the \u003cem>New York Times\u003c/em> declared that problematic ending “the movie’s most authentic moment… \u003cem>Promising Young Woman\u003c/em> isn’t a revenge fantasy so much as a sad tale of warped grief and blazing fury.”\u003c/p>\n\u003cp>Last December, director \u003ca href=\"https://www.harpersbazaar.com/culture/film-tv/a35045490/promising-young-woman-ending-explained/\" target=\"_blank\" rel=\"noopener noreferrer\">Emerald Fennel told \u003cem>Harper’s Bazaar\u003c/em>\u003c/a>: “It was the only ending that felt real to me … That’s not to say it’s not incredibly devastating and grueling to watch. But I just couldn’t see it any other way. I wish I could! I wish I could have let myself, and everybody else, off the hook, because there is, of course, a hypothetical alternative ending to this movie that is incredibly satisfying.”\u003c/p>\n\u003cp>And Fennel made a conscious decision not to give it to us. Because when it comes to revenge movies, women aren’t ever truly allowed off the hook. Traditional rape-revenge movies—think \u003ca href=\"https://www.imdb.com/title/tt1242432/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>I Spit on Your Grave\u003c/em>\u003c/a>, and yes, even 2017’s much-lauded \u003ca href=\"https://www.kqed.org/pop/103560/revenge-is-marketed-as-a-metoo-movie-but-is-actually-part-of-the-problem\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Revenge\u003c/em>\u003c/a>—are either too exploitative or too triggering to provide many women in the audience a real escape. \u003ca href=\"https://www.imdb.com/title/tt0278435/?ref_=nv_sr_srsg_5\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Enough\u003c/em>\u003c/a> is too long of a slog for too quick of a payoff. And Olivia Wilde’s \u003ca href=\"https://www.imdb.com/title/tt6211976/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>A Vigilante\u003c/em>\u003c/a> provides some catharsis in the story arc, but is so relentlessly bleak throughout, it’s not something you’d ever stage a girls’ night around.\u003c/p>\n\u003cp>It has taken Hollywood three decades to give women another revenge spree movie we could have a little fun with. But just as \u003cem>Thelma & Louise\u003c/em> refused to allow our heroines to get away with it, even the candy-colored, sometimes comedic \u003cem>Promising Young Woman\u003c/em> denied us as well.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Women don’t need realistic endings to feminist revenge movies; we need endings that give us a respite from the frightening statistics about \u003ca href=\"https://ncadv.org/STATISTICS\" target=\"_blank\" rel=\"noopener noreferrer\">rape\u003c/a> and \u003ca href=\"https://now.org/resource/violence-against-women-in-the-united-states-statistic/\" target=\"_blank\" rel=\"noopener noreferrer\">intimate partner violence\u003c/a> and \u003ca href=\"https://www.rainn.org/statistics/criminal-justice-system\" target=\"_blank\" rel=\"noopener noreferrer\">injustice\u003c/a> that swirl in our brains on a loop. That we still haven’t been granted that relief, even three decades after \u003cem>Thelma & Louise\u003c/em> won the Oscar for best screenplay, isn’t just depressing, it’s an indication of how much further we still have to go.\u003c/p>\n\n",
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"excerpt": "The feminist classic turns 30 this month, but movies still haven't figured out how to liberate women without also punishing them.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Spoiler alert: You’re about to hear, in detail, the endings of the movies \u003cem>Promising Young Woman\u003c/em> and \u003cem>Things Heard and Seen\u003c/em>. If you don’t want to, please leave now.\u003c/p>\n\u003cp>I’m about to talk about the ending of \u003cem>Thelma & Louise\u003c/em> too, but if you still haven’t seen that, this probably isn’t the essay for you. The movie turned 30 on May 24 and is, at this point, woven deep into the American consciousness. Who could ever forget the image of the brand-new outlaws driving that ’66 T-Bird into the Grand Canyon, hands locked together in united defiance? Women who would rather die a fiery death on their own terms than live under the thumbs of any more men. It’s an iconic ending to an unerringly feminist movie.\u003c/p>\n\u003cp>And I absolutely hate it.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/66CP-pq7Cx0'\n title='//www.youtube.com/embed/66CP-pq7Cx0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Allow me to give my ire some context. In \u003cem>Thelma & Louise\u003c/em>, the titular characters are on the run after Louise murders a man who is in the process of violently raping Thelma. (We find out later that Louise had, some years earlier, herself survived a deeply traumatizing sexual assault.) After Louise’s life savings are stolen by a hitchhiker who Thelma spends the night with, Thelma robs a convenience store in order to get gas money. The friends then blow up the truck of a man who is persistently sexually harassing them as they desperately try to reach Mexico.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>These outlaws aren’t just easy to root for, they offer wish fulfillment to every woman watching. Then, after a few days of living free for the first time in their entire lives, and discovering strength they never knew they had, they just… \u003cem>die\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Imagine, for a moment, how you’d feel if, at the end of \u003cem>The Shawshank Redemption\u003c/em>, instead of making it to Zihuatanejo, Andy and Red just died instead? Right at the moment when they were almost free, no less. Well, that’s how I feel every time I watch \u003cem>Thelma & Louise\u003c/em>. I also think about this every time I watch \u003cem>True Romance\u003c/em> and see that even Clarence and Alabama Worley got to their beach in time. Why is it, I wonder, that Thelma and Louise are denied the happy ending granted to other pop culture outlaws?\u003c/p>\n\u003cp>Two movies released in the last six months offer some answers. The first is \u003cem>Things Heard and Seen\u003c/em>, a supernatural thriller set in 1980 and starring Amanda Seyfried. The second is \u003cem>Promising Young Woman\u003c/em>, one of the most talked about movies of the last year, starring Carey Mulligan. Like \u003cem>Thelma & Louise\u003c/em>, both of these films are driven by feminist themes. And like \u003cem>Thelma & Louise\u003c/em>, they both end with our heroines dying brutal, untimely deaths.\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/HCAaonjgDEA'\n title='//www.youtube.com/embed/HCAaonjgDEA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In \u003cem>Things Heard and Seen\u003c/em>, Seyfried’s character, Catherine, abandons a rewarding career and relocates to upstate New York at the behest of her (cheating, gaslighting) husband, George. The two move into an old farmhouse where supernatural events occur nightly. Catherine soon comes to find that the house has borne witness to two separate incidents of femicide at the hands of violent husbands.\u003c/p>\n\u003cp>After seeing that Catherine is having a hard time advocating for herself, Catherine’s assertive new friend Justine invites her to a women’s group. George objects to this kind of female solidarity. Then, after Justine finds out that George is having an affair \u003cem>and\u003c/em> that he got his job through fraudulent means, he runs her car off the road, leaving her in a coma. When Catherine finally reaches her breaking point and readies herself to leave him, George drugs Catherine and kills her with an axe.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>One of the most startling things about this conclusion is that the viewer is supposed to find some semblance of satisfaction in the aftermath of Catherine’s gory murder. We see her spirit join forces with the ghost of the last woman murdered in the house, to make sure that George doesn’t get away. They wake Justine from her coma so she can tell police what George did. Then they guide a sailboat carrying an escaping George into the eye of a storm, and to his certain death.\u003c/p>\n\u003cp>Writer/director \u003ca href=\"https://www.imdb.com/name/nm0075849/\" target=\"_blank\" rel=\"noopener noreferrer\">Shari Springer Berman\u003c/a> told \u003cem>Decider\u003c/em> that she viewed the movie’s message as empowering. “I was excited to make a film where we showed a woman trying to find her voice, and to get her voice with the help of some very unexpected allies.”\u003c/p>\n\u003cp>That’s all well and good, but in \u003cem>Things Heard and Seen\u003c/em>—just as in \u003cem>Thelma & Louise\u003c/em>—the punishment for a woman seeking liberation is death. The fact that the movie asks us to celebrate this outcome because it results in the punishment of a sociopath is fairly astonishing. Even more so because it’s also exactly what happens at the end of \u003cem>Promising Young Woman\u003c/em>.\u003c/p>\n\u003cp>For the first half of its narrative, \u003cem>Promising Young Woman\u003c/em>—also like \u003cem>Thelma & Louise\u003c/em>—offers wish fulfillment for women. When we meet her, Cassie is already wide awake to life’s misogynistic realities. She has been since her best friend Nina’s rape and subsequent suicide in college. Now, in a defiant expression of vengeance, Cassie goes to clubs alone, acts inebriated and waits for a “nice guy” to help her. Once these men try to take physical advantage of her (and they always do), Cassie snaps awake and teaches them a lesson.\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/7i5kiFDunk8'\n title='//www.youtube.com/embed/7i5kiFDunk8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>One of \u003cem>Promising Young Woman\u003c/em>’s great successes is in its portrayal of predators. These are not outwardly creepy, drooling boogie men. They are men who look and act, on the surface at least, like people you know. Driving the point home further is the fact that each of them is played by a beloved comic actor—\u003ca href=\"https://www.imdb.com/name/nm3931538/?ref_=tt_cl_t3\" target=\"_blank\" rel=\"noopener noreferrer\">Sam Richardson\u003c/a>, \u003ca href=\"https://www.imdb.com/name/nm0111013/?ref_=tt_cl_t1\" target=\"_blank\" rel=\"noopener noreferrer\">Adam Brody\u003c/a>, and \u003ca href=\"https://www.imdb.com/name/nm0339011/?ref_=ttfc_fc_cl_t23\" target=\"_blank\" rel=\"noopener noreferrer\">Max Greenfield\u003c/a> all appear. This, the movie quietly informs the men watching, is why women live in fear. It’s impossible to tell the difference between the nice guys and the would-be rapists until it’s too late.\u003c/p>\n\u003cp>It is when Cassie tries to exact revenge on Al, the man who raped Nina, that the narrative goes wildly awry. Al manages to get free from Cassie’s handcuffs and murders her; smothering her to death before callously burning her body. It’s a vicious and deeply disappointing end for a realistically flawed character who simply wanted to feel some semblance of justice in her lifetime. Similar to \u003cem>Things Heard and Seen\u003c/em>, the viewer is supposed to find subsequent relief from the fact that Cassie’s death sets off a chain of events that results in the arrest of Nina’s rapist—this time, for murder.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ca href=\"https://variety.com/2020/film/news/promising-young-woman-carey-mulligan-emerald-fennell-1234848775/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Variety\u003c/em>\u003c/a> called \u003cem>Promising Young Woman\u003c/em> “the most audacious, feminist movie of the year.” And the \u003cem>New York Times\u003c/em> declared that problematic ending “the movie’s most authentic moment… \u003cem>Promising Young Woman\u003c/em> isn’t a revenge fantasy so much as a sad tale of warped grief and blazing fury.”\u003c/p>\n\u003cp>Last December, director \u003ca href=\"https://www.harpersbazaar.com/culture/film-tv/a35045490/promising-young-woman-ending-explained/\" target=\"_blank\" rel=\"noopener noreferrer\">Emerald Fennel told \u003cem>Harper’s Bazaar\u003c/em>\u003c/a>: “It was the only ending that felt real to me … That’s not to say it’s not incredibly devastating and grueling to watch. But I just couldn’t see it any other way. I wish I could! I wish I could have let myself, and everybody else, off the hook, because there is, of course, a hypothetical alternative ending to this movie that is incredibly satisfying.”\u003c/p>\n\u003cp>And Fennel made a conscious decision not to give it to us. Because when it comes to revenge movies, women aren’t ever truly allowed off the hook. Traditional rape-revenge movies—think \u003ca href=\"https://www.imdb.com/title/tt1242432/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>I Spit on Your Grave\u003c/em>\u003c/a>, and yes, even 2017’s much-lauded \u003ca href=\"https://www.kqed.org/pop/103560/revenge-is-marketed-as-a-metoo-movie-but-is-actually-part-of-the-problem\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Revenge\u003c/em>\u003c/a>—are either too exploitative or too triggering to provide many women in the audience a real escape. \u003ca href=\"https://www.imdb.com/title/tt0278435/?ref_=nv_sr_srsg_5\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Enough\u003c/em>\u003c/a> is too long of a slog for too quick of a payoff. And Olivia Wilde’s \u003ca href=\"https://www.imdb.com/title/tt6211976/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>A Vigilante\u003c/em>\u003c/a> provides some catharsis in the story arc, but is so relentlessly bleak throughout, it’s not something you’d ever stage a girls’ night around.\u003c/p>\n\u003cp>It has taken Hollywood three decades to give women another revenge spree movie we could have a little fun with. But just as \u003cem>Thelma & Louise\u003c/em> refused to allow our heroines to get away with it, even the candy-colored, sometimes comedic \u003cem>Promising Young Woman\u003c/em> denied us as well.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Women don’t need realistic endings to feminist revenge movies; we need endings that give us a respite from the frightening statistics about \u003ca href=\"https://ncadv.org/STATISTICS\" target=\"_blank\" rel=\"noopener noreferrer\">rape\u003c/a> and \u003ca href=\"https://now.org/resource/violence-against-women-in-the-united-states-statistic/\" target=\"_blank\" rel=\"noopener noreferrer\">intimate partner violence\u003c/a> and \u003ca href=\"https://www.rainn.org/statistics/criminal-justice-system\" target=\"_blank\" rel=\"noopener noreferrer\">injustice\u003c/a> that swirl in our brains on a loop. That we still haven’t been granted that relief, even three decades after \u003cem>Thelma & Louise\u003c/em> won the Oscar for best screenplay, isn’t just depressing, it’s an indication of how much further we still have to go.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! Berlin & Beyond Takes Aim at the Impediments Faced by Women",
"headTitle": "Now Playing! Berlin & Beyond Takes Aim at the Impediments Faced by Women | KQED",
"content": "\u003cp>Back in the mid-’90s, when Goethe-Institut San Francisco cultural director Ingrid Eggers launched the \u003ca href=\"https://berlinbeyond.com/25/\" rel=\"noopener noreferrer\" target=\"_blank\">Berlin & Beyond Film Festival\u003c/a>, the two cities shared global artistic reputations for thrilling innovation and fearless transgression. Cultural moments and movements pass, of course, and we can see in retrospect that Eggers’ splendid conception coincided with the ending of an era rather than its peak.\u003c/p>\n\u003cp>Although the fall of the Wall released pent-up energy from the East, Berlin was no longer the thrilling underground music, fashion and film hub it had been in the ’80s. San Francisco’s artist community, meanwhile, was devastated by AIDS and staggered by rising real estate prices about to be turbocharged by the dot-com boom.\u003c/p>\n\u003cp>Still, Berliners and San Franciscans shared a palpable affinity that encompassed the Beats and the hippies, Fassbinder and Wenders, Nico and Nina Hagen. The Haight and North Beach teemed with German tourists in those days, and in January the Castro buzzed with bundled-up, black-clad locals catching the new drama with heartthrob Moritz Bleibtreu or the latest provocation by Rosa von Praunheim.\u003c/p>\n\u003cfigure id=\"attachment_13897767\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/Enfant_Terrible_1200.jpg\" alt=\"\" width=\"1200\" height=\"671\" class=\"size-full wp-image-13897767\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Enfant_Terrible_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Enfant_Terrible_1200-800x447.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Enfant_Terrible_1200-1020x570.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Enfant_Terrible_1200-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Enfant_Terrible_1200-768x429.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Oskar Roehler’s Fassbinder biopic ‘Enfant Terrible,’ 2020. \u003ccite>(Courtesy Berlin & Beyond)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The breadth of Berlin & Beyond, which launches its 25th edition May 25 with the cross-border drama \u003cem>Sisters Apart\u003c/em> at the Fort Mason Drive-In, isn’t surprising given that Germany’s film industry is one of the largest in Europe. But you won’t find past years’ fringy, edgy films in the festival, continuing online through May 30 with a May 29 sortie to the Vogue for Christian Petzold’s modern-day fable \u003cem>\u003ca href=\"https://berlinbeyond.com/25/movies/undine_/\" rel=\"noopener noreferrer\" target=\"_blank\">Undine\u003c/a>\u003c/em> and the centerpiece selection, Burhan Qurbani’s contemporary riff on Alfred Döblin’s 1929 novel \u003cem>\u003ca href=\"https://berlinbeyond.com/25/movies/alexanderplatz/\" rel=\"noopener noreferrer\" target=\"_blank\">Berlin Alexanderplatz\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>I suppose Oskar Roehler’s raw biopic \u003cem>\u003ca href=\"https://berlinbeyond.com/25/movies/enfant-terrible/\" rel=\"noopener noreferrer\" target=\"_blank\">Enfant Terrible\u003c/a>\u003c/em>, featuring Oliver Masucci’s award-winning performance as the omnivorous, exploitative and relentless theater and film savant Rainer Werner Fassbinder, will shock some cloistered viewers. Although there’s little to admire about Fassbinder’s leather-jacketed brand of abuse (including self-), his refusal to compromise is greatly missed these days.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Artful, tasteful critiques of society define this Berlin & Beyond lineup, which is hardly cause for caterwauling. Festival director Sophoan Sorn, now in his 11th year at the helm, has compiled a group of unfamiliar discoveries to go with films by, about or based on familiar names (like the three mentioned above).\u003c/p>\n\u003cfigure id=\"attachment_13897770\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/My_Wonderful_Wanda.jpg\" alt=\"\" width=\"1280\" height=\"720\" class=\"size-full wp-image-13897770\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/My_Wonderful_Wanda.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/My_Wonderful_Wanda-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/My_Wonderful_Wanda-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/My_Wonderful_Wanda-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/My_Wonderful_Wanda-768x432.jpg 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Still from Bettina Oberli’s ‘My Wonderful Wanda,’ 2020. \u003ccite>(Courtesy Berlin & Beyond)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The cannily constructed Swiss success \u003cem>\u003ca href=\"https://berlinbeyond.com/25/movies/wanda/\" rel=\"noopener noreferrer\" target=\"_blank\">My Wonderful Wanda\u003c/a>\u003c/em> (the Beyond part of the festival allows for the inclusion of German-language films from Austria and Switzerland, whose national cinemas are overshadowed by their neighbor), is a sly comedy of manners set in a picturesque lake house. Co-written and directed by Bettina Oberli, who enjoyed a modest hit back in 2006 with \u003cem>Late Bloomers\u003c/em>, the plot revolves around a Polish caregiver (Agnieszka Grochowska) who is by turns the employee, object, target and accomplice to the wealthy stroke-struck head of the household, his status-conscious wife (Marthe Keller) and their stunted adult children.\u003c/p>\n\u003cp>As you guessed, \u003cem>My Wonderful Wanda\u003c/em> is a parable of old-style Western entitlement and contemporary Eastern aspirations. But Oberli doesn’t pick on the easy targets—she keeps the family just this side of irredeemably abominable (though who names their dog Mephisto?)—so as to more fruitfully explore the ways in which what people want costs them what they have.\u003c/p>\n\u003cp>Another female filmmaker, Daphne Charizani, the Greek writer-director of the opening night film \u003cem>\u003ca href=\"https://berlinbeyond.com/25/movies/sisters/\" rel=\"noopener noreferrer\" target=\"_blank\">Sisters Apart\u003c/a>\u003c/em>, is likewise concerned with the expectations and impediments that women must deal with at home and in the outside world. Kurdish-born Rojda (Almila Bagriacik) grew up in Germany and is assimilated to the degree that she’s an officer in the army. Her mother arrives from Iraq with the news that Rojda’s sister Dilan stayed to battle ISIS, layering her concern for that daughter with her disappointment in \u003cem>this\u003c/em> one.\u003c/p>\n\u003cfigure id=\"attachment_13897769\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/Yella_1200.jpg\" alt=\"\" width=\"1200\" height=\"646\" class=\"size-full wp-image-13897769\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Yella_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Yella_1200-800x431.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Yella_1200-1020x549.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Yella_1200-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Yella_1200-768x413.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Christian Petzold’s ‘Yella,’ 2007. \u003ccite>(Courtesy Berlin & Beyond)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The bulk of the movie unfolds in Iraq, where Rojda has arranged to be transferred as a translator helping train Kurdish women fighters, albeit with the secret agenda of finding Dilan. (As you guessed, she does.) \u003cem>Sisters Apart\u003c/em> is a linear and refreshingly concise story whose themes of identity, destiny and familial responsibility are invested with unusual intimacy.\u003c/p>\n\u003cp>Charizani’s movie marks another evolutionary step in the portrayal of refugees in German society, from despised outsiders to mainstream figures (at the same time that it’s made clear that plenty of people look at Rojda and see “foreigner”).\u003c/p>\n\u003cp>Rojda, and especially Wanda, are distant cousins to Yella, the titular heroine of Christian Petzold’s breakthrough 2007 feature starring longtime collaborator Nina Hoss as an abused wife whose seemingly successful escape from the East in post-reunification Germany is shadowed by the past. Revived by Berlin & Beyond as a tribute to Ingrid Eggers, \u003cem>Yella\u003c/em> exposes the schism in the psyche of a society in transition. Perhaps that’s the endemic condition that links San Francisco and Berlin.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Berlin & Beyond takes place May 25–30 with both in-person and online screenings. \u003ca href=\"https://berlinbeyond.com/25/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "In the festival’s 25th year, a group of unfamiliar discoveries run alongside films by, about or based on familiar names.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Back in the mid-’90s, when Goethe-Institut San Francisco cultural director Ingrid Eggers launched the \u003ca href=\"https://berlinbeyond.com/25/\" rel=\"noopener noreferrer\" target=\"_blank\">Berlin & Beyond Film Festival\u003c/a>, the two cities shared global artistic reputations for thrilling innovation and fearless transgression. Cultural moments and movements pass, of course, and we can see in retrospect that Eggers’ splendid conception coincided with the ending of an era rather than its peak.\u003c/p>\n\u003cp>Although the fall of the Wall released pent-up energy from the East, Berlin was no longer the thrilling underground music, fashion and film hub it had been in the ’80s. San Francisco’s artist community, meanwhile, was devastated by AIDS and staggered by rising real estate prices about to be turbocharged by the dot-com boom.\u003c/p>\n\u003cp>Still, Berliners and San Franciscans shared a palpable affinity that encompassed the Beats and the hippies, Fassbinder and Wenders, Nico and Nina Hagen. The Haight and North Beach teemed with German tourists in those days, and in January the Castro buzzed with bundled-up, black-clad locals catching the new drama with heartthrob Moritz Bleibtreu or the latest provocation by Rosa von Praunheim.\u003c/p>\n\u003cfigure id=\"attachment_13897767\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/Enfant_Terrible_1200.jpg\" alt=\"\" width=\"1200\" height=\"671\" class=\"size-full wp-image-13897767\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Enfant_Terrible_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Enfant_Terrible_1200-800x447.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Enfant_Terrible_1200-1020x570.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Enfant_Terrible_1200-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Enfant_Terrible_1200-768x429.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Oskar Roehler’s Fassbinder biopic ‘Enfant Terrible,’ 2020. \u003ccite>(Courtesy Berlin & Beyond)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The breadth of Berlin & Beyond, which launches its 25th edition May 25 with the cross-border drama \u003cem>Sisters Apart\u003c/em> at the Fort Mason Drive-In, isn’t surprising given that Germany’s film industry is one of the largest in Europe. But you won’t find past years’ fringy, edgy films in the festival, continuing online through May 30 with a May 29 sortie to the Vogue for Christian Petzold’s modern-day fable \u003cem>\u003ca href=\"https://berlinbeyond.com/25/movies/undine_/\" rel=\"noopener noreferrer\" target=\"_blank\">Undine\u003c/a>\u003c/em> and the centerpiece selection, Burhan Qurbani’s contemporary riff on Alfred Döblin’s 1929 novel \u003cem>\u003ca href=\"https://berlinbeyond.com/25/movies/alexanderplatz/\" rel=\"noopener noreferrer\" target=\"_blank\">Berlin Alexanderplatz\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>I suppose Oskar Roehler’s raw biopic \u003cem>\u003ca href=\"https://berlinbeyond.com/25/movies/enfant-terrible/\" rel=\"noopener noreferrer\" target=\"_blank\">Enfant Terrible\u003c/a>\u003c/em>, featuring Oliver Masucci’s award-winning performance as the omnivorous, exploitative and relentless theater and film savant Rainer Werner Fassbinder, will shock some cloistered viewers. Although there’s little to admire about Fassbinder’s leather-jacketed brand of abuse (including self-), his refusal to compromise is greatly missed these days.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Artful, tasteful critiques of society define this Berlin & Beyond lineup, which is hardly cause for caterwauling. Festival director Sophoan Sorn, now in his 11th year at the helm, has compiled a group of unfamiliar discoveries to go with films by, about or based on familiar names (like the three mentioned above).\u003c/p>\n\u003cfigure id=\"attachment_13897770\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/My_Wonderful_Wanda.jpg\" alt=\"\" width=\"1280\" height=\"720\" class=\"size-full wp-image-13897770\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/My_Wonderful_Wanda.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/My_Wonderful_Wanda-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/My_Wonderful_Wanda-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/My_Wonderful_Wanda-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/My_Wonderful_Wanda-768x432.jpg 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Still from Bettina Oberli’s ‘My Wonderful Wanda,’ 2020. \u003ccite>(Courtesy Berlin & Beyond)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The cannily constructed Swiss success \u003cem>\u003ca href=\"https://berlinbeyond.com/25/movies/wanda/\" rel=\"noopener noreferrer\" target=\"_blank\">My Wonderful Wanda\u003c/a>\u003c/em> (the Beyond part of the festival allows for the inclusion of German-language films from Austria and Switzerland, whose national cinemas are overshadowed by their neighbor), is a sly comedy of manners set in a picturesque lake house. Co-written and directed by Bettina Oberli, who enjoyed a modest hit back in 2006 with \u003cem>Late Bloomers\u003c/em>, the plot revolves around a Polish caregiver (Agnieszka Grochowska) who is by turns the employee, object, target and accomplice to the wealthy stroke-struck head of the household, his status-conscious wife (Marthe Keller) and their stunted adult children.\u003c/p>\n\u003cp>As you guessed, \u003cem>My Wonderful Wanda\u003c/em> is a parable of old-style Western entitlement and contemporary Eastern aspirations. But Oberli doesn’t pick on the easy targets—she keeps the family just this side of irredeemably abominable (though who names their dog Mephisto?)—so as to more fruitfully explore the ways in which what people want costs them what they have.\u003c/p>\n\u003cp>Another female filmmaker, Daphne Charizani, the Greek writer-director of the opening night film \u003cem>\u003ca href=\"https://berlinbeyond.com/25/movies/sisters/\" rel=\"noopener noreferrer\" target=\"_blank\">Sisters Apart\u003c/a>\u003c/em>, is likewise concerned with the expectations and impediments that women must deal with at home and in the outside world. Kurdish-born Rojda (Almila Bagriacik) grew up in Germany and is assimilated to the degree that she’s an officer in the army. Her mother arrives from Iraq with the news that Rojda’s sister Dilan stayed to battle ISIS, layering her concern for that daughter with her disappointment in \u003cem>this\u003c/em> one.\u003c/p>\n\u003cfigure id=\"attachment_13897769\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/Yella_1200.jpg\" alt=\"\" width=\"1200\" height=\"646\" class=\"size-full wp-image-13897769\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Yella_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Yella_1200-800x431.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Yella_1200-1020x549.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Yella_1200-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Yella_1200-768x413.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Christian Petzold’s ‘Yella,’ 2007. \u003ccite>(Courtesy Berlin & Beyond)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The bulk of the movie unfolds in Iraq, where Rojda has arranged to be transferred as a translator helping train Kurdish women fighters, albeit with the secret agenda of finding Dilan. (As you guessed, she does.) \u003cem>Sisters Apart\u003c/em> is a linear and refreshingly concise story whose themes of identity, destiny and familial responsibility are invested with unusual intimacy.\u003c/p>\n\u003cp>Charizani’s movie marks another evolutionary step in the portrayal of refugees in German society, from despised outsiders to mainstream figures (at the same time that it’s made clear that plenty of people look at Rojda and see “foreigner”).\u003c/p>\n\u003cp>Rojda, and especially Wanda, are distant cousins to Yella, the titular heroine of Christian Petzold’s breakthrough 2007 feature starring longtime collaborator Nina Hoss as an abused wife whose seemingly successful escape from the East in post-reunification Germany is shadowed by the past. Revived by Berlin & Beyond as a tribute to Ingrid Eggers, \u003cem>Yella\u003c/em> exposes the schism in the psyche of a society in transition. Perhaps that’s the endemic condition that links San Francisco and Berlin.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Berlin & Beyond takes place May 25–30 with both in-person and online screenings. \u003ca href=\"https://berlinbeyond.com/25/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Underground Railroad' is a Hard But Beautiful Reflection on Black Pain",
"headTitle": "‘Underground Railroad’ is a Hard But Beautiful Reflection on Black Pain | KQED",
"content": "\u003cp>\u003cem>(Warning: This column contains descriptions of racialized violence and discusses some plot points in ‘The Underground Railroad’ series.)\u003c/em>\u003c/p>\n\u003cp>For this Black TV critic, completing \u003ca href=\"https://www.npr.org/2021/05/10/994616279/underground-railroad-director-barry-jenkins-sees-film-as-an-empathy-machine\" target=\"_blank\" rel=\"noopener noreferrer\">Barry Jenkins’ \u003c/a>ambitious, beautifully brutal, 10-episode adaptation of \u003ca href=\"https://www.npr.org/2016/08/08/489168232/colson-whiteheads-underground-railroad-is-a-literal-train-to-freedom\" target=\"_blank\" rel=\"noopener noreferrer\">Colson Whitehead’s \u003cem>The Underground Railroad\u003c/em> \u003c/a>was an emotional journey that touched every nerve of what it feels like to be a person of color striving to matter in America.\u003c/p>\n\u003cp>There has been a lot of discussion in pop culture circles about the depictions of Black pain in recent films and TV shows; I’ll engage that debate more fully later. But, for me\u003cem>, The Underground Railroad\u003c/em> mostly earns the right to deploy such terrible, emotionally devastating moments. These depictions enable this talented Black director/producer/writer to tell an epic story about Black people—building a TV masterpiece in the process.\u003c/p>\n\u003cp>[aside postid='arts_13873526']On the surface, it’s a story about an orphan slave, Cora Randall (Thuso Mbedu), who uses the underground railroad to escape a brutal, 19th century-era Georgia plantation. But Jenkins’ limited series for Amazon Prime Video adopts Whitehead’s use of magical realism to conjure a tale rooted in painful authenticity, guided by poetic fantasy.\u003c/p>\n\u003cp>The reality: Cora flees a plantation where a recaptured slave is burned alive during a party held by the plantation owner—a punishment all the slaves watch as a horrifying lesson/deterrent. This master also insists on watching his slaves copulate to supervise their breeding, like prized racehorses.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But when Cora and another slave—the blue-eyed, stalwart Caesar (Aaron Pierre)—make it to the underground railroad, they find it actually \u003cem>is\u003c/em> a railroad: a winding set of tracks deep beneath the earth used to ferry Black people away from the horrors of the slave-owning South. Accepting that the train track, locomotives, conductors and station stops are real for the characters focuses your mind on the \u003cem>meaning\u003c/em> of their travels more than the circumstances of their escape, allowing the gauntlet of travails Cora faces to serve as pungent examples of larger ideas.\u003c/p>\n\u003cp>And make no mistake: The litany of nightmares Cora endures while traveling north is an onslaught of Black pain. In one South Carolina city, Black people are allowed to attend schools, taught to read by white teachers. But Cora also works in a museum that seems like a living zoo, where white people gather to watch her recreate her past life as a slave picking cotton inside a glass-windowed display case. It will be no surprise to learn she uncovers darker revelations there, as well.\u003c/p>\n\u003cp>[aside postid='arts_13844783']Later, Cora is smuggled to a North Carolina community where lynched Black people hang from trees lining both sides of the road into town, as a sign that they are not tolerated. She is hidden by a white couple who seem to have little but contempt and anger for her. That is a constant theme in \u003cem>The Underground Railroad\u003c/em>; most white characters have damaging, callous intentions for Black people, even if they seem initially benign.\u003c/p>\n\u003cp>The cast is exceptional, led by Thuso Mbedu’s intense, emotional work as Cora. She often whipsaws between open, uninhibited anguish and a guarded, emotionally shut-down wariness. Affable \u003cem>The Good Place\u003c/em> alum, William Jackson Harper, gives the performance of his career as Royal, a free man with whom she builds a complicated, loving relationship.\u003c/p>\n\u003cp>Joel Edgerton is compelling as Arnold Ridgeway, the white slave-hunter who dogs her trail. He travels with a whip-smart Black boy named Homer (Chase W. Dillon), who does most of the work and exposes Cora’s hiding places most often. Homer seems an embodiment of both the hypocrisy of white exceptionalism and the ways Black folk shackle themselves to serve white masters (this is literal; Ridgeway’s young companion can’t sleep unless he puts his wrist in a chain at night).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_Pq5Usc_JDA\u003c/p>\n\u003cp>Jenkins, best-known for the \u003ca href=\"https://www.npr.org/2016/10/18/498358778/moonlight-coming-of-age-in-miami-during-the-war-on-drugs-era\" target=\"_blank\" rel=\"noopener noreferrer\">Oscar-winning film \u003cem>Moonlight\u003c/em>\u003c/a>\u003cem>,\u003c/em> is a director who makes Black folks look beautiful, even in the midst of crushing hardship and pain. His eye for color and majestic images transforms everything from burned-out swaths of Kentucky forest to the endless fields of cotton plantations into arresting tableaus.\u003c/p>\n\u003cp>But he is also a filmmaker who takes his time in telling stories. Which means viewers must sit in the pain of traumatic moments, waiting for Jenkins to fully reveal the awfulness you know is coming. It’s difficult to endure, especially if you already know the hard truths these moments are engineered to convey.\u003c/p>\n\u003cp>[aside postid='arts_13875290']Many of the more harrowing scenes in \u003cem>The Underground Railroad\u003c/em> communicate familiar ideas. The role white jealousy plays in the drive to oppress Black people. The insidious way white culture convinces Black people to work toward their own oppression and the oppression of others. The many ways Black folks struggle to process and transcend trauma. The ways in which Black joy and peace can feel like the briefest of respites from a seemingly eternal struggle.\u003c/p>\n\u003cp>That’s why, in addition to feeling sorrow and disgust in watching those horrors realized onscreen, I also felt anger. Not just over the unfairness of it all, but for the way Black people have been forced, generation after generation, to expose our wounds from systemic racism, just to prove to the wider—often white—world that it exists at all.\u003c/p>\n\u003cp>One reason why projects like \u003cem>The Underground Railroad\u003c/em> feel so necessary, is because white America has tried so hard to deny, diminish or erase the shame of its racist past—refusing to acknowledge the connection between centuries of oppression and ongoing, current problems.\u003c/p>\n\u003cp>This version of \u003cem>The Underground Railroad\u003c/em> reaches us at a time when we are most prepared for its message, but severely challenged by its delivery system. We are nearly one year past the date of George Floyd’s death; 12 months in which video capturing the brutality of this Black man’s slow murder beneath the knee of white policeman Derek Chauvin has been played and replayed on screens large and small.\u003c/p>\n\u003cp>Another wound, repeatedly ripped open. And even as footage of Floyd’s death builds sympathy for the victims of systemic racism, it leaves many of us unable to stomach more images of Black lives snuffed out by prejudice and fear.\u003c/p>\n\u003cp>But Jenkins’ \u003cem>The Underground Railroad \u003c/em>demands we endure another look. Because when Cora finally reaches a community led by free Black people, the Indiana winery called the Valentine Farm, we viewers understand why the director brought us through hell to find this oasis. Our relief is as palpable as hers.\u003c/p>\n\u003cp>[aside postid='arts_13895452']There are problems here: great gobs of time spent telling the white slave hunter Ridgeway’s story—and because he’s the most loquacious character, he often tells us his story again, even after the series shows it. The unfortunate drawback is that we learn more about his interior thoughts and motivations than those of many of the Black characters here, even Cora.\u003c/p>\n\u003cp>And some of the messaging is delivered with the subtlety of a steamroller, as when a Black character at Valentine Farm declares: “America, too is a delusion. Its very foundations are murder, theft and cruelty. Yet here WE are.”\u003c/p>\n\u003cp>Still, that line sums up the enduring, transformative message of Jenkins’ epic masterpiece. Black folks are here, ready to survive and thrive, our lives filled with poetry, magic and joy, no matter what an unjust world throws at us.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And that’s always something worth watching.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Underground+Railroad%27+Is+A+Hard+But+Beautiful+Reflection+On+Black+Pain&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>(Warning: This column contains descriptions of racialized violence and discusses some plot points in ‘The Underground Railroad’ series.)\u003c/em>\u003c/p>\n\u003cp>For this Black TV critic, completing \u003ca href=\"https://www.npr.org/2021/05/10/994616279/underground-railroad-director-barry-jenkins-sees-film-as-an-empathy-machine\" target=\"_blank\" rel=\"noopener noreferrer\">Barry Jenkins’ \u003c/a>ambitious, beautifully brutal, 10-episode adaptation of \u003ca href=\"https://www.npr.org/2016/08/08/489168232/colson-whiteheads-underground-railroad-is-a-literal-train-to-freedom\" target=\"_blank\" rel=\"noopener noreferrer\">Colson Whitehead’s \u003cem>The Underground Railroad\u003c/em> \u003c/a>was an emotional journey that touched every nerve of what it feels like to be a person of color striving to matter in America.\u003c/p>\n\u003cp>There has been a lot of discussion in pop culture circles about the depictions of Black pain in recent films and TV shows; I’ll engage that debate more fully later. But, for me\u003cem>, The Underground Railroad\u003c/em> mostly earns the right to deploy such terrible, emotionally devastating moments. These depictions enable this talented Black director/producer/writer to tell an epic story about Black people—building a TV masterpiece in the process.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But when Cora and another slave—the blue-eyed, stalwart Caesar (Aaron Pierre)—make it to the underground railroad, they find it actually \u003cem>is\u003c/em> a railroad: a winding set of tracks deep beneath the earth used to ferry Black people away from the horrors of the slave-owning South. Accepting that the train track, locomotives, conductors and station stops are real for the characters focuses your mind on the \u003cem>meaning\u003c/em> of their travels more than the circumstances of their escape, allowing the gauntlet of travails Cora faces to serve as pungent examples of larger ideas.\u003c/p>\n\u003cp>And make no mistake: The litany of nightmares Cora endures while traveling north is an onslaught of Black pain. In one South Carolina city, Black people are allowed to attend schools, taught to read by white teachers. But Cora also works in a museum that seems like a living zoo, where white people gather to watch her recreate her past life as a slave picking cotton inside a glass-windowed display case. It will be no surprise to learn she uncovers darker revelations there, as well.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Later, Cora is smuggled to a North Carolina community where lynched Black people hang from trees lining both sides of the road into town, as a sign that they are not tolerated. She is hidden by a white couple who seem to have little but contempt and anger for her. That is a constant theme in \u003cem>The Underground Railroad\u003c/em>; most white characters have damaging, callous intentions for Black people, even if they seem initially benign.\u003c/p>\n\u003cp>The cast is exceptional, led by Thuso Mbedu’s intense, emotional work as Cora. She often whipsaws between open, uninhibited anguish and a guarded, emotionally shut-down wariness. Affable \u003cem>The Good Place\u003c/em> alum, William Jackson Harper, gives the performance of his career as Royal, a free man with whom she builds a complicated, loving relationship.\u003c/p>\n\u003cp>Joel Edgerton is compelling as Arnold Ridgeway, the white slave-hunter who dogs her trail. He travels with a whip-smart Black boy named Homer (Chase W. Dillon), who does most of the work and exposes Cora’s hiding places most often. Homer seems an embodiment of both the hypocrisy of white exceptionalism and the ways Black folk shackle themselves to serve white masters (this is literal; Ridgeway’s young companion can’t sleep unless he puts his wrist in a chain at night).\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/_Pq5Usc_JDA'\n title='//www.youtube.com/embed/_Pq5Usc_JDA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Jenkins, best-known for the \u003ca href=\"https://www.npr.org/2016/10/18/498358778/moonlight-coming-of-age-in-miami-during-the-war-on-drugs-era\" target=\"_blank\" rel=\"noopener noreferrer\">Oscar-winning film \u003cem>Moonlight\u003c/em>\u003c/a>\u003cem>,\u003c/em> is a director who makes Black folks look beautiful, even in the midst of crushing hardship and pain. His eye for color and majestic images transforms everything from burned-out swaths of Kentucky forest to the endless fields of cotton plantations into arresting tableaus.\u003c/p>\n\u003cp>But he is also a filmmaker who takes his time in telling stories. Which means viewers must sit in the pain of traumatic moments, waiting for Jenkins to fully reveal the awfulness you know is coming. It’s difficult to endure, especially if you already know the hard truths these moments are engineered to convey.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Many of the more harrowing scenes in \u003cem>The Underground Railroad\u003c/em> communicate familiar ideas. The role white jealousy plays in the drive to oppress Black people. The insidious way white culture convinces Black people to work toward their own oppression and the oppression of others. The many ways Black folks struggle to process and transcend trauma. The ways in which Black joy and peace can feel like the briefest of respites from a seemingly eternal struggle.\u003c/p>\n\u003cp>That’s why, in addition to feeling sorrow and disgust in watching those horrors realized onscreen, I also felt anger. Not just over the unfairness of it all, but for the way Black people have been forced, generation after generation, to expose our wounds from systemic racism, just to prove to the wider—often white—world that it exists at all.\u003c/p>\n\u003cp>One reason why projects like \u003cem>The Underground Railroad\u003c/em> feel so necessary, is because white America has tried so hard to deny, diminish or erase the shame of its racist past—refusing to acknowledge the connection between centuries of oppression and ongoing, current problems.\u003c/p>\n\u003cp>This version of \u003cem>The Underground Railroad\u003c/em> reaches us at a time when we are most prepared for its message, but severely challenged by its delivery system. We are nearly one year past the date of George Floyd’s death; 12 months in which video capturing the brutality of this Black man’s slow murder beneath the knee of white policeman Derek Chauvin has been played and replayed on screens large and small.\u003c/p>\n\u003cp>Another wound, repeatedly ripped open. And even as footage of Floyd’s death builds sympathy for the victims of systemic racism, it leaves many of us unable to stomach more images of Black lives snuffed out by prejudice and fear.\u003c/p>\n\u003cp>But Jenkins’ \u003cem>The Underground Railroad \u003c/em>demands we endure another look. Because when Cora finally reaches a community led by free Black people, the Indiana winery called the Valentine Farm, we viewers understand why the director brought us through hell to find this oasis. Our relief is as palpable as hers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There are problems here: great gobs of time spent telling the white slave hunter Ridgeway’s story—and because he’s the most loquacious character, he often tells us his story again, even after the series shows it. The unfortunate drawback is that we learn more about his interior thoughts and motivations than those of many of the Black characters here, even Cora.\u003c/p>\n\u003cp>And some of the messaging is delivered with the subtlety of a steamroller, as when a Black character at Valentine Farm declares: “America, too is a delusion. Its very foundations are murder, theft and cruelty. Yet here WE are.”\u003c/p>\n\u003cp>Still, that line sums up the enduring, transformative message of Jenkins’ epic masterpiece. Black folks are here, ready to survive and thrive, our lives filled with poetry, magic and joy, no matter what an unjust world throws at us.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And that’s always something worth watching.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Underground+Railroad%27+Is+A+Hard+But+Beautiful+Reflection+On+Black+Pain&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>With just two weeks to go before \u003cem>A Quiet Place Part II\u003c/em> makes your local multiplex a less quiet place, Hollywood has started the back-to-cinemas drumroll.\u003c/p>\n\u003cp>“There’s nothing like that moment when the lights go down,” growls Vin Diesel, channeling his inner Richard Attenborough in \u003ca href=\"https://www.youtube.com/watch?v=5eblKqTZ-0Q\" target=\"_blank\" rel=\"noopener noreferrer\">a trailer for \u003cem>F9\u003c/em>\u003c/a>, the latest \u003cem>Fast & Furious\u003c/em> installment. “The projector ignites, and we believe.”\u003c/p>\n\u003cp>As he says this, a jeep explodes in flames, somersaulting over his car, and the implication is inescapable—you pretty much have to see this on the biggest possible screen.\u003c/p>\n\u003cp>“Nobody does a comeback like the movies,” Diesel continues. And he should know. This online appeal arrived just hours before the Oscars telecast, as Universal was preparing to release all eight of the previous F&F films in theaters, one per week to build excitement for \u003cem>F9\u003c/em>‘s opening at the end of June.\u003c/p>\n\u003cp>Then came a spot from Matthew McConaughey during the Oscars, singing the praises of the more than 150,000 cinema employees who’ve suffered through “the longest intermission they could’ve ever imagined”—a reference to the closure of theaters due to the COVID-19 pandemic—and are now eager to welcome patrons back.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=faoUct00qec\u003c/p>\n\u003cp>That these are plugs not just for a movie, but for the movies, is the point. It’s not easy to jump-start a whole industry from a full stop. \u003cem>Tenet\u003c/em> tried back in September and fizzled when audiences weren’t ready (though it did decently overseas). Double-oh-seven’s been announcing and then cancelling premieres. Wonder Woman stuck to her Christmas opening date, but streamed the same day. Surveys indicate plenty of interest, but patrons haven’t been showing up.\u003c/p>\n\u003cp>So nothing’s being left to chance this time. Memorial Day weekend will have a couple of medium-size genre prequels to prime the pump—Disney’s live-action \u003cem>Cruella,\u003c/em> and the thriller \u003cem>A Quiet Place Part II\u003c/em>—with the big guns \u003cem>F9\u003c/em> and Marvel’s \u003cem>Black Widow\u003c/em> holding off until closer to July 4. That gives Hollywood studios time to sell the summer’s sizzle, and pandemic-weary patrons time to get comfortable with the idea of gathering in enclosed spaces.\u003c/p>\n\u003cp>Theater operators, meanwhile, are \u003ca href=\"https://touch.facebook.com/LandmarkCinemas10Kingston/videos/welcome-back-preview-your-movie-going-experience/3091348557622093/\" target=\"_blank\" rel=\"noopener noreferrer\">leaning hard\u003c/a> on safety with social distancing protocols and new ventilation systems, \u003ca href=\"https://www.youtube.com/watch?v=B-4feoqrLlM\" target=\"_blank\" rel=\"noopener noreferrer\">reassurance\u003c/a> from epidemiologists, and “safe-and-clean” \u003ca href=\"https://www.facebook.com/amctheatres/videos/were-excited-to-welcome-you-back-to-amc-theatres-heres-what-you-need-to-know-abo/667956943819398/\" target=\"_blank\" rel=\"noopener noreferrer\">initiatives\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13894499']And perhaps even more attentive than the big chains are art-houses, which cater to older audiences, so they’re especially conscious of risk and the need to make auditoriums safe. Their patrons will be coming back for more specialized fare. “Come on back,” says Nashville’s non-profit film center, The Belcourt, with plugs for \u003cem>Cinema Paradiso\u003c/em>, and \u003cem>Hollywood Shuffle\u003c/em>.\u003c/p>\n\u003cp>But nobody does a “You Reeeally Want This” sales pitch quite like Marvel. Theirs starts with the voice of the late Stan Lee extolling togetherness over images of a crowded city street, then cuts to Iron Man pulling Spider-Man in for a hug, followed by more scenes of cinematic togetherness from a 23-film “Infinity Saga.” It all builds to a moment of shared movie excitement that was experienced by literally hundreds of millions of people worldwide: the climax of \u003cem>Avengers Endgame\u003c/em>, when all appears hopeless, defeat inevitable—until the movie music swells, and at the last possible second, reinforcements arrive.\u003c/p>\n\u003cp>And the theater audience erupts. The image on screen is of multiplex patrons leaping to their feet at an \u003cem>Endgame\u003c/em> showing—arguably the ideal argument for returning to cinemas—but not, it turns out, the real grabber in Marvel’s “Welcome Back.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QdpxoFcdORI\u003c/p>\n\u003cp>The trailer reserves that prime spot for the thing besides audiences that Hollywood hasn’t had for more than a year—the thing that is finally making it possible for cinemas to re-open—hard opening dates. As music thunders, they glisten and flare defiantly beneath titles: July 9 for the much delayed \u003cem>Black Widow; \u003c/em>Sept. 3 for \u003cem>Shang Chi\u003c/em> and the \u003cem>Legend of the Ten Rings;\u003c/em> Nov. 5 for \u003cem>The Eternals;\u003c/em> Dec. 17 for \u003cem>Spider-Man No Way Home\u003c/em>, and on and on through May of 2023.\u003c/p>\n\u003cp>You don’t even have to like superhero movies to find the sheer “we’ve got you” bravado comforting when Gemma Chan’s Sersi gazes into a middle distance and declares, “We’re the ones who changed everything.”\u003c/p>\n\u003cp>Different universe, of course. The pandemic changed everything in ours.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But superheroes are still decent role models for audiences heading back to cinemas. Long before the rest of us, remember, quite a few of them were perfectly comfortable wearing masks.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=As+Many+Entertainment+Venues+Start+To+Reopen%2C+Nobody+Does+A+Comeback+Like+The+Movies&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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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/faoUct00qec'\n title='//www.youtube.com/embed/faoUct00qec'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That these are plugs not just for a movie, but for the movies, is the point. It’s not easy to jump-start a whole industry from a full stop. \u003cem>Tenet\u003c/em> tried back in September and fizzled when audiences weren’t ready (though it did decently overseas). Double-oh-seven’s been announcing and then cancelling premieres. Wonder Woman stuck to her Christmas opening date, but streamed the same day. Surveys indicate plenty of interest, but patrons haven’t been showing up.\u003c/p>\n\u003cp>So nothing’s being left to chance this time. Memorial Day weekend will have a couple of medium-size genre prequels to prime the pump—Disney’s live-action \u003cem>Cruella,\u003c/em> and the thriller \u003cem>A Quiet Place Part II\u003c/em>—with the big guns \u003cem>F9\u003c/em> and Marvel’s \u003cem>Black Widow\u003c/em> holding off until closer to July 4. That gives Hollywood studios time to sell the summer’s sizzle, and pandemic-weary patrons time to get comfortable with the idea of gathering in enclosed spaces.\u003c/p>\n\u003cp>Theater operators, meanwhile, are \u003ca href=\"https://touch.facebook.com/LandmarkCinemas10Kingston/videos/welcome-back-preview-your-movie-going-experience/3091348557622093/\" target=\"_blank\" rel=\"noopener noreferrer\">leaning hard\u003c/a> on safety with social distancing protocols and new ventilation systems, \u003ca href=\"https://www.youtube.com/watch?v=B-4feoqrLlM\" target=\"_blank\" rel=\"noopener noreferrer\">reassurance\u003c/a> from epidemiologists, and “safe-and-clean” \u003ca href=\"https://www.facebook.com/amctheatres/videos/were-excited-to-welcome-you-back-to-amc-theatres-heres-what-you-need-to-know-abo/667956943819398/\" target=\"_blank\" rel=\"noopener noreferrer\">initiatives\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And perhaps even more attentive than the big chains are art-houses, which cater to older audiences, so they’re especially conscious of risk and the need to make auditoriums safe. Their patrons will be coming back for more specialized fare. “Come on back,” says Nashville’s non-profit film center, The Belcourt, with plugs for \u003cem>Cinema Paradiso\u003c/em>, and \u003cem>Hollywood Shuffle\u003c/em>.\u003c/p>\n\u003cp>But nobody does a “You Reeeally Want This” sales pitch quite like Marvel. Theirs starts with the voice of the late Stan Lee extolling togetherness over images of a crowded city street, then cuts to Iron Man pulling Spider-Man in for a hug, followed by more scenes of cinematic togetherness from a 23-film “Infinity Saga.” It all builds to a moment of shared movie excitement that was experienced by literally hundreds of millions of people worldwide: the climax of \u003cem>Avengers Endgame\u003c/em>, when all appears hopeless, defeat inevitable—until the movie music swells, and at the last possible second, reinforcements arrive.\u003c/p>\n\u003cp>And the theater audience erupts. The image on screen is of multiplex patrons leaping to their feet at an \u003cem>Endgame\u003c/em> showing—arguably the ideal argument for returning to cinemas—but not, it turns out, the real grabber in Marvel’s “Welcome Back.”\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/QdpxoFcdORI'\n title='//www.youtube.com/embed/QdpxoFcdORI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The trailer reserves that prime spot for the thing besides audiences that Hollywood hasn’t had for more than a year—the thing that is finally making it possible for cinemas to re-open—hard opening dates. As music thunders, they glisten and flare defiantly beneath titles: July 9 for the much delayed \u003cem>Black Widow; \u003c/em>Sept. 3 for \u003cem>Shang Chi\u003c/em> and the \u003cem>Legend of the Ten Rings;\u003c/em> Nov. 5 for \u003cem>The Eternals;\u003c/em> Dec. 17 for \u003cem>Spider-Man No Way Home\u003c/em>, and on and on through May of 2023.\u003c/p>\n\u003cp>You don’t even have to like superhero movies to find the sheer “we’ve got you” bravado comforting when Gemma Chan’s Sersi gazes into a middle distance and declares, “We’re the ones who changed everything.”\u003c/p>\n\u003cp>Different universe, of course. The pandemic changed everything in ours.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But superheroes are still decent role models for audiences heading back to cinemas. Long before the rest of us, remember, quite a few of them were perfectly comfortable wearing masks.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=As+Many+Entertainment+Venues+Start+To+Reopen%2C+Nobody+Does+A+Comeback+Like+The+Movies&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>San Francisco film noir isn’t just about darkness, as two online events hosted by the Tenderloin Museum this month prove. Led by SF Neon’s Al Barna and Randall Ann Homan and Jim Van Buskirk, co-author of \u003ci>Celluloid San Francisco: The Film Lover’s Guide to Bay Area Movie Locations\u003c/i>, “Cinematic San Francisco Neon” shows excerpts from seven decade’ worth of films lit with the eerie glow of the city’s once-ubiquitous neon lights.\u003c/p>\n\u003cp>This Thursday, May 13 at 6:45pm, the \u003ca href=\"http://www.tenderloinmuseum.org/events/cinematic-sf-neon\" rel=\"noopener noreferrer\" target=\"_blank\">first program\u003c/a>, spanning films made 1947–1957, features the noir \u003ci>Dark Passage\u003c/i> (the beginning of which is shot POV through the eyes of a prison escapee who \u003ci>becomes\u003c/i> Humphrey Bogart only after plastic surgery) and Alfred Hitchcock’s well-recognized classic \u003ci>Vertigo\u003c/i>. \u003c/p>\n\u003cp>Because of what Barna and Homan say was “abundance of exciting material we’ve discovered in our research,” a \u003ca href=\"http://www.tenderloinmuseum.org/events/pal-joey-to-big-eyes\" rel=\"noopener noreferrer\" target=\"_blank\">second presentation\u003c/a> takes place two weeks later, on Thursday, May 27, to include films from 1957 through 2014, including the 1957 musical \u003ci>Pal Joey\u003c/i> and Tim Burton’s Margaret Keane biopic \u003ci>Big Eyes\u003c/i>, recently made but set in San Francisco of the past.\u003c/p>\n\u003cp>The events serve as the finale to Seasons of Neon, a series of talks and tours put on by the Tenderloin Museum and SF Neon that focused on the neighborhood as the site of the “densest concentration of extant neon in the Bay Area.” “Cinematic San Francisco Neon” is reminder of everything these still-buzzing signs convey: bygone businesses, reemerging nightlife, and the stories behind them all.\u003c/p>\n\u003cp>\u003ci>Registration is required to attend both events on Zoom, which are free with a suggested donation of $10. \u003ca href=\"http://www.tenderloinmuseum.org/events\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco film noir isn’t just about darkness, as two online events hosted by the Tenderloin Museum this month prove. Led by SF Neon’s Al Barna and Randall Ann Homan and Jim Van Buskirk, co-author of \u003ci>Celluloid San Francisco: The Film Lover’s Guide to Bay Area Movie Locations\u003c/i>, “Cinematic San Francisco Neon” shows excerpts from seven decade’ worth of films lit with the eerie glow of the city’s once-ubiquitous neon lights.\u003c/p>\n\u003cp>This Thursday, May 13 at 6:45pm, the \u003ca href=\"http://www.tenderloinmuseum.org/events/cinematic-sf-neon\" rel=\"noopener noreferrer\" target=\"_blank\">first program\u003c/a>, spanning films made 1947–1957, features the noir \u003ci>Dark Passage\u003c/i> (the beginning of which is shot POV through the eyes of a prison escapee who \u003ci>becomes\u003c/i> Humphrey Bogart only after plastic surgery) and Alfred Hitchcock’s well-recognized classic \u003ci>Vertigo\u003c/i>. \u003c/p>\n\u003cp>Because of what Barna and Homan say was “abundance of exciting material we’ve discovered in our research,” a \u003ca href=\"http://www.tenderloinmuseum.org/events/pal-joey-to-big-eyes\" rel=\"noopener noreferrer\" target=\"_blank\">second presentation\u003c/a> takes place two weeks later, on Thursday, May 27, to include films from 1957 through 2014, including the 1957 musical \u003ci>Pal Joey\u003c/i> and Tim Burton’s Margaret Keane biopic \u003ci>Big Eyes\u003c/i>, recently made but set in San Francisco of the past.\u003c/p>\n\u003cp>The events serve as the finale to Seasons of Neon, a series of talks and tours put on by the Tenderloin Museum and SF Neon that focused on the neighborhood as the site of the “densest concentration of extant neon in the Bay Area.” “Cinematic San Francisco Neon” is reminder of everything these still-buzzing signs convey: bygone businesses, reemerging nightlife, and the stories behind them all.\u003c/p>\n\u003cp>\u003ci>Registration is required to attend both events on Zoom, which are free with a suggested donation of $10. \u003ca href=\"http://www.tenderloinmuseum.org/events\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>I’m tempted to say that the pandemic has been crueler to narrative filmmakers than to documentarians, for the obvious reason that it slammed the door on rehearsals and shoots. But my only real evidence is anecdotal, namely the preponderance of new docs on display locally at last month’s International Ocean and Livable Planet Film Festivals, next month’s DocFest and the front-and-center \u003ca href=\"https://www.doclands.com\" rel=\"noopener noreferrer\" target=\"_blank\">DocLands\u003c/a>, running May 7–16 online and at the Smith Rafael Film Center in San Rafael.\u003c/p>\n\u003cp>To be sure, some of the selections of the Mill Valley Film Festival’s nonfiction offshoot have already screened hereabouts via the online/drive-in Sundance and/or SFFILM Festivals. Here’s another chance to see Debbie Lum’s verité portrait of a year at Lowell High, \u003cem>Try Harder!\u003c/em> (streaming May 14-16 only), Mariem Pérez Riera’s \u003cem>Rita Moreno: Just a Girl Who Decided to Go For It\u003c/em> (May 9-11, ahead of its June theatrical release) and \u003cem>Amy Tan: Unintended Memoir\u003c/em> (at the Rafael May 9 with the author in person, and May 11; also \u003ca href=\"https://www.pbs.org/wnet/americanmasters/stream-amy-tan-unintended-memoir-documentary/17722/\" rel=\"noopener noreferrer\" target=\"_blank\">streaming for free\u003c/a> on the PBS website until May 17).\u003c/p>\n\u003cp>A couple other energetic cultural explorations make the Bay Area scene between their Sundance debuts and upcoming theatrical runs. Edgar Wright’s ear- and eye-opening \u003cem>The Sparks Brothers\u003c/em> reflects and remixes the long-running musical creativity of L.A. siblings Russell and Ron Mael, while Questlove’s crowd-rousing \u003cem>Summer of Soul (…Or, When the Revolution Could Not Be Televised)\u003c/em> excavates the rhythmic and bluesy tapes of the summer-long 1969 Harlem Cultural Festival featuring Sly & the Family Stone, Nina Simone and other showstoppers.\u003c/p>\n\u003cfigure id=\"attachment_13896836\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/thenewcorporation_capitalism_1200.jpg\" alt=\"\" width=\"1200\" height=\"610\" class=\"size-full wp-image-13896836\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/thenewcorporation_capitalism_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/thenewcorporation_capitalism_1200-800x407.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/thenewcorporation_capitalism_1200-1020x519.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/thenewcorporation_capitalism_1200-160x81.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/thenewcorporation_capitalism_1200-768x390.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The New Corporation: The Unfortunately Necessary Sequel.’ \u003ccite>(DocLands)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Local filmmaker Sachi Cunningham pairs with Vayabobo to profile multimedia artist and performer Bill Shannon, who transformed his childhood illness (Perthes disease, a degenerative hip condition) into the foundation of his movement-oriented work, in \u003cem>Crutch\u003c/em>. Life and art also intersect with thunderous force in Rosalynde LeBlanc and Tom Hurwitz’s \u003cem>Can You Bring It: Bill T. Jones and D-Man in the Waters\u003c/em>, which entwines the history of the choreographer’s 1989 ballet with a contemporary staging by dancers born after the AIDS pandemic.\u003c/p>\n\u003cp>Making art is a life’s work, and we frequently discount that aspect of an artist’s career. At the same time, we often invest artmaking with more status (and glamour) than other forms of work. The labor-focused filmmakers Julia Reichert and Steven Bognar, who won the Best Documentary Feature Oscar a year ago for \u003cem>American Factory\u003c/em> (Netflix), have long recognized the dignity of blue-collar jobs and are rightfully recognized with this year’s DocLands Honors Award.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Reichert and Bognar’s latest film, the historical doc \u003cem>9to5: Story of a Movement\u003c/em>, played the Mill Valley Film Festival last fall and returns to stream at DocLands with three of their recent short films. For those on the budget (like aspiring filmmakers), the festival streams an interview with the filmmakers plus a virtual screening of their 2009 featurette, \u003cem>The Last Truck: Closing of a GM Plant\u003c/em>, for free.\u003c/p>\n\u003cp>The essay film may be my favorite documentary form, although it’s typically too challenging (not enough story) or too personal (not enough distance) to be widely appreciated. Theo Anthony’s Sundance prize-winning \u003cem>All Light, Everywhere\u003c/em> (streaming, and May 7 at the Rafael; opens in June) uses police bodycams as the lens (pun intended) through which to view big, basic building blocks of perception and technology, and the societal implications of individual decisions and biases.\u003c/p>\n\u003cfigure id=\"attachment_13896834\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/MagnitudeOfallThings_1200.jpg\" alt=\"\" width=\"1200\" height=\"503\" class=\"size-full wp-image-13896834\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/MagnitudeOfallThings_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/MagnitudeOfallThings_1200-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/MagnitudeOfallThings_1200-1020x428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/MagnitudeOfallThings_1200-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/MagnitudeOfallThings_1200-768x322.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Magnitude of All Things.’ \u003ccite>(DocLands)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Canadian filmmaker Jennifer Abbott is represented by two troubling opuses that take vastly different approaches to global threats. \u003cem>The New Corporation: The Unfortunately Necessary Sequel\u003c/em> (streaming May 13–15 only), co-directed with Joel Bakan, updates her 2003 film (also based on Bakan’s writings) to assess the effects of profit-centered companies on not just climate change but personal freedoms.\u003c/p>\n\u003cp>In \u003cem>The Magnitude of All Things\u003c/em> (May 8 at the Rafael, streaming May 14–16 only), Abbott poetically links her grief for the sister she lost to cancer to the traumas of indigenous people witnessing the erosion or destruction of their habitats in the Arctic, the Ecuadorian Amazon, Canada and Australia. An elegy that acknowledges we are all part of the planet’s sickness, \u003cem>The Magnitude of All Things\u003c/em> is perhaps best appreciated by those who feel alone in their despair.\u003c/p>\n\u003cp>It’s not surprising that a film about grief can prove comforting, but it doesn’t lend itself to a fizzy marketing slogan. Let’s just say that Abbott manages to find some light amid the coming devastation, in the character, creativity and determination of ordinary people. Come to think of it, that last bit pretty well sums up DocLands.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>DocLands streams online May 7–16, with several in-person screenings at the Smith Rafael Film Center. \u003ca href=\"https://www.doclands.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I’m tempted to say that the pandemic has been crueler to narrative filmmakers than to documentarians, for the obvious reason that it slammed the door on rehearsals and shoots. But my only real evidence is anecdotal, namely the preponderance of new docs on display locally at last month’s International Ocean and Livable Planet Film Festivals, next month’s DocFest and the front-and-center \u003ca href=\"https://www.doclands.com\" rel=\"noopener noreferrer\" target=\"_blank\">DocLands\u003c/a>, running May 7–16 online and at the Smith Rafael Film Center in San Rafael.\u003c/p>\n\u003cp>To be sure, some of the selections of the Mill Valley Film Festival’s nonfiction offshoot have already screened hereabouts via the online/drive-in Sundance and/or SFFILM Festivals. Here’s another chance to see Debbie Lum’s verité portrait of a year at Lowell High, \u003cem>Try Harder!\u003c/em> (streaming May 14-16 only), Mariem Pérez Riera’s \u003cem>Rita Moreno: Just a Girl Who Decided to Go For It\u003c/em> (May 9-11, ahead of its June theatrical release) and \u003cem>Amy Tan: Unintended Memoir\u003c/em> (at the Rafael May 9 with the author in person, and May 11; also \u003ca href=\"https://www.pbs.org/wnet/americanmasters/stream-amy-tan-unintended-memoir-documentary/17722/\" rel=\"noopener noreferrer\" target=\"_blank\">streaming for free\u003c/a> on the PBS website until May 17).\u003c/p>\n\u003cp>A couple other energetic cultural explorations make the Bay Area scene between their Sundance debuts and upcoming theatrical runs. Edgar Wright’s ear- and eye-opening \u003cem>The Sparks Brothers\u003c/em> reflects and remixes the long-running musical creativity of L.A. siblings Russell and Ron Mael, while Questlove’s crowd-rousing \u003cem>Summer of Soul (…Or, When the Revolution Could Not Be Televised)\u003c/em> excavates the rhythmic and bluesy tapes of the summer-long 1969 Harlem Cultural Festival featuring Sly & the Family Stone, Nina Simone and other showstoppers.\u003c/p>\n\u003cfigure id=\"attachment_13896836\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/thenewcorporation_capitalism_1200.jpg\" alt=\"\" width=\"1200\" height=\"610\" class=\"size-full wp-image-13896836\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/thenewcorporation_capitalism_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/thenewcorporation_capitalism_1200-800x407.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/thenewcorporation_capitalism_1200-1020x519.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/thenewcorporation_capitalism_1200-160x81.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/thenewcorporation_capitalism_1200-768x390.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The New Corporation: The Unfortunately Necessary Sequel.’ \u003ccite>(DocLands)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Local filmmaker Sachi Cunningham pairs with Vayabobo to profile multimedia artist and performer Bill Shannon, who transformed his childhood illness (Perthes disease, a degenerative hip condition) into the foundation of his movement-oriented work, in \u003cem>Crutch\u003c/em>. Life and art also intersect with thunderous force in Rosalynde LeBlanc and Tom Hurwitz’s \u003cem>Can You Bring It: Bill T. Jones and D-Man in the Waters\u003c/em>, which entwines the history of the choreographer’s 1989 ballet with a contemporary staging by dancers born after the AIDS pandemic.\u003c/p>\n\u003cp>Making art is a life’s work, and we frequently discount that aspect of an artist’s career. At the same time, we often invest artmaking with more status (and glamour) than other forms of work. The labor-focused filmmakers Julia Reichert and Steven Bognar, who won the Best Documentary Feature Oscar a year ago for \u003cem>American Factory\u003c/em> (Netflix), have long recognized the dignity of blue-collar jobs and are rightfully recognized with this year’s DocLands Honors Award.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Reichert and Bognar’s latest film, the historical doc \u003cem>9to5: Story of a Movement\u003c/em>, played the Mill Valley Film Festival last fall and returns to stream at DocLands with three of their recent short films. For those on the budget (like aspiring filmmakers), the festival streams an interview with the filmmakers plus a virtual screening of their 2009 featurette, \u003cem>The Last Truck: Closing of a GM Plant\u003c/em>, for free.\u003c/p>\n\u003cp>The essay film may be my favorite documentary form, although it’s typically too challenging (not enough story) or too personal (not enough distance) to be widely appreciated. Theo Anthony’s Sundance prize-winning \u003cem>All Light, Everywhere\u003c/em> (streaming, and May 7 at the Rafael; opens in June) uses police bodycams as the lens (pun intended) through which to view big, basic building blocks of perception and technology, and the societal implications of individual decisions and biases.\u003c/p>\n\u003cfigure id=\"attachment_13896834\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/MagnitudeOfallThings_1200.jpg\" alt=\"\" width=\"1200\" height=\"503\" class=\"size-full wp-image-13896834\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/MagnitudeOfallThings_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/MagnitudeOfallThings_1200-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/MagnitudeOfallThings_1200-1020x428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/MagnitudeOfallThings_1200-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/MagnitudeOfallThings_1200-768x322.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Magnitude of All Things.’ \u003ccite>(DocLands)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Canadian filmmaker Jennifer Abbott is represented by two troubling opuses that take vastly different approaches to global threats. \u003cem>The New Corporation: The Unfortunately Necessary Sequel\u003c/em> (streaming May 13–15 only), co-directed with Joel Bakan, updates her 2003 film (also based on Bakan’s writings) to assess the effects of profit-centered companies on not just climate change but personal freedoms.\u003c/p>\n\u003cp>In \u003cem>The Magnitude of All Things\u003c/em> (May 8 at the Rafael, streaming May 14–16 only), Abbott poetically links her grief for the sister she lost to cancer to the traumas of indigenous people witnessing the erosion or destruction of their habitats in the Arctic, the Ecuadorian Amazon, Canada and Australia. An elegy that acknowledges we are all part of the planet’s sickness, \u003cem>The Magnitude of All Things\u003c/em> is perhaps best appreciated by those who feel alone in their despair.\u003c/p>\n\u003cp>It’s not surprising that a film about grief can prove comforting, but it doesn’t lend itself to a fizzy marketing slogan. Let’s just say that Abbott manages to find some light amid the coming devastation, in the character, creativity and determination of ordinary people. Come to think of it, that last bit pretty well sums up DocLands.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>DocLands streams online May 7–16, with several in-person screenings at the Smith Rafael Film Center. \u003ca href=\"https://www.doclands.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"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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"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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"radiolab": {
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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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},
"rightnowish": {
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"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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"order": 16
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},
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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