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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Some of those fans are defending her now, saying that the reprisals she faces are proof that the current political climate in the U.S. is intolerant. Calling Carano a victim of cancel culture, her supporters are in turn calling for people to cancel Disney Plus, the streaming service on which \u003cem>The Mandalorian \u003c/em>appears.\u003c/p>\n\u003cp>Lucasfilm is parting ways with Carano after reports had suggested she would play a prominent role in future \u003cem>Star Wars\u003c/em> spinoffs, propelled by the runaway success of \u003cem>The Mandalorian\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“According to sources, Lucasfilm planned to unveil Carano as the star of her own Disney+ series during a \u003ca href=\"https://www.hollywoodreporter.com/heat-vision/disney-plans-10-star-wars-and-10-marvel-series-over-next-few-years\" target=\"_blank\" rel=\"noopener noreferrer\">December investors presentation\u003c/a> but scrapped those plans following her November tweets,” \u003cem>\u003ca href=\"https://www.hollywoodreporter.com/news/the-mandalorian-star-gina-carano-fired-amid-social-media-controversy\" target=\"_blank\" rel=\"noopener noreferrer\">The Hollywood Reporter\u003c/a>\u003c/em> said.\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=Lucasfilm+Ditches+Gina+Carano+From+%27The+Mandalorian%27+Over+Social+Media+Posts&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'You Will Die at Twenty' is Sudan's First Ever Academy Awards Entry",
"headTitle": "‘You Will Die at Twenty’ is Sudan’s First Ever Academy Awards Entry | KQED",
"content": "\u003cp>What do Mexico, Malaysia, Morocco and Montenegro have in common? They’re among the 93 countries hoping for Oscar consideration this year.\u003c/p>\n\u003cp>For the first time, a movie from Sudan is also in the running for Best International Feature Film. \u003cem>You Will Die at Twenty\u003c/em> is also notably the first feature film made in Sudan in 20 years—and only the seventh to come from the country.\u003c/p>\n\u003cp>“I wanted to see how stories can be told in Sudan,” explains director Amjad Abu Alala. Dressed in a brown suede jacket, the 38-year-old radiates upbeat energy on a Zoom call from Cairo. “Because it’s a very unique country and Sudan is the heart of Africa.”\u003c/p>\n\u003cp>The grim title—\u003cem>You Will Die at Twenty\u003c/em>—suggests it’s about war or conflict. Neither is true. It’s a tenderhearted fable that starts with a couple proudly presenting a newborn to a village leader for blessings. But a guest at the ritual unexpectedly keels over and dies. The startled sheik utters a prophecy: this child will die at 20. From birth, the boy is already almost a ghost.\u003c/p>\n\u003cp>Alala adapted his script from Hammour Ziada’s short story “Sleeping at the Foot of the Mountain.” It’s about a child growing up under a cloud of dread and diminished expectations. It’s a meditation on mortality rife with exorcisms, dervishes and a thwarted romance with a confident girl.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The director, who was born in Dubai to Sudanese parents, moved back to Sudan when he was 6 and spent much of his childhood there. Alala’s mother worked in a Sudanese public library, and her bookworm son remembers devouring novels by Isabel Allende, Gabriel García Márquez and Naguib Mahfouz. Magical realism inspired this film, from a country where Arab and African worlds swirl together.\u003c/p>\n\u003cp>“The Arabic language, the African faces,” says Alala. “Islamic but very African roots and ceremonies. I just feel like it’s the land of untold stories, unseen faces.”\u003c/p>\n\u003cp>Telling those stories and showing those faces is partly why Film Movement decided to distribute \u003cem>You Will Die at Twenty\u003c/em> in North America.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fGO7jgOUQ00\u003c/p>\n\u003cp>“It puts you in a very different place than Americans are used to being,” says Film Movement’s president, Michael Rosenberg. While he admits there are challenges to any small, subtitled arthouse film—from a developing country—with a depressing title, Rosenberg says it didn’t hurt that the movie has been picking up awards at film festivals around the world, including Best Debut at the Venice Film Festival, and enrapturing critics.\u003c/p>\n\u003cp>“We got \u003ca href=\"https://www.nytimes.com/2021/01/21/movies/you-will-die-at-twenty-review.html\" target=\"_blank\" rel=\"noopener noreferrer\">a review in \u003cem>The New York Times\u003c/em>\u003c/a> and it was a critics’ pick,” Rosenberg notes. “And we got a critics’ pick \u003ca href=\"https://variety.com/2019/film/reviews/you-will-die-at-twenty-review-1203322894/\" target=\"_blank\" rel=\"noopener noreferrer\">review from\u003cem> Variety\u003c/em>\u003c/a> and we got \u003ca href=\"https://www.latimes.com/entertainment-arts/movies/story/2021-01-22/you-will-die-at-20-review-amjad-abu-alala-sudan\" target=\"_blank\" rel=\"noopener noreferrer\">a rave review from the\u003cem> Los Angeles Times\u003c/em>\u003c/a>\u003cem>.\u003c/em>”\u003c/p>\n\u003cp>For now, \u003cem>You Will Die at Twenty\u003c/em> can be watched through Film Movement’s website, which links through to the websites of numerous art house cinemas. In April, it’s scheduled to be on Amazon and Apple. The challenges of making it, says director Amjad Abu Alala ranged from arranging financing to filming in a country with virtually no infrastructure to a production schedule unfortunately timed to December 2018.\u003c/p>\n\u003cp>“That happened to be when the revolution was starting,” Alala says, calmly. “I had mixed feelings.”\u003c/p>\n\u003cp>Mixed because right when he started filming his dream passion project, the movement for democracy—which he ardently supports—created complications. The fighting never came close to his set, but Alala was unable to pick up four tons of equipment he’d shipped from Egypt for 10 of the 24 days he had budgeted to film. So he shot all of his exterior daytime scenes, the ones less dependent on technical lighting, first. “It was hit and run, hit and run,” he recalls, chuckling. “I could never know what would happen.”\u003c/p>\n\u003cp>He could not know the authoritarian Islamic government would get paranoid about his script, even though they’d approved it. To be fair, Alala had given them a fake version, leaving out the kissing and the alcohol.\u003c/p>\n\u003cp>“They started sending spies on the set,” he grins. “And we know them. We can see them. That one’s a spy, that one’s a spy and we actually found a way to deal with them by getting them involved in the film.”\u003c/p>\n\u003cp>He bursts out laughing. Some of the spies became extras, he says, and even helped cast other spies.\u003c/p>\n\u003cp>These days, Alala has much to feel good about. He just signed with the top Hollywood agency—CAA—that also represents Steven Spielberg and Tom Cruise. Not bad for a guy representing a country that was banned by the Trump administration until two weeks ago. For Alala, a revolution is just beginning.\u003c/p>\n\u003cp>“A revolution on closed minds,” he says. “A revolution for artists’ freedom. Freedom of art.”\u003c/p>\n\u003cp>The Academy announces its shortlist of 15 movies for Best International Feature on Tue., Feb. 9. Even if his film is not on it, director Amjad Abu Alala feels he’s won.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Nina Gregory edited this story.\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=%27You+Will+Die+At+Twenty%27+Is+Sudan%27s+First+Ever+Academy+Awards+Entry&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What do Mexico, Malaysia, Morocco and Montenegro have in common? They’re among the 93 countries hoping for Oscar consideration this year.\u003c/p>\n\u003cp>For the first time, a movie from Sudan is also in the running for Best International Feature Film. \u003cem>You Will Die at Twenty\u003c/em> is also notably the first feature film made in Sudan in 20 years—and only the seventh to come from the country.\u003c/p>\n\u003cp>“I wanted to see how stories can be told in Sudan,” explains director Amjad Abu Alala. Dressed in a brown suede jacket, the 38-year-old radiates upbeat energy on a Zoom call from Cairo. “Because it’s a very unique country and Sudan is the heart of Africa.”\u003c/p>\n\u003cp>The grim title—\u003cem>You Will Die at Twenty\u003c/em>—suggests it’s about war or conflict. Neither is true. It’s a tenderhearted fable that starts with a couple proudly presenting a newborn to a village leader for blessings. But a guest at the ritual unexpectedly keels over and dies. The startled sheik utters a prophecy: this child will die at 20. From birth, the boy is already almost a ghost.\u003c/p>\n\u003cp>Alala adapted his script from Hammour Ziada’s short story “Sleeping at the Foot of the Mountain.” It’s about a child growing up under a cloud of dread and diminished expectations. It’s a meditation on mortality rife with exorcisms, dervishes and a thwarted romance with a confident girl.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The director, who was born in Dubai to Sudanese parents, moved back to Sudan when he was 6 and spent much of his childhood there. Alala’s mother worked in a Sudanese public library, and her bookworm son remembers devouring novels by Isabel Allende, Gabriel García Márquez and Naguib Mahfouz. Magical realism inspired this film, from a country where Arab and African worlds swirl together.\u003c/p>\n\u003cp>“The Arabic language, the African faces,” says Alala. “Islamic but very African roots and ceremonies. I just feel like it’s the land of untold stories, unseen faces.”\u003c/p>\n\u003cp>Telling those stories and showing those faces is partly why Film Movement decided to distribute \u003cem>You Will Die at Twenty\u003c/em> in North America.\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/fGO7jgOUQ00'\n title='//www.youtube.com/embed/fGO7jgOUQ00'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“It puts you in a very different place than Americans are used to being,” says Film Movement’s president, Michael Rosenberg. While he admits there are challenges to any small, subtitled arthouse film—from a developing country—with a depressing title, Rosenberg says it didn’t hurt that the movie has been picking up awards at film festivals around the world, including Best Debut at the Venice Film Festival, and enrapturing critics.\u003c/p>\n\u003cp>“We got \u003ca href=\"https://www.nytimes.com/2021/01/21/movies/you-will-die-at-twenty-review.html\" target=\"_blank\" rel=\"noopener noreferrer\">a review in \u003cem>The New York Times\u003c/em>\u003c/a> and it was a critics’ pick,” Rosenberg notes. “And we got a critics’ pick \u003ca href=\"https://variety.com/2019/film/reviews/you-will-die-at-twenty-review-1203322894/\" target=\"_blank\" rel=\"noopener noreferrer\">review from\u003cem> Variety\u003c/em>\u003c/a> and we got \u003ca href=\"https://www.latimes.com/entertainment-arts/movies/story/2021-01-22/you-will-die-at-20-review-amjad-abu-alala-sudan\" target=\"_blank\" rel=\"noopener noreferrer\">a rave review from the\u003cem> Los Angeles Times\u003c/em>\u003c/a>\u003cem>.\u003c/em>”\u003c/p>\n\u003cp>For now, \u003cem>You Will Die at Twenty\u003c/em> can be watched through Film Movement’s website, which links through to the websites of numerous art house cinemas. In April, it’s scheduled to be on Amazon and Apple. The challenges of making it, says director Amjad Abu Alala ranged from arranging financing to filming in a country with virtually no infrastructure to a production schedule unfortunately timed to December 2018.\u003c/p>\n\u003cp>“That happened to be when the revolution was starting,” Alala says, calmly. “I had mixed feelings.”\u003c/p>\n\u003cp>Mixed because right when he started filming his dream passion project, the movement for democracy—which he ardently supports—created complications. The fighting never came close to his set, but Alala was unable to pick up four tons of equipment he’d shipped from Egypt for 10 of the 24 days he had budgeted to film. So he shot all of his exterior daytime scenes, the ones less dependent on technical lighting, first. “It was hit and run, hit and run,” he recalls, chuckling. “I could never know what would happen.”\u003c/p>\n\u003cp>He could not know the authoritarian Islamic government would get paranoid about his script, even though they’d approved it. To be fair, Alala had given them a fake version, leaving out the kissing and the alcohol.\u003c/p>\n\u003cp>“They started sending spies on the set,” he grins. “And we know them. We can see them. That one’s a spy, that one’s a spy and we actually found a way to deal with them by getting them involved in the film.”\u003c/p>\n\u003cp>He bursts out laughing. Some of the spies became extras, he says, and even helped cast other spies.\u003c/p>\n\u003cp>These days, Alala has much to feel good about. He just signed with the top Hollywood agency—CAA—that also represents Steven Spielberg and Tom Cruise. Not bad for a guy representing a country that was banned by the Trump administration until two weeks ago. For Alala, a revolution is just beginning.\u003c/p>\n\u003cp>“A revolution on closed minds,” he says. “A revolution for artists’ freedom. Freedom of art.”\u003c/p>\n\u003cp>The Academy announces its shortlist of 15 movies for Best International Feature on Tue., Feb. 9. Even if his film is not on it, director Amjad Abu Alala feels he’s won.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Nina Gregory edited this story.\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=%27You+Will+Die+At+Twenty%27+Is+Sudan%27s+First+Ever+Academy+Awards+Entry&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "How the ‘Crazy’ Cat Lady Became One of Pop Culture’s Most Enduring Sexist Tropes",
"headTitle": "How the ‘Crazy’ Cat Lady Became One of Pop Culture’s Most Enduring Sexist Tropes | KQED",
"content": "\u003cp>Old maid. Spinster. \u003ca href=\"https://metro.co.uk/2019/03/14/if-youre-an-unmarried-woman-over-the-age-of-26-youre-not-a-spinster-youre-a-thornback-8902030/\" target=\"_blank\" rel=\"noopener noreferrer\">Thornback\u003c/a>. There are plenty of words with derogatory overtones to describe single women, but the trope of the cat lady is one that has persisted in culture almost as long as culture’s been recorded. Today, most commonly, it represents a sad and lonely woman who uses felines as a substitute for both lovers and children. The fact that—among millennials at least—more men own cats than women (48% of men vs. 35% of women) tends to fly under the radar.\u003c/p>\n\u003cp>It’s not hard to find cat ladies in popular culture. In 1971’s \u003cem>A Clockwork Orange\u003c/em>, an eccentric, cat-loving \u003ca href=\"https://www.youtube.com/watch?v=jjlq92tQHVk\" target=\"_blank\" rel=\"noopener noreferrer\">single woman gets beaten to death\u003c/a> with a phallic statue. (Subtle.) In a \u003ca href=\"https://www.youtube.com/watch?v=EUUXbdEgjVo\" target=\"_blank\" rel=\"noopener noreferrer\">2004 \u003cem>SNL\u003c/em> skit\u003c/a>, Robert De Niro plays a cat lady who’s barely holding it together. In \u003cem>The Office\u003c/em>, \u003ca href=\"https://www.youtube.com/watch?v=w8TeV93Ji7M\" target=\"_blank\" rel=\"noopener noreferrer\">Angela is obsessed with cats\u003c/a>, watching her pets via nanny-cams at work, keeping them in filing cabinets, and bemoaning the lack of “cat maternity” leave at Dunder Mifflin. \u003cem>The Simpsons\u003c/em> has had a \u003ca href=\"https://www.youtube.com/watch?v=zKks1jCYkvA\" target=\"_blank\" rel=\"noopener noreferrer\">deranged cat lady\u003c/a> in its cast of characters for years.[aside postid='pop_30174']\u003c/p>\n\u003cp>The idea that cat companionship is a sign of poor mental health is patently false, despite what \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=lq8ZlNCEW4w\" target=\"_blank\" rel=\"noopener noreferrer\">Grey Gardens\u003c/a>\u003c/em> might have implied in 1976. The \u003ca href=\"https://www.mentalhealth.org.uk/a-to-z/p/pets-and-mental-health\" target=\"_blank\" rel=\"noopener noreferrer\">Mental Health Foundation says\u003c/a> that pets are highly effective at relieving stress and anxiety. Other \u003ca href=\"https://www.ncbi.nlm.nih.gov/pmc/articles/PMC3317329/\" target=\"_blank\" rel=\"noopener noreferrer\">research\u003c/a> has shown that cats are good for humans in a multitude of ways; cat owners have significantly lower risks of both stroke and heart attack. And while it’s true that pop culture has worked overtime to keep false stereotypes alive, the cat lady also has her roots in hundreds of years of history.\u003c/p>\n\u003cp>In ancient times, cats and feminine deities went hand in hand. Egypt’s half-cat, half-woman \u003ca href=\"https://www.ancient.eu/Bastet/\" target=\"_blank\" rel=\"noopener noreferrer\">Bastet\u003c/a> was the goddess of domesticity, childbirth and “women’s secrets.” Chinese cat goddess \u003ca href=\"https://www.ancient.eu/article/466/cats-in-the-ancient-world/\" target=\"_blank\" rel=\"noopener noreferrer\">Li Shou\u003c/a> was a symbol of fertility. And in Norse mythology, Freya, the goddess of beauty and strength, rode a chariot led by cats.\u003c/p>\n\u003cp>https://twitter.com/catladyuniverse/status/498869046537109505\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Everything was going pretty swimmingly for cat ladies then, until the Roman Catholic Church showed up in the Middle Ages. In an effort to rid the world of non-Christian gods, deities other than the Holy Trinity were stigmatized and rebranded as evil. Worse, cats garnered a reputation for being minions of Satan.\u003c/p>\n\u003cp>In 1232, Pope Gregory—a man fond of torturing people for information—wrote a letter to Germany’s King Henry VII in which \u003ca href=\"https://talesoftimesforgotten.com/2019/11/05/were-cats-really-killed-en-masse-during-the-middle-ages/#:~:text=The%20idea%20people%20in%20the,Death%20is%20100%25%20pure%20fantasy\" target=\"_blank\" rel=\"noopener noreferrer\">he described a Satanic ritual\u003c/a> that involved worshippers kissing the rear end of a magical cat:\u003c/p>\n\u003cblockquote>\u003cp>[A statue of] a black cat about the size of an average dog, descends backwards, with its tail erect. First the novice, then the master, then each one of the order who are worthy and perfect, kiss the cat on its hindquarters… They incline their heads towards the cat. ‘Forgive us,’ says the master, and the one next to him repeats this.\u003c/p>\u003c/blockquote>\n\u003cp>Then in 1486, the now-infamous \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Malleus_Maleficarum\" target=\"_blank\" rel=\"noopener noreferrer\">Malleus Maleficarum\u003c/a>\u003c/em> (aka “the Witch Hammer”) book arrived. The German who wrote it, Heinrich Kramer, was inspired to do so after being ordered to leave his diocese by the church. His views on witches, and how to eradicate them, were so extreme, even other Catholics of the time couldn’t support them. That didn’t stop his book from being embraced by zealots everywhere. [aside postid='arts_13886425']\u003c/p>\n\u003cp>By the time England executed its first witch in 1566 (a 63-year-old by the name of \u003ca href=\"https://en.wikipedia.org/wiki/Agnes_Waterhouse\" target=\"_blank\" rel=\"noopener noreferrer\">Agnes Waterhouse\u003c/a>), the fact that she reportedly had a murderous, blood-drinking cat named Satan seemed totally plausible for many who heard about her case. A century later, demonic, power-hungry cats remained a \u003ca href=\"https://www.cunning-folk.com/read-posts/the-cats-of-old-salem\" target=\"_blank\" rel=\"noopener noreferrer\">major theme\u003c/a> of the Salem witch trials.\u003c/p>\n\u003cp>In the early 18th century, as the witch trials were widely recognized as a grave miscarriage of justice, single women with cats were suddenly transformed in the public eye from frightening fiends to figures to be pitied. Unfortunately, because single women of the time were so often viewed as a nuisance—without access to jobs, unmarried women had to rely on the kindness of relatives for financial support—the cat lady became a figure of ridicule. And as resentments towards these women grew, so did the popularity of the stereotype.\u003c/p>\n\u003cp>This 1789 painting, \u003ci>Old Maids at a Cat’s Funeral\u003c/i>, stands as a perfect example of the rhetoric of the time. If you don’t have a husband or children, it tells us, you will lose all sense of propriety.\u003c/p>\n\u003cfigure id=\"attachment_13891921\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891921\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/cat-lady-800x406.jpg\" alt=\"This colored stipple engraving depicts a funeral procession of elderly women with cats in their arms, following the coffin of a dead cat. The art, by J. Pettit after E.G. Byron, is dated 10 April 1789.\" width=\"800\" height=\"406\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/cat-lady-800x406.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/cat-lady-1020x518.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/cat-lady-160x81.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/cat-lady-768x390.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/cat-lady.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This colored stipple engraving depicts a funeral procession of elderly women with cats in their arms, following the coffin of a dead cat. The art, by J. Pettit after E.G. Byron, is dated 10 April 1789. \u003ccite>(Wellcomecollection.org)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The stereotype, of course, stuck around. And by the Victorian era, the close relationship between single women and cats was accepted as an inevitable social norm. In 1880, the \u003ca href=\"https://bust.com/living/19427-cat-ladies-victorian-science.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Dundee Courier\u003c/em> reported\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>There is nothing at all surprising in the old maid choosing a cat as a household pet or companion. Solitude is not congenial to human nature, and a poor forlorn female, shut up in a cheerless ‘garret,’ brooding all alone over her blighted hopes, would naturally centre her affections on some of the lower animals.\u003c/p>\u003c/blockquote>\n\u003cp>Viewing “old maids” as harmless didn’t last long, however. In the early 20th century, as women inched ever closer to gaining the right to vote, cats became a standard feature of anti-suffrage propaganda. This served two purposes. First, depicting suffragettes as cats acted as a means to reduce women to the status of inconsequential, trifling animals. Second, associating women’s rights activists with this particular pet acted as a wink and a nod to the public about what kind of woman wanted the vote: lonely, bitter man-haters.\u003c/p>\n\u003cfigure id=\"attachment_13891918\" class=\"wp-caption aligncenter\" style=\"max-width: 522px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13891918\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/23ccde21a24f0a317329ea59ba7d0b10ddb00700.jpg\" alt=\"Art depicts a disheveled cat flexing its claws and holding a sign that reads 'VOTE FOR SHES'.\" width=\"522\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/23ccde21a24f0a317329ea59ba7d0b10ddb00700.jpg 522w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/23ccde21a24f0a317329ea59ba7d0b10ddb00700-160x245.jpg 160w\" sizes=\"(max-width: 522px) 100vw, 522px\">\u003cfigcaption class=\"wp-caption-text\">Art by: William Henry Ellam. Publisher: Illustrated Postcard Co., New York and Germany. \u003ccite>(John Hopkins University library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13892402\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13892402\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/Screen-Shot-2021-02-08-at-1.45.15-PM-800x1253.png\" alt=\"This 1908 postcard features art depicting an angry kitten with text that reads 'I want my vote!' and a background depicting the flag of the British suffrage movement.\" width=\"800\" height=\"1253\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Screen-Shot-2021-02-08-at-1.45.15-PM-800x1253.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Screen-Shot-2021-02-08-at-1.45.15-PM-160x251.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Screen-Shot-2021-02-08-at-1.45.15-PM-768x1203.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Screen-Shot-2021-02-08-at-1.45.15-PM-980x1536.png 980w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Screen-Shot-2021-02-08-at-1.45.15-PM.png 1006w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Year: 1908. Courtesy of John Hopkins University library.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13891917\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13891917\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/1__n9o9cqR4bIIZQP3qHWEVg.jpg\" alt=\"A cat wearing a hat, suffrage flag and 'Votes For Women' pin.\" width=\"500\" height=\"687\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1__n9o9cqR4bIIZQP3qHWEVg.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1__n9o9cqR4bIIZQP3qHWEVg-160x220.jpg 160w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Courtesy of Palczewski, Catherine H. Postcard Archive. University of Northern Iowa, Cedar Falls.\u003c/figcaption>\u003c/figure>\n\u003cp>It was in the mid-20th century that concerted efforts to subvert and reclaim the cat lady began in earnest. In the 1960s, \u003ca href=\"https://en.wikipedia.org/wiki/Carolee_Schneemann\" target=\"_blank\" rel=\"noopener noreferrer\">Carolee Schneemann\u003c/a> flipped the stereotype on its head with performance art that juxtaposed footage of her cat with her own raw sexuality. This culminated in 1967’s \u003cem>Fuses\u003c/em>—an 18-minute film in which Schneemann has sex with her boyfriend while her cat watches on.\u003c/p>\n\u003cp>Today, art and merchandise designed to joyfully rebrand the cat lady is a mere Google search away. Etsy is awash with the stuff, and companies like \u003ca href=\"https://www.etsy.com/uk/shop/MADOLDCATLADY?ref=search_shop_redirect\" target=\"_blank\" rel=\"noopener noreferrer\">Mad Old Cat Lady\u003c/a> proudly embrace and subvert imagery associated with “cat lovers, weirdos and witches.” What’s more, since 2015, \u003ca href=\"https://www.catconworldwide.com/\" target=\"_blank\" rel=\"noopener noreferrer\">CatCon\u003c/a> has encouraged 78,000 conference attendees to embrace their inner cat lady.\u003c/p>\n\u003cp>Unfortunately, no amount of online feminist discourse has yet managed to successfully rid pop culture of the sexist stereotype. 2009 documentary \u003ca href=\"https://www.youtube.com/watch?v=GdMIUYqochI\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Cat Ladies\u003c/em>\u003c/a> advertised itself as “a sensitive and emotionally honest portrait of women.” Instead, it focused all of its energy on proving that the very saddest portrayals of cat ladies were real and fairly common. The documentary subjects were forlorn, lonely, and, in some cases, doing more harm to their cats than good via obsessive and smothering behavior. (No clingy male cat owners were featured, of course.)\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Clearly, the thing that connects every period of cat lady has little to do with the animals themselves. Rather, it’s about a deep-rooted fear of feminine power and female autonomy. Fear of goddesses, fear of witches, fear of single women. All dressed up and expertly masked with mockery, disdain and pity, in order to disincentivize other women from embracing their own power. As such, if you find yourself branded a cat lady this Valentine’s Day? You might just want to wear that as a badge of honor.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Old maid. Spinster. \u003ca href=\"https://metro.co.uk/2019/03/14/if-youre-an-unmarried-woman-over-the-age-of-26-youre-not-a-spinster-youre-a-thornback-8902030/\" target=\"_blank\" rel=\"noopener noreferrer\">Thornback\u003c/a>. There are plenty of words with derogatory overtones to describe single women, but the trope of the cat lady is one that has persisted in culture almost as long as culture’s been recorded. Today, most commonly, it represents a sad and lonely woman who uses felines as a substitute for both lovers and children. The fact that—among millennials at least—more men own cats than women (48% of men vs. 35% of women) tends to fly under the radar.\u003c/p>\n\u003cp>It’s not hard to find cat ladies in popular culture. In 1971’s \u003cem>A Clockwork Orange\u003c/em>, an eccentric, cat-loving \u003ca href=\"https://www.youtube.com/watch?v=jjlq92tQHVk\" target=\"_blank\" rel=\"noopener noreferrer\">single woman gets beaten to death\u003c/a> with a phallic statue. (Subtle.) In a \u003ca href=\"https://www.youtube.com/watch?v=EUUXbdEgjVo\" target=\"_blank\" rel=\"noopener noreferrer\">2004 \u003cem>SNL\u003c/em> skit\u003c/a>, Robert De Niro plays a cat lady who’s barely holding it together. In \u003cem>The Office\u003c/em>, \u003ca href=\"https://www.youtube.com/watch?v=w8TeV93Ji7M\" target=\"_blank\" rel=\"noopener noreferrer\">Angela is obsessed with cats\u003c/a>, watching her pets via nanny-cams at work, keeping them in filing cabinets, and bemoaning the lack of “cat maternity” leave at Dunder Mifflin. \u003cem>The Simpsons\u003c/em> has had a \u003ca href=\"https://www.youtube.com/watch?v=zKks1jCYkvA\" target=\"_blank\" rel=\"noopener noreferrer\">deranged cat lady\u003c/a> in its cast of characters for years.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The idea that cat companionship is a sign of poor mental health is patently false, despite what \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=lq8ZlNCEW4w\" target=\"_blank\" rel=\"noopener noreferrer\">Grey Gardens\u003c/a>\u003c/em> might have implied in 1976. The \u003ca href=\"https://www.mentalhealth.org.uk/a-to-z/p/pets-and-mental-health\" target=\"_blank\" rel=\"noopener noreferrer\">Mental Health Foundation says\u003c/a> that pets are highly effective at relieving stress and anxiety. Other \u003ca href=\"https://www.ncbi.nlm.nih.gov/pmc/articles/PMC3317329/\" target=\"_blank\" rel=\"noopener noreferrer\">research\u003c/a> has shown that cats are good for humans in a multitude of ways; cat owners have significantly lower risks of both stroke and heart attack. And while it’s true that pop culture has worked overtime to keep false stereotypes alive, the cat lady also has her roots in hundreds of years of history.\u003c/p>\n\u003cp>In ancient times, cats and feminine deities went hand in hand. Egypt’s half-cat, half-woman \u003ca href=\"https://www.ancient.eu/Bastet/\" target=\"_blank\" rel=\"noopener noreferrer\">Bastet\u003c/a> was the goddess of domesticity, childbirth and “women’s secrets.” Chinese cat goddess \u003ca href=\"https://www.ancient.eu/article/466/cats-in-the-ancient-world/\" target=\"_blank\" rel=\"noopener noreferrer\">Li Shou\u003c/a> was a symbol of fertility. And in Norse mythology, Freya, the goddess of beauty and strength, rode a chariot led by cats.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Everything was going pretty swimmingly for cat ladies then, until the Roman Catholic Church showed up in the Middle Ages. In an effort to rid the world of non-Christian gods, deities other than the Holy Trinity were stigmatized and rebranded as evil. Worse, cats garnered a reputation for being minions of Satan.\u003c/p>\n\u003cp>In 1232, Pope Gregory—a man fond of torturing people for information—wrote a letter to Germany’s King Henry VII in which \u003ca href=\"https://talesoftimesforgotten.com/2019/11/05/were-cats-really-killed-en-masse-during-the-middle-ages/#:~:text=The%20idea%20people%20in%20the,Death%20is%20100%25%20pure%20fantasy\" target=\"_blank\" rel=\"noopener noreferrer\">he described a Satanic ritual\u003c/a> that involved worshippers kissing the rear end of a magical cat:\u003c/p>\n\u003cblockquote>\u003cp>[A statue of] a black cat about the size of an average dog, descends backwards, with its tail erect. First the novice, then the master, then each one of the order who are worthy and perfect, kiss the cat on its hindquarters… They incline their heads towards the cat. ‘Forgive us,’ says the master, and the one next to him repeats this.\u003c/p>\u003c/blockquote>\n\u003cp>Then in 1486, the now-infamous \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Malleus_Maleficarum\" target=\"_blank\" rel=\"noopener noreferrer\">Malleus Maleficarum\u003c/a>\u003c/em> (aka “the Witch Hammer”) book arrived. The German who wrote it, Heinrich Kramer, was inspired to do so after being ordered to leave his diocese by the church. His views on witches, and how to eradicate them, were so extreme, even other Catholics of the time couldn’t support them. That didn’t stop his book from being embraced by zealots everywhere. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>By the time England executed its first witch in 1566 (a 63-year-old by the name of \u003ca href=\"https://en.wikipedia.org/wiki/Agnes_Waterhouse\" target=\"_blank\" rel=\"noopener noreferrer\">Agnes Waterhouse\u003c/a>), the fact that she reportedly had a murderous, blood-drinking cat named Satan seemed totally plausible for many who heard about her case. A century later, demonic, power-hungry cats remained a \u003ca href=\"https://www.cunning-folk.com/read-posts/the-cats-of-old-salem\" target=\"_blank\" rel=\"noopener noreferrer\">major theme\u003c/a> of the Salem witch trials.\u003c/p>\n\u003cp>In the early 18th century, as the witch trials were widely recognized as a grave miscarriage of justice, single women with cats were suddenly transformed in the public eye from frightening fiends to figures to be pitied. Unfortunately, because single women of the time were so often viewed as a nuisance—without access to jobs, unmarried women had to rely on the kindness of relatives for financial support—the cat lady became a figure of ridicule. And as resentments towards these women grew, so did the popularity of the stereotype.\u003c/p>\n\u003cp>This 1789 painting, \u003ci>Old Maids at a Cat’s Funeral\u003c/i>, stands as a perfect example of the rhetoric of the time. If you don’t have a husband or children, it tells us, you will lose all sense of propriety.\u003c/p>\n\u003cfigure id=\"attachment_13891921\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891921\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/cat-lady-800x406.jpg\" alt=\"This colored stipple engraving depicts a funeral procession of elderly women with cats in their arms, following the coffin of a dead cat. The art, by J. Pettit after E.G. Byron, is dated 10 April 1789.\" width=\"800\" height=\"406\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/cat-lady-800x406.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/cat-lady-1020x518.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/cat-lady-160x81.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/cat-lady-768x390.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/cat-lady.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This colored stipple engraving depicts a funeral procession of elderly women with cats in their arms, following the coffin of a dead cat. The art, by J. Pettit after E.G. Byron, is dated 10 April 1789. \u003ccite>(Wellcomecollection.org)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The stereotype, of course, stuck around. And by the Victorian era, the close relationship between single women and cats was accepted as an inevitable social norm. In 1880, the \u003ca href=\"https://bust.com/living/19427-cat-ladies-victorian-science.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Dundee Courier\u003c/em> reported\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>There is nothing at all surprising in the old maid choosing a cat as a household pet or companion. Solitude is not congenial to human nature, and a poor forlorn female, shut up in a cheerless ‘garret,’ brooding all alone over her blighted hopes, would naturally centre her affections on some of the lower animals.\u003c/p>\u003c/blockquote>\n\u003cp>Viewing “old maids” as harmless didn’t last long, however. In the early 20th century, as women inched ever closer to gaining the right to vote, cats became a standard feature of anti-suffrage propaganda. This served two purposes. First, depicting suffragettes as cats acted as a means to reduce women to the status of inconsequential, trifling animals. Second, associating women’s rights activists with this particular pet acted as a wink and a nod to the public about what kind of woman wanted the vote: lonely, bitter man-haters.\u003c/p>\n\u003cfigure id=\"attachment_13891918\" class=\"wp-caption aligncenter\" style=\"max-width: 522px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13891918\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/23ccde21a24f0a317329ea59ba7d0b10ddb00700.jpg\" alt=\"Art depicts a disheveled cat flexing its claws and holding a sign that reads 'VOTE FOR SHES'.\" width=\"522\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/23ccde21a24f0a317329ea59ba7d0b10ddb00700.jpg 522w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/23ccde21a24f0a317329ea59ba7d0b10ddb00700-160x245.jpg 160w\" sizes=\"(max-width: 522px) 100vw, 522px\">\u003cfigcaption class=\"wp-caption-text\">Art by: William Henry Ellam. Publisher: Illustrated Postcard Co., New York and Germany. \u003ccite>(John Hopkins University library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13892402\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13892402\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/Screen-Shot-2021-02-08-at-1.45.15-PM-800x1253.png\" alt=\"This 1908 postcard features art depicting an angry kitten with text that reads 'I want my vote!' and a background depicting the flag of the British suffrage movement.\" width=\"800\" height=\"1253\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Screen-Shot-2021-02-08-at-1.45.15-PM-800x1253.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Screen-Shot-2021-02-08-at-1.45.15-PM-160x251.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Screen-Shot-2021-02-08-at-1.45.15-PM-768x1203.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Screen-Shot-2021-02-08-at-1.45.15-PM-980x1536.png 980w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Screen-Shot-2021-02-08-at-1.45.15-PM.png 1006w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Year: 1908. Courtesy of John Hopkins University library.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13891917\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13891917\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/1__n9o9cqR4bIIZQP3qHWEVg.jpg\" alt=\"A cat wearing a hat, suffrage flag and 'Votes For Women' pin.\" width=\"500\" height=\"687\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1__n9o9cqR4bIIZQP3qHWEVg.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1__n9o9cqR4bIIZQP3qHWEVg-160x220.jpg 160w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Courtesy of Palczewski, Catherine H. Postcard Archive. University of Northern Iowa, Cedar Falls.\u003c/figcaption>\u003c/figure>\n\u003cp>It was in the mid-20th century that concerted efforts to subvert and reclaim the cat lady began in earnest. In the 1960s, \u003ca href=\"https://en.wikipedia.org/wiki/Carolee_Schneemann\" target=\"_blank\" rel=\"noopener noreferrer\">Carolee Schneemann\u003c/a> flipped the stereotype on its head with performance art that juxtaposed footage of her cat with her own raw sexuality. This culminated in 1967’s \u003cem>Fuses\u003c/em>—an 18-minute film in which Schneemann has sex with her boyfriend while her cat watches on.\u003c/p>\n\u003cp>Today, art and merchandise designed to joyfully rebrand the cat lady is a mere Google search away. Etsy is awash with the stuff, and companies like \u003ca href=\"https://www.etsy.com/uk/shop/MADOLDCATLADY?ref=search_shop_redirect\" target=\"_blank\" rel=\"noopener noreferrer\">Mad Old Cat Lady\u003c/a> proudly embrace and subvert imagery associated with “cat lovers, weirdos and witches.” What’s more, since 2015, \u003ca href=\"https://www.catconworldwide.com/\" target=\"_blank\" rel=\"noopener noreferrer\">CatCon\u003c/a> has encouraged 78,000 conference attendees to embrace their inner cat lady.\u003c/p>\n\u003cp>Unfortunately, no amount of online feminist discourse has yet managed to successfully rid pop culture of the sexist stereotype. 2009 documentary \u003ca href=\"https://www.youtube.com/watch?v=GdMIUYqochI\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Cat Ladies\u003c/em>\u003c/a> advertised itself as “a sensitive and emotionally honest portrait of women.” Instead, it focused all of its energy on proving that the very saddest portrayals of cat ladies were real and fairly common. The documentary subjects were forlorn, lonely, and, in some cases, doing more harm to their cats than good via obsessive and smothering behavior. (No clingy male cat owners were featured, of course.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Clearly, the thing that connects every period of cat lady has little to do with the animals themselves. Rather, it’s about a deep-rooted fear of feminine power and female autonomy. Fear of goddesses, fear of witches, fear of single women. All dressed up and expertly masked with mockery, disdain and pity, in order to disincentivize other women from embracing their own power. As such, if you find yourself branded a cat lady this Valentine’s Day? You might just want to wear that as a badge of honor.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Flat Matt, Falling Lemons and Digital Dolly: The 2021 Super Bowl Ads",
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"content": "\u003cp>\u003cstrong>Updated at 8:30am ET\u003c/strong>\u003c/p>\n\u003cp>If you saw Bud Light’s “Legends” ad during the Super Bowl—the one featuring everyone from Cedric the Entertainer to Post Malone in an \u003cem>Avengers: Endgame\u003c/em>-style gathering of the brand’s biggest stars—this element stood out like the Bud Knight at a square dance.\u003c/p>\n\u003cp>No masks. No social distancing. No signs at all of the pandemic as a gang of beloved mascots crowded together to make sure football fans have their Bud Light on Super Bowl Sunday.\u003c/p>\n\u003cp>“We did talk about, ‘Should everyone be wearing a mask [in the spot]?’ ” said Andy Goeler, vice president of marketing for Bud Light, when I talked to him well before the game. “But we felt the spot was a bit surreal and we had the ability to not have people wearing masks and kind of [avoid] reminding people of the time we’re in.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zFfsO49AfzI\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That sort of escapism stood out in the flood of commercials airing in the Super Bowl, priced up to $5.5 million for 30 seconds of airtime. Aside from a few spots, including ads from Ford and Bass Pro Shops, most commercials tiptoed around references to the pandemic, lockdowns or political instability, as if America was still a little too brittle to really face the conversation.\u003c/p>\n\u003cp>Still, despite that avoidance, the roster of Super Bowl ads never seemed to really cut loose in celebration. John Travolta dancing awkwardly on TikTok; Anthony Anderson playing touch football with his mom; a CGI Samuel L. Jackson getting swallowed up by a fish—too many of the moments felt weird and self-conscious, unsure of how to make a nation laugh quite yet.\u003c/p>\n\u003cp>In an inspired bit of head-fakery, some brands drew big headlines for opting out of ads inside the Big Game—like Budweiser and Pepsi—but they still found other ways to stay in. Budweiser’s parent company, Anheuser Busch, bankrolled commercials promoting itself and brands like Bud Light and Michelob Ultra; Pepsi famously sponsors the halftime show. What else would you expect from TV’s biggest showcase for marketing and spin?\u003c/p>\n\u003cp>I didn’t have space to dissect all the ads I found entertaining—including spots featuring Daveed Diggs and the Muppets from \u003cem>Sesame Street\u003c/em> for DoorDash and Mike Myers recreating \u003cem>Wayne’s World\u003c/em> with Dana Carvey and Cardi B for Uber Eats. But here’s my roster featuring some of the coolest, weirdest, most telling advertising moments of the evening.\u003c/p>\n\u003cp>\u003cstrong>Best use of a celebrity brand: Rocket Mortgage’s “Certain Is Better” \u003c/strong>[aside postid='arts_13873945']\u003c/p>\n\u003cp>For my money, this was the funniest ad of the night, featuring gonzo \u003cem>Saturday Night Live\u003c/em> alum Tracy Morgan showing a hapless couple buying a home how being “pretty sure” about something isn’t as good as knowing for sure. He gets the dad in a fight with musclebound superstar Dave Bautista (“I’m pretty sure you could take Bautista down,” Morgan tells the dad before he gets knocked out) and shoves the family out of an airplane wearing backpacks saying, “I’m pretty sure these are parachutes.” Best of all, the company had two ads featuring Morgan tormenting two different families, airing at different points during the game.\u003c/p>\n\u003cp>\u003cstrong>Worst hypocrisy from a sports league: The NFL’s “Inspire Change”\u003c/strong>\u003c/p>\n\u003cp>The ad itself is inspiring, featuring quotes from former San Diego Chargers running back LaDainian Tomlinson’s Hall of Fame speech, played over images of civil rights protests and a graphic noting that the NFL is giving $250 million to fight systemic racism. But the league still hasn’t apologized or publicly made amends with Colin Kaepernick, the onetime San Francisco 49ers quarterback whose kneeling during the National Anthem starting in 2016 to call attention to police brutality ignited a huge controversy. Kaepernick became a free agent and remains unsigned by any team, while the NFL tries to pose like an ally, avoiding any memory that it failed to support a player actually trying to fight systemic racism when it really mattered.\u003c/p>\n\u003cp>\u003cstrong>Most desperate use of an iconic rock star: Jeep’s “The Middle”\u003c/strong>\u003c/p>\n\u003cp>We see his worn cowboy boots and hear his rough-hewn voice before we see him. But there’s no mistaking Bruce Springsteen’s world-weary words as he pleads with viewers to “come meet here in the middle.” Decked out in a simple coat, driving around an old Jeep, Springsteen conjures every ounce of his working-class hero legend to deliver a message aimed at bringing left and right together one month after a group of Trump supporters stormed the Capitol building. “We just have to remember the very soil we stand on is common ground,” he intones, driving through deserted rural areas and a snow-covered city center. Well-meaning as this message is, it feels less like an inspiring call to unity than an unsure plea for sanity at a time when it is tough to know if anyone is really listening.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=D2XYH-IEvhI\u003c/p>\n\u003cp>\u003cstrong>Best promotion of a Wall Street insurgency: Robinhood’s “We Are All Investors”\u003c/strong>\u003c/p>\n\u003cp>Yup, the stock trading app that helped fuel the takedown of Wall Street hedge funds over investments in GameStop has a curiously timed Super Bowl ad encouraging average folks to get into the stock market. Amid shots of a woman dyeing her hair pink and cowboy hat-wearing seniors sharing a joke at a bar, an announcer asks, “Don’t think you’re an investor?” Couldn’t help thinking it would have been cooler if they had asked, “Want to stick it to The Man while helping the Average Joe take over the stock market?” I would have signed up for \u003cem>that\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>Most troubling ode to the side hustle: Squarespace’s “5 to 9”\u003c/strong>\u003c/p>\n\u003cp>Much as we all love Dolly Parton, she may have crossed a line on this one, retooling her upbeat hit about surviving the workday, “9-to-5,” into a chirpy take on the depressing reality of modern workplaces. It’s a trippy tribute to those who use the website-building company Squarespace to promote the side business they really care about when the clock strikes 5 p.m. on their soul-crushing day job. Awesome as it is to see a computer-generated Dolly winking from a magazine cover during the spot, you also wonder: Is it appropriate to make some people’s desperate need for a side job look so fun?\u003c/p>\n\u003cp>\u003cstrong>Most bizarre use of a celebrity, Part 1: Tide’s “The Jason Alexander Hoodie”\u003c/strong>\u003c/p>\n\u003cp>For some reason, a young man has a hoodie emblazoned with the face of \u003cem>Seinfeld \u003c/em>alum Jason Alexander, which grimaces and changes expression every time the kid wears him while doing something messy or disgusting, like washing a car or taking out the trash. Besides being an odd, clumsy showcase for CGI technology, it fails to answer a central question: Why would any kid constantly wear a sweatshirt featuring the co-star from a sitcom that left TV more than 20 years ago?\u003c/p>\n\u003cp>\u003cstrong>Best reference to the pandemic that doesn’t mention the pandemic: Bud Light’s “Last Year’s Lemons”\u003c/strong>\u003c/p>\n\u003cp>Pronouncing 2020 “a lemon of a year,” Bud Light promotes its seltzer lemonade with a spot that shows people getting knocked over, people chased out of ballparks and airports, and weddings ruined by a mysterious deluge of lemons pouring from the sky. Of course, the friends who are musing about this terrible 2020 are gathered at a backyard barbecue, no masks in sight, surrounded by people at what looks like a party. Way to have your cake—nodding to a mysterious event that canceled air travel, professional sports and family gatherings—without actually uttering the word “pandemic” or showing a single face covering (or telling us what seltzer lemonade actually is). That’s masterful marketing.\u003c/p>\n\u003cp>\u003cstrong>Most bizarre use of a celebrity, Part 2: Doritos’ “Flat Matthew”\u003c/strong>\u003c/p>\n\u003cp>After the year we’ve all just had, it irritated me a bit to see hunky, successful movie star Matthew McConaughey moping around, looking (and feeling) flat as a cardboard cutout until he eats the new Doritos 3D Crunch and pops back to full size—inside a vending machine. (I’m thinking maybe it was the check from PepsiCo’s Frito Lay that helped him feel better?) As if a guy with abs like that would get anywhere near something so obviously fattening. Mindy Kaling’s look of impatient bewilderment in the spot, sitting across from McConaughey while he mopes during an appearance on \u003cem>Jimmy Kimmel Live!\u003c/em>, made my week.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MpL1ci08p60\u003c/p>\n\u003cp>\u003cstrong>Most likely to make you ask, “Is this safe?”: Inspiration4’s “Join Us”\u003c/strong>\u003c/p>\n\u003cp>Elon Musk’s ambitious plan to send four civilians into space has left two spots open for U.S. citizens who embody the ideals of “prosperity” and “generosity.” This spot encourages viewers to head to a website, inspiration4.com, where they can enter a sweepstakes to be selected for one of those two spots. As the spot played, I couldn’t help thinking: Isn’t there a better, more scientific, \u003cem>safer\u003c/em> way to choose crew members for a spaceflight than the method used by Publishers Clearing House?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Nina Gregory and adapted for the Web by Petra Mayer.\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=Flat+Matt%2C+Falling+Lemons+And+Digital+Dolly%3A+The+2021+Super+Bowl+Ads&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That sort of escapism stood out in the flood of commercials airing in the Super Bowl, priced up to $5.5 million for 30 seconds of airtime. Aside from a few spots, including ads from Ford and Bass Pro Shops, most commercials tiptoed around references to the pandemic, lockdowns or political instability, as if America was still a little too brittle to really face the conversation.\u003c/p>\n\u003cp>Still, despite that avoidance, the roster of Super Bowl ads never seemed to really cut loose in celebration. John Travolta dancing awkwardly on TikTok; Anthony Anderson playing touch football with his mom; a CGI Samuel L. Jackson getting swallowed up by a fish—too many of the moments felt weird and self-conscious, unsure of how to make a nation laugh quite yet.\u003c/p>\n\u003cp>In an inspired bit of head-fakery, some brands drew big headlines for opting out of ads inside the Big Game—like Budweiser and Pepsi—but they still found other ways to stay in. Budweiser’s parent company, Anheuser Busch, bankrolled commercials promoting itself and brands like Bud Light and Michelob Ultra; Pepsi famously sponsors the halftime show. What else would you expect from TV’s biggest showcase for marketing and spin?\u003c/p>\n\u003cp>I didn’t have space to dissect all the ads I found entertaining—including spots featuring Daveed Diggs and the Muppets from \u003cem>Sesame Street\u003c/em> for DoorDash and Mike Myers recreating \u003cem>Wayne’s World\u003c/em> with Dana Carvey and Cardi B for Uber Eats. But here’s my roster featuring some of the coolest, weirdest, most telling advertising moments of the evening.\u003c/p>\n\u003cp>\u003cstrong>Best use of a celebrity brand: Rocket Mortgage’s “Certain Is Better” \u003c/strong>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For my money, this was the funniest ad of the night, featuring gonzo \u003cem>Saturday Night Live\u003c/em> alum Tracy Morgan showing a hapless couple buying a home how being “pretty sure” about something isn’t as good as knowing for sure. He gets the dad in a fight with musclebound superstar Dave Bautista (“I’m pretty sure you could take Bautista down,” Morgan tells the dad before he gets knocked out) and shoves the family out of an airplane wearing backpacks saying, “I’m pretty sure these are parachutes.” Best of all, the company had two ads featuring Morgan tormenting two different families, airing at different points during the game.\u003c/p>\n\u003cp>\u003cstrong>Worst hypocrisy from a sports league: The NFL’s “Inspire Change”\u003c/strong>\u003c/p>\n\u003cp>The ad itself is inspiring, featuring quotes from former San Diego Chargers running back LaDainian Tomlinson’s Hall of Fame speech, played over images of civil rights protests and a graphic noting that the NFL is giving $250 million to fight systemic racism. But the league still hasn’t apologized or publicly made amends with Colin Kaepernick, the onetime San Francisco 49ers quarterback whose kneeling during the National Anthem starting in 2016 to call attention to police brutality ignited a huge controversy. Kaepernick became a free agent and remains unsigned by any team, while the NFL tries to pose like an ally, avoiding any memory that it failed to support a player actually trying to fight systemic racism when it really mattered.\u003c/p>\n\u003cp>\u003cstrong>Most desperate use of an iconic rock star: Jeep’s “The Middle”\u003c/strong>\u003c/p>\n\u003cp>We see his worn cowboy boots and hear his rough-hewn voice before we see him. But there’s no mistaking Bruce Springsteen’s world-weary words as he pleads with viewers to “come meet here in the middle.” Decked out in a simple coat, driving around an old Jeep, Springsteen conjures every ounce of his working-class hero legend to deliver a message aimed at bringing left and right together one month after a group of Trump supporters stormed the Capitol building. “We just have to remember the very soil we stand on is common ground,” he intones, driving through deserted rural areas and a snow-covered city center. Well-meaning as this message is, it feels less like an inspiring call to unity than an unsure plea for sanity at a time when it is tough to know if anyone is really listening.\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/D2XYH-IEvhI'\n title='//www.youtube.com/embed/D2XYH-IEvhI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Best promotion of a Wall Street insurgency: Robinhood’s “We Are All Investors”\u003c/strong>\u003c/p>\n\u003cp>Yup, the stock trading app that helped fuel the takedown of Wall Street hedge funds over investments in GameStop has a curiously timed Super Bowl ad encouraging average folks to get into the stock market. Amid shots of a woman dyeing her hair pink and cowboy hat-wearing seniors sharing a joke at a bar, an announcer asks, “Don’t think you’re an investor?” Couldn’t help thinking it would have been cooler if they had asked, “Want to stick it to The Man while helping the Average Joe take over the stock market?” I would have signed up for \u003cem>that\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>Most troubling ode to the side hustle: Squarespace’s “5 to 9”\u003c/strong>\u003c/p>\n\u003cp>Much as we all love Dolly Parton, she may have crossed a line on this one, retooling her upbeat hit about surviving the workday, “9-to-5,” into a chirpy take on the depressing reality of modern workplaces. It’s a trippy tribute to those who use the website-building company Squarespace to promote the side business they really care about when the clock strikes 5 p.m. on their soul-crushing day job. Awesome as it is to see a computer-generated Dolly winking from a magazine cover during the spot, you also wonder: Is it appropriate to make some people’s desperate need for a side job look so fun?\u003c/p>\n\u003cp>\u003cstrong>Most bizarre use of a celebrity, Part 1: Tide’s “The Jason Alexander Hoodie”\u003c/strong>\u003c/p>\n\u003cp>For some reason, a young man has a hoodie emblazoned with the face of \u003cem>Seinfeld \u003c/em>alum Jason Alexander, which grimaces and changes expression every time the kid wears him while doing something messy or disgusting, like washing a car or taking out the trash. Besides being an odd, clumsy showcase for CGI technology, it fails to answer a central question: Why would any kid constantly wear a sweatshirt featuring the co-star from a sitcom that left TV more than 20 years ago?\u003c/p>\n\u003cp>\u003cstrong>Best reference to the pandemic that doesn’t mention the pandemic: Bud Light’s “Last Year’s Lemons”\u003c/strong>\u003c/p>\n\u003cp>Pronouncing 2020 “a lemon of a year,” Bud Light promotes its seltzer lemonade with a spot that shows people getting knocked over, people chased out of ballparks and airports, and weddings ruined by a mysterious deluge of lemons pouring from the sky. Of course, the friends who are musing about this terrible 2020 are gathered at a backyard barbecue, no masks in sight, surrounded by people at what looks like a party. Way to have your cake—nodding to a mysterious event that canceled air travel, professional sports and family gatherings—without actually uttering the word “pandemic” or showing a single face covering (or telling us what seltzer lemonade actually is). That’s masterful marketing.\u003c/p>\n\u003cp>\u003cstrong>Most bizarre use of a celebrity, Part 2: Doritos’ “Flat Matthew”\u003c/strong>\u003c/p>\n\u003cp>After the year we’ve all just had, it irritated me a bit to see hunky, successful movie star Matthew McConaughey moping around, looking (and feeling) flat as a cardboard cutout until he eats the new Doritos 3D Crunch and pops back to full size—inside a vending machine. (I’m thinking maybe it was the check from PepsiCo’s Frito Lay that helped him feel better?) As if a guy with abs like that would get anywhere near something so obviously fattening. Mindy Kaling’s look of impatient bewilderment in the spot, sitting across from McConaughey while he mopes during an appearance on \u003cem>Jimmy Kimmel Live!\u003c/em>, made my week.\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/MpL1ci08p60'\n title='//www.youtube.com/embed/MpL1ci08p60'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Most likely to make you ask, “Is this safe?”: Inspiration4’s “Join Us”\u003c/strong>\u003c/p>\n\u003cp>Elon Musk’s ambitious plan to send four civilians into space has left two spots open for U.S. citizens who embody the ideals of “prosperity” and “generosity.” This spot encourages viewers to head to a website, inspiration4.com, where they can enter a sweepstakes to be selected for one of those two spots. As the spot played, I couldn’t help thinking: Isn’t there a better, more scientific, \u003cem>safer\u003c/em> way to choose crew members for a spaceflight than the method used by Publishers Clearing House?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>With the highly anticipated sequel already coming in the summer of 2022, fans of the movie \u003cem>Black Panther\u003c/em> are set to get to see even more of the kingdom of Wakanda. Bay Area born-and-raised writer and director Ryan Coogler has signed a new multi-year overall television contract with The Walt Disney Company, under which the new Wakanda show will be his first project. [aside postid='arts_13824541']\u003c/p>\n\u003cp>The series is expected to continue to build on the foundation Coogler set with \u003cem>Black Panther\u003c/em> and the upcoming sequel, \u003cem>Black Panther II,\u003c/em> set to be released on July 8, 2022. \u003cem>Black Panther\u003c/em> grossed nearly $1.35 billion worldwide for Disney and Marvel, and made headlines again in August 2020 after the sudden death of star Chadwick Boseman from colon cancer.\u003c/p>\n\u003cp>“It’s an honor to be partnering with The Walt Disney Company,” Coogler told \u003ca href=\"https://variety.com/2021/tv/news/wakanda-series-disney-plus-ryan-coogler-1234897587/\" target=\"_blank\" rel=\"noopener noreferrer\">Variety\u003c/a>. “Working with them on \u003cem>Black Panther\u003c/em> was a dream come true… We’re already in the mix on some projects that we can’t wait to share.” The multi-year deal will also include other future television projects in addition to the Wakanda series.\u003c/p>\n\u003cp>It is currently unclear if the new show will include any scenes or storylines set in Oakland, as the first \u003cem>Black Panther\u003c/em> film did.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With the highly anticipated sequel already coming in the summer of 2022, fans of the movie \u003cem>Black Panther\u003c/em> are set to get to see even more of the kingdom of Wakanda. Bay Area born-and-raised writer and director Ryan Coogler has signed a new multi-year overall television contract with The Walt Disney Company, under which the new Wakanda show will be his first project. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The series is expected to continue to build on the foundation Coogler set with \u003cem>Black Panther\u003c/em> and the upcoming sequel, \u003cem>Black Panther II,\u003c/em> set to be released on July 8, 2022. \u003cem>Black Panther\u003c/em> grossed nearly $1.35 billion worldwide for Disney and Marvel, and made headlines again in August 2020 after the sudden death of star Chadwick Boseman from colon cancer.\u003c/p>\n\u003cp>“It’s an honor to be partnering with The Walt Disney Company,” Coogler told \u003ca href=\"https://variety.com/2021/tv/news/wakanda-series-disney-plus-ryan-coogler-1234897587/\" target=\"_blank\" rel=\"noopener noreferrer\">Variety\u003c/a>. “Working with them on \u003cem>Black Panther\u003c/em> was a dream come true… We’re already in the mix on some projects that we can’t wait to share.” The multi-year deal will also include other future television projects in addition to the Wakanda series.\u003c/p>\n\u003cp>It is currently unclear if the new show will include any scenes or storylines set in Oakland, as the first \u003cem>Black Panther\u003c/em> film did.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Rare Doc ‘The Devil Never Sleeps’ Gets Its Due with Library of Congress Induction",
"headTitle": "Rare Doc ‘The Devil Never Sleeps’ Gets Its Due with Library of Congress Induction | KQED",
"content": "\u003cp>Last month, San Francisco cinephiles celebrated when Wayne Wang’s 1993 film \u003cem>The Joy Luck Club\u003c/em> was inducted into \u003ca href=\"https://www.loc.gov/item/prn-20-082/national-film-registry-spotlights-diverse-filmmakers-in-new-selections/2020-12-14/\" target=\"_blank\" rel=\"noopener noreferrer\">National Film Registry\u003c/a> of the Library of Congress. Less noticed was another groundbreaking Bay Area treasure that also made the annual selection of 25 of the nation’s most influential motion pictures.\u003c/p>\n\u003cp>Hailed upon its release as a form-melting masterpiece, \u003ca href=\"https://www.lourdesportillo.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Lourdes Portillo\u003c/a>’s 1994 documentary \u003cem>The Devil Never Sleeps / El diablo nunca duerme\u003c/em> is getting another bout of recognition. A few weeks before its National Film Registry induction was revealed, \u003cem>The New Yorker \u003c/em>highlighted \u003cem>The Devil Never Sleeps\u003c/em> in the story “\u003ca href=\"https://www.newyorker.com/culture/the-front-row/sixty-two-films-that-shaped-the-art-of-documentary-filmmaking\" target=\"_blank\" rel=\"noopener noreferrer\">Sixty-Two Films That Shaped the Art of Documentary Filmmaking\u003c/a>.” Describing Portillo’s first-person investigation into the mysterious death of her uncle Oscar, critic Richard Brody wrote that the filmmaker “discovers her family’s story to be a lurid melodrama of conflicting interests and political corruption, and she films it—and her childhood memories—with a labyrinthine style to match.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/492608780\" width=\"640\" height=\"360\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>A postmodern detective story, \u003cem>The Devil Never Sleeps\u003c/em> is a film that rewards repeated viewings. Working closely with cinematographer Kyle Kibbe, Portillo designed a visual feast with a series of reoccurring motifs (mirrors, screens and water) and a deliciously tangled narrative told from her wry point of view. What starts as a portrait of a larger than life figure—“At 5am he woke me up with a greeting: ‘Time to get up and fight!’ For Oscar, each day was a conquest”—soon turns into a tangled exploration of attitudes about gender roles, class and family loyalties in upper-middle-class Mexico.\u003c/p>\n\u003cp>Rather than trafficking in shallow irony, Portillo keeps calling attention to the story’s uncertain framing, toggling between the increasingly destabilized portrait of her uncle and her attempts to ferret out the truth as a filmmaker. “I was living a life where I was really very interested in postmodernism at that time,” Portillo said. “I’d been to New York and seen some of the art work in the streets and museums that inspired me. I liked this idea of baroque and postmodern approach to a telenovela kind of story that Latin Americans tell about our families.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Born in Mexico and raised in Los Angeles, Portillo made her mark as a filmmaker in the Bay Area with 1985’s Academy Award-nominated \u003cem>Las Madres: Mothers of the Plaza de Mayo\u003c/em>. Co-directed with Argentine-born Susana Muñoz, the hour-long documentary helped bring international attention to the protest movement led by mothers seeking information about family members “disappeared” by Argentina’s military junta in the Dirty War of the late ’70s and early ’80s.\u003c/p>\n\u003cfigure id=\"attachment_13891374\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891374\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/TheDevilNeverSleeps_Still4_copyrightLourdesPortillo-800x601.jpg\" alt=\"\" width=\"800\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/TheDevilNeverSleeps_Still4_copyrightLourdesPortillo-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/TheDevilNeverSleeps_Still4_copyrightLourdesPortillo-1020x767.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/TheDevilNeverSleeps_Still4_copyrightLourdesPortillo-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/TheDevilNeverSleeps_Still4_copyrightLourdesPortillo-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/TheDevilNeverSleeps_Still4_copyrightLourdesPortillo.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Devil Never Sleeps.’ \u003ccite>(Lourdes Portillo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While\u003cem> Las Madres\u003c/em> unfolds in standard documentary style, Portillo and Muñoz displayed growing confidence as visual artists with 1989’s \u003cem>La Ofrenda: The Days of the Dead\u003c/em>, a dazzling, impressionistic exploration of the Mexican celebration. But nothing Portillo had done previously hinted at her ability to unspool narrative conventions and visual tropes like \u003cem>The Devil Never Sleeps.\u003c/em> (Full disclosure: my wife, KQED \u003cem>Deep Look\u003c/em> producer Gabriela Quirós, did the subtitles for a later print of \u003cem>The Devil Never Sleeps\u003c/em> and worked on Portillo’s 2001 film \u003cem>Señorita Extraviada.\u003c/em>)\u003c/p>\n\u003cp>One of Portillo’s influences, Errol Morris, had shaken up the documentary world with \u003cem>The Thin Blue Line \u003c/em>in 1988. His investigation into the murder conviction of Randall Dale Adams employed dramatized scenes to reveal a story from multiple points of view. Portillo took Morris’s creative license and crafted a very different kind of detective story. Instead of unreliable witnesses, Portillo presents herself as a narrator uncertain of her methods and agenda. In key moments, such as trying to wheedle an interview from her uncle’s widow, Portillo films herself surrounded by her film crew, rolling her eyes as she’s eluded again.\u003c/p>\n\u003cp>“Errol Morris inspired me to be much more experimental and much more who I was,” Portillo said. “I thought it was good to expand the idea of the investigator, not to be this perfect person who knows all. I like the fact that we were having so much fun making this film. The crew enticed me to be funny, and I wanted to use it, to be a klutzy kind of detective. That’s how I felt. It was very true to what I was experiencing.” [aside postid='arts_13891288']\u003c/p>\n\u003cp>One reason \u003cem>The Devil Never Sleeps\u003c/em> isn’t more widely known is that it was hard to find. While the documentary has been available for purchase via \u003ca href=\"https://www.wmm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Women Make Movies\u003c/a> for years, Portillo recently revamped her \u003ca href=\"https://www.lourdesportillo.com/the-devil-never-sleeps\" target=\"_blank\" rel=\"noopener noreferrer\">website\u003c/a>, greatly expanding access to the film via streaming. Previously, people were most likely to encounter it in papers by film scholars or in film studies and journalism courses. (There’s a chance to see some of Portillo’s other work when her alma mater, the San Francisco Art Institute, projects her films \u003ci>State of Grace\u003c/i> and \u003ci>Sometimes My Feet Go Numb \u003c/i>onto the school’s tower as part of their \u003ca href=\"https://sfai.edu/exhibitions-public-events/detail/three-turns\">Three Turns event Jan. 22-23\u003c/a>.)\u003c/p>\n\u003cp>I first watched \u003cem>The Devil Never Sleeps\u003c/em> a few years after its release in a history of documentary film course taught by Jon Else at the UC Berkeley Graduate School of Journalism, and was struck by a film that left me with more questions than answers. In an interview several years ago, Else explained that was the reason he felt it was so important for aspiring documentarians to know Portillo’s work.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Lourdes has this kind of self-questioning and wonderfully healthy self-doubt that more filmmakers could use,” he said. “There’s a respect for ambiguity. Most documentary filmmakers are convinced that they know the truth. She revels in the mystery of the world.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last month, San Francisco cinephiles celebrated when Wayne Wang’s 1993 film \u003cem>The Joy Luck Club\u003c/em> was inducted into \u003ca href=\"https://www.loc.gov/item/prn-20-082/national-film-registry-spotlights-diverse-filmmakers-in-new-selections/2020-12-14/\" target=\"_blank\" rel=\"noopener noreferrer\">National Film Registry\u003c/a> of the Library of Congress. Less noticed was another groundbreaking Bay Area treasure that also made the annual selection of 25 of the nation’s most influential motion pictures.\u003c/p>\n\u003cp>Hailed upon its release as a form-melting masterpiece, \u003ca href=\"https://www.lourdesportillo.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Lourdes Portillo\u003c/a>’s 1994 documentary \u003cem>The Devil Never Sleeps / El diablo nunca duerme\u003c/em> is getting another bout of recognition. A few weeks before its National Film Registry induction was revealed, \u003cem>The New Yorker \u003c/em>highlighted \u003cem>The Devil Never Sleeps\u003c/em> in the story “\u003ca href=\"https://www.newyorker.com/culture/the-front-row/sixty-two-films-that-shaped-the-art-of-documentary-filmmaking\" target=\"_blank\" rel=\"noopener noreferrer\">Sixty-Two Films That Shaped the Art of Documentary Filmmaking\u003c/a>.” Describing Portillo’s first-person investigation into the mysterious death of her uncle Oscar, critic Richard Brody wrote that the filmmaker “discovers her family’s story to be a lurid melodrama of conflicting interests and political corruption, and she films it—and her childhood memories—with a labyrinthine style to match.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/492608780\" width=\"640\" height=\"360\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>A postmodern detective story, \u003cem>The Devil Never Sleeps\u003c/em> is a film that rewards repeated viewings. Working closely with cinematographer Kyle Kibbe, Portillo designed a visual feast with a series of reoccurring motifs (mirrors, screens and water) and a deliciously tangled narrative told from her wry point of view. What starts as a portrait of a larger than life figure—“At 5am he woke me up with a greeting: ‘Time to get up and fight!’ For Oscar, each day was a conquest”—soon turns into a tangled exploration of attitudes about gender roles, class and family loyalties in upper-middle-class Mexico.\u003c/p>\n\u003cp>Rather than trafficking in shallow irony, Portillo keeps calling attention to the story’s uncertain framing, toggling between the increasingly destabilized portrait of her uncle and her attempts to ferret out the truth as a filmmaker. “I was living a life where I was really very interested in postmodernism at that time,” Portillo said. “I’d been to New York and seen some of the art work in the streets and museums that inspired me. I liked this idea of baroque and postmodern approach to a telenovela kind of story that Latin Americans tell about our families.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Born in Mexico and raised in Los Angeles, Portillo made her mark as a filmmaker in the Bay Area with 1985’s Academy Award-nominated \u003cem>Las Madres: Mothers of the Plaza de Mayo\u003c/em>. Co-directed with Argentine-born Susana Muñoz, the hour-long documentary helped bring international attention to the protest movement led by mothers seeking information about family members “disappeared” by Argentina’s military junta in the Dirty War of the late ’70s and early ’80s.\u003c/p>\n\u003cfigure id=\"attachment_13891374\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891374\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/TheDevilNeverSleeps_Still4_copyrightLourdesPortillo-800x601.jpg\" alt=\"\" width=\"800\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/TheDevilNeverSleeps_Still4_copyrightLourdesPortillo-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/TheDevilNeverSleeps_Still4_copyrightLourdesPortillo-1020x767.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/TheDevilNeverSleeps_Still4_copyrightLourdesPortillo-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/TheDevilNeverSleeps_Still4_copyrightLourdesPortillo-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/TheDevilNeverSleeps_Still4_copyrightLourdesPortillo.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Devil Never Sleeps.’ \u003ccite>(Lourdes Portillo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While\u003cem> Las Madres\u003c/em> unfolds in standard documentary style, Portillo and Muñoz displayed growing confidence as visual artists with 1989’s \u003cem>La Ofrenda: The Days of the Dead\u003c/em>, a dazzling, impressionistic exploration of the Mexican celebration. But nothing Portillo had done previously hinted at her ability to unspool narrative conventions and visual tropes like \u003cem>The Devil Never Sleeps.\u003c/em> (Full disclosure: my wife, KQED \u003cem>Deep Look\u003c/em> producer Gabriela Quirós, did the subtitles for a later print of \u003cem>The Devil Never Sleeps\u003c/em> and worked on Portillo’s 2001 film \u003cem>Señorita Extraviada.\u003c/em>)\u003c/p>\n\u003cp>One of Portillo’s influences, Errol Morris, had shaken up the documentary world with \u003cem>The Thin Blue Line \u003c/em>in 1988. His investigation into the murder conviction of Randall Dale Adams employed dramatized scenes to reveal a story from multiple points of view. Portillo took Morris’s creative license and crafted a very different kind of detective story. Instead of unreliable witnesses, Portillo presents herself as a narrator uncertain of her methods and agenda. In key moments, such as trying to wheedle an interview from her uncle’s widow, Portillo films herself surrounded by her film crew, rolling her eyes as she’s eluded again.\u003c/p>\n\u003cp>“Errol Morris inspired me to be much more experimental and much more who I was,” Portillo said. “I thought it was good to expand the idea of the investigator, not to be this perfect person who knows all. I like the fact that we were having so much fun making this film. The crew enticed me to be funny, and I wanted to use it, to be a klutzy kind of detective. That’s how I felt. It was very true to what I was experiencing.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One reason \u003cem>The Devil Never Sleeps\u003c/em> isn’t more widely known is that it was hard to find. While the documentary has been available for purchase via \u003ca href=\"https://www.wmm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Women Make Movies\u003c/a> for years, Portillo recently revamped her \u003ca href=\"https://www.lourdesportillo.com/the-devil-never-sleeps\" target=\"_blank\" rel=\"noopener noreferrer\">website\u003c/a>, greatly expanding access to the film via streaming. Previously, people were most likely to encounter it in papers by film scholars or in film studies and journalism courses. (There’s a chance to see some of Portillo’s other work when her alma mater, the San Francisco Art Institute, projects her films \u003ci>State of Grace\u003c/i> and \u003ci>Sometimes My Feet Go Numb \u003c/i>onto the school’s tower as part of their \u003ca href=\"https://sfai.edu/exhibitions-public-events/detail/three-turns\">Three Turns event Jan. 22-23\u003c/a>.)\u003c/p>\n\u003cp>I first watched \u003cem>The Devil Never Sleeps\u003c/em> a few years after its release in a history of documentary film course taught by Jon Else at the UC Berkeley Graduate School of Journalism, and was struck by a film that left me with more questions than answers. In an interview several years ago, Else explained that was the reason he felt it was so important for aspiring documentarians to know Portillo’s work.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Lourdes has this kind of self-questioning and wonderfully healthy self-doubt that more filmmakers could use,” he said. “There’s a respect for ambiguity. Most documentary filmmakers are convinced that they know the truth. She revels in the mystery of the world.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'WandaVision': The Next Era of the MCU Will Be Televised",
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"content": "\u003cp>It’s been a while since we saw the logo of the Marvel Cinematic Universe—those fast-flipping comics pages, that stirring anthem of strings and brass and clashing cymbals—and I’m pleased to report that it retains its power to act as visual appetizer, whetting our collective palate for the mix of iconic, larger-than-life, vibrantly colored acts of selfless heroism, cosmic stakes and petty intra-hero squabbling that is the Marvel brand.\u003c/p>\n\u003cp>It’s tacked to the opening of all nine episodes of \u003cem>WandaVision\u003c/em>, the Disney+ series that finds Wanda Maximoff (Elizabeth Olsen) and a mysteriously reconstructed Vision (Paul Bettany’s character died at the end of \u003cem>Infinity War\u003c/em>, you will be forgiven for not remembering) starting a quiet life in the suburbs—the suburbs of 1950s America, in particular: tract houses, subdivisions, cul-de-sacs and white picket fences. [aside postid='pop_109932']\u003c/p>\n\u003cp>The disconnect between the pulse-pounding MCU logo and the pilot’s’ I-Like-Ike setting is jarring, yes—imagine a meal starting with a spoonful of Massaman curry followed by a PB&J—but that’s purely intentional. Because the suburbs in question aren’t strictly those of 1950s suburbia as it truly existed, but rather how it was depicted at the time, in American sitcoms.\u003c/p>\n\u003cp>Given that the next phase of the MCU is moving to Disney+, it makes sense that its first installment should take the form of extended homage to television itself. And given the lead characters involved—two Avengers whose romantic relationship, though long-established over decades of comics, only managed to snatch a few minutes of MCU screentime — it’s also logical enough that the sitcom in question should be of the domestic variety, in which a young couple navigates the demands of the office (him), social demands (her, mostly) and kids (again: her, mostly).\u003c/p>\n\u003cp>But here’s the challenge: The audience is ahead of the characters. From the opening shots, as the spritely theme song kicks in, we know the deal. Something or someone has trapped these characters in this clean, freshly scrubbed, laughtracked, black-and-white virtual Levittown (Westview, technically), and it’s only a matter of time before they figure it out, escape, kick said something/one’s butt, and reconnect to the greater MCU.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The trapped-in-television thing has been done before, in and out of superhero fiction, many, many, \u003cem>many \u003c/em>times. Sometimes as pure parody, sometimes as pastiche or homage, but always as a plot device—a trap to be escaped from, a hurdle to be cleared so they can get on with their lives.\u003c/p>\n\u003cp>The makers of \u003cem>WandaVision\u003c/em> seem to be betting on our savviness in this regard, and our impatience. The tactic they have chosen to combat it is to withhold what they know we’re clamoring for—big superhero action, wider Marvel universe interconnectivity—and instead double down on the details of the execution of this sitcom universe.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sj9J2ecsSpo\u003c/p>\n\u003cp>The first three episodes of the series made available to the press dole out any clues to what is really going on outside the characters’ sitcom Purgatory with a frustrating parsimoniousness. Importantly, however, the revelations that do come—usually in the last few minutes of any given episode—are different enough in kind and in scope to deepen the mystery, rather than merely reiterate it.\u003c/p>\n\u003cp>The gamble the team behind \u003cem>WandaVision\u003c/em> is making is that if they truly commit to the reality of Wanda and Vision’s unreality—if they treat the sitcom simulacrum not as a joke or a plot point, but instead embrace its every aspect without irony, then we will too. [aside postid='arts_13872364']\u003c/p>\n\u003cp>What they’ve created, as a result, is in many ways an American Studies seminar focusing on the sitcom’s status as a reflection of cultural change. The pilot’s a 1950s sitcom—think \u003cem>I Love Lucy/Leave It To Beaver\u003c/em>. Episode Two offers a subtle shift into the television comedies of the sixties—\u003cem>The Dick Van Dyke Show\u003c/em> shading into \u003cem>Bewitched\u003c/em>, in particular. The third episode explodes in a riot of \u003cem>Brady Bunch\u003c/em> colors and polyester and shag carpeting—and, presumably, so on, through the following episodes.\u003c/p>\n\u003cp>What is striking is how straight this conceit is played, and with what assiduous attention to detail it is wrought. In interviews, the cast has talked about the “sitcom boot camp” they attended, which consisted of studying episodes of sitcoms from different eras. It shows: Watch how the great Kathryn Hahn, playing nosy neighbor Agnes, holds her arms as she talks, how her pinkies remain preternaturally extended. Listen to how Olsen’s wry delivery in the first episode slides into something more earnest and bubbly in the second. Notice how the series’ special effects—as when Wanda must use her telekinesis to whip up a quick meal—remain rigorously period-appropriate (the wires holding up the mixing bowl and the whisk have been CGI’d out, but the stiff artificiality of it all remains). And, mostly, take note of how unsettling it becomes at those moments when the pilot’s bright multi-camera, shot-before-a-live-studio audience \u003cem>mis-en-scene\u003c/em> abruptly switches to a single-camera close-up of a character’s face steeped in foreboding shadows.\u003c/p>\n\u003cp>It’s effective, this dedication to the tone, look and feel of the sitcom genre. How else to explain why, despite knowing it’s all an illusion, we find ourselves truly invested in the frippery of a given episode’s ostensible plot—Will Vision’s boss be impressed when he comes to dinner? Will their powers get revealed? Will they win the town’s talent contest? Etc.\u003c/p>\n\u003cp>There will be plenty of Marvel fans who’ll prove unwilling or unable to suspend their impatience long enough to get to what is sure to be an impressive fireworks factory, down around episodes eight or nine or so, probably. It’s a lot to ask of people who aren’t sufficiently interested in the sitcom as a genre to appreciate the series’ deep meditation on that most American of texts, and nod approvingly at, for example, its production design—at the way, in early episodes, Wanda and Vision’s home smashes together the \u003cem>Bewitched \u003c/em>living room and the \u003cem>Dick Van Dyke Show\u003c/em> kitchen.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But for others—perhaps most especially those who are given to bemoaning the MCU’s formulaic, predictable quality—\u003cem>WandaVision\u003c/em>‘s commitment to confounding expectations might offer something few franchises as hoary as this one ever do—a fresh, surprising way in.\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=%27WandaVision%27%3A+The+Next+Era+Of+The+MCU+Will+Be+Televised&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s been a while since we saw the logo of the Marvel Cinematic Universe—those fast-flipping comics pages, that stirring anthem of strings and brass and clashing cymbals—and I’m pleased to report that it retains its power to act as visual appetizer, whetting our collective palate for the mix of iconic, larger-than-life, vibrantly colored acts of selfless heroism, cosmic stakes and petty intra-hero squabbling that is the Marvel brand.\u003c/p>\n\u003cp>It’s tacked to the opening of all nine episodes of \u003cem>WandaVision\u003c/em>, the Disney+ series that finds Wanda Maximoff (Elizabeth Olsen) and a mysteriously reconstructed Vision (Paul Bettany’s character died at the end of \u003cem>Infinity War\u003c/em>, you will be forgiven for not remembering) starting a quiet life in the suburbs—the suburbs of 1950s America, in particular: tract houses, subdivisions, cul-de-sacs and white picket fences. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The disconnect between the pulse-pounding MCU logo and the pilot’s’ I-Like-Ike setting is jarring, yes—imagine a meal starting with a spoonful of Massaman curry followed by a PB&J—but that’s purely intentional. Because the suburbs in question aren’t strictly those of 1950s suburbia as it truly existed, but rather how it was depicted at the time, in American sitcoms.\u003c/p>\n\u003cp>Given that the next phase of the MCU is moving to Disney+, it makes sense that its first installment should take the form of extended homage to television itself. And given the lead characters involved—two Avengers whose romantic relationship, though long-established over decades of comics, only managed to snatch a few minutes of MCU screentime — it’s also logical enough that the sitcom in question should be of the domestic variety, in which a young couple navigates the demands of the office (him), social demands (her, mostly) and kids (again: her, mostly).\u003c/p>\n\u003cp>But here’s the challenge: The audience is ahead of the characters. From the opening shots, as the spritely theme song kicks in, we know the deal. Something or someone has trapped these characters in this clean, freshly scrubbed, laughtracked, black-and-white virtual Levittown (Westview, technically), and it’s only a matter of time before they figure it out, escape, kick said something/one’s butt, and reconnect to the greater MCU.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The trapped-in-television thing has been done before, in and out of superhero fiction, many, many, \u003cem>many \u003c/em>times. Sometimes as pure parody, sometimes as pastiche or homage, but always as a plot device—a trap to be escaped from, a hurdle to be cleared so they can get on with their lives.\u003c/p>\n\u003cp>The makers of \u003cem>WandaVision\u003c/em> seem to be betting on our savviness in this regard, and our impatience. The tactic they have chosen to combat it is to withhold what they know we’re clamoring for—big superhero action, wider Marvel universe interconnectivity—and instead double down on the details of the execution of this sitcom universe.\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/sj9J2ecsSpo'\n title='//www.youtube.com/embed/sj9J2ecsSpo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The first three episodes of the series made available to the press dole out any clues to what is really going on outside the characters’ sitcom Purgatory with a frustrating parsimoniousness. Importantly, however, the revelations that do come—usually in the last few minutes of any given episode—are different enough in kind and in scope to deepen the mystery, rather than merely reiterate it.\u003c/p>\n\u003cp>The gamble the team behind \u003cem>WandaVision\u003c/em> is making is that if they truly commit to the reality of Wanda and Vision’s unreality—if they treat the sitcom simulacrum not as a joke or a plot point, but instead embrace its every aspect without irony, then we will too. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What they’ve created, as a result, is in many ways an American Studies seminar focusing on the sitcom’s status as a reflection of cultural change. The pilot’s a 1950s sitcom—think \u003cem>I Love Lucy/Leave It To Beaver\u003c/em>. Episode Two offers a subtle shift into the television comedies of the sixties—\u003cem>The Dick Van Dyke Show\u003c/em> shading into \u003cem>Bewitched\u003c/em>, in particular. The third episode explodes in a riot of \u003cem>Brady Bunch\u003c/em> colors and polyester and shag carpeting—and, presumably, so on, through the following episodes.\u003c/p>\n\u003cp>What is striking is how straight this conceit is played, and with what assiduous attention to detail it is wrought. In interviews, the cast has talked about the “sitcom boot camp” they attended, which consisted of studying episodes of sitcoms from different eras. It shows: Watch how the great Kathryn Hahn, playing nosy neighbor Agnes, holds her arms as she talks, how her pinkies remain preternaturally extended. Listen to how Olsen’s wry delivery in the first episode slides into something more earnest and bubbly in the second. Notice how the series’ special effects—as when Wanda must use her telekinesis to whip up a quick meal—remain rigorously period-appropriate (the wires holding up the mixing bowl and the whisk have been CGI’d out, but the stiff artificiality of it all remains). And, mostly, take note of how unsettling it becomes at those moments when the pilot’s bright multi-camera, shot-before-a-live-studio audience \u003cem>mis-en-scene\u003c/em> abruptly switches to a single-camera close-up of a character’s face steeped in foreboding shadows.\u003c/p>\n\u003cp>It’s effective, this dedication to the tone, look and feel of the sitcom genre. How else to explain why, despite knowing it’s all an illusion, we find ourselves truly invested in the frippery of a given episode’s ostensible plot—Will Vision’s boss be impressed when he comes to dinner? Will their powers get revealed? Will they win the town’s talent contest? Etc.\u003c/p>\n\u003cp>There will be plenty of Marvel fans who’ll prove unwilling or unable to suspend their impatience long enough to get to what is sure to be an impressive fireworks factory, down around episodes eight or nine or so, probably. It’s a lot to ask of people who aren’t sufficiently interested in the sitcom as a genre to appreciate the series’ deep meditation on that most American of texts, and nod approvingly at, for example, its production design—at the way, in early episodes, Wanda and Vision’s home smashes together the \u003cem>Bewitched \u003c/em>living room and the \u003cem>Dick Van Dyke Show\u003c/em> kitchen.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But for others—perhaps most especially those who are given to bemoaning the MCU’s formulaic, predictable quality—\u003cem>WandaVision\u003c/em>‘s commitment to confounding expectations might offer something few franchises as hoary as this one ever do—a fresh, surprising way in.\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=%27WandaVision%27%3A+The+Next+Era+Of+The+MCU+Will+Be+Televised&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Promising Young Woman' and 'Pieces of a Woman' Examine Trauma and Revenge",
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"content": "\u003cp>If you didn’t know what they were about, you’d be forgiven for confusing the striking new movies \u003cem>Promising Young Woman\u003c/em> and \u003cem>Pieces of a Woman\u003c/em>. They do have similarities that go beyond their titles: Each is an intense but uneven film about the lingering effects of trauma and tragedy. And each one centers on an American woman played by an English actor doing her strongest work in some time.\u003c/p>\n\u003cp>In the devious revenge thriller \u003cem>Promising Young Woman\u003c/em>, the actor is Carey Mulligan, and we first see her character, Cassie, nearly passed out drunk in a nightclub. A nice-seeming young man offers to take her home, but instead brings her back to his place. Just as he starts to undress her, Cassie suddenly snaps to attention, fully awake and fully sober. There’s an ominous cut to black; we never find out what happens to the young man or the many others like him.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7i5kiFDunk8\u003c/p>\n\u003cp>This is what Cassie does almost every night, offering herself up as bait and turning the tables on would-be rapists. In her mind, she’s making the world a safer place for women, one predator at a time.\u003c/p>\n\u003cp>Her days are uneventful by comparison. At 30, she works in a coffee shop and still lives at home with her parents. Years ago, she was studying to be a doctor, but dropped out after something terrible happened to her best friend and classmate, Nina.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Promising Young Woman\u003c/em> is the first feature written and directed by the English filmmaker Emerald Fennell, who served as showrunner on the second season of \u003ca href=\"https://www.npr.org/2018/04/06/600104179/paterno-and-killing-eve-bring-complexity-and-intrigue-to-cable\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Killing Eve\u003c/em>\u003c/a>. She gives the movie a subversively candy-colored surface; watching it is like biting into a super-sweet cupcake with a surprisingly bitter aftertaste.\u003c/p>\n\u003cp>Initially it suggests a vigilante movie for the #MeToo era, as Cassie tries to settle the score with everyone, including the dean who turned a blind eye to Nina’s pain. But then it turns into a disquietingly charming romantic comedy, as Cassie—who has trained herself to see every nice guy as a potential threat—unexpectedly falls for a nice guy, played by the comedian and filmmaker \u003ca href=\"https://www.npr.org/2018/12/27/680356663/director-bo-burnham-on-growing-up-with-anxiety-and-an-audience\" target=\"_blank\" rel=\"noopener noreferrer\">Bo Burnham\u003c/a>.\u003c/p>\n\u003cp>These wild tonal shifts seem to echo Cassie’s own identity crisis: the trusting innocent she used to be and the self-destructive avenger she’s become. But as it barrels toward an ending that strives to be tragic, darkly funny and queasily nihilistic all at once, \u003cem>Promising\u003c/em> \u003cem>Young Woman \u003c/em>starts to feel at odds with itself, as if it were trying to make you cackle and weep at the same time. That it works at all is a credit to Mulligan’s skillful, shape-shifting performance. She gives this audacious but not fully realized movie an emotional coherence it wouldn’t have had otherwise.\u003c/p>\n\u003cp>Vanessa Kirby does something similar in \u003cem>Pieces of a Woman\u003c/em>: She’s ultimately more convincing than the movie itself. In this grim English-language drama from the Hungarian director Kornél Mundruczó and the screenwriter Kata Wéber, Kirby plays a Boston woman named Martha who’s about to have a child with her partner, Sean, played by Shia LaBeouf.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1zLKbMAZNGI\u003c/p>\n\u003cp>The two have planned on a home birth, which takes place in a brilliantly choreographed and excruciatingly tense sequence that plays out in real time for almost 25 minutes. I’ve never seen anything quite like this scene, in which Martha endures contraction after contraction, retching and groaning in pain while Sean and the midwife, played by a terrific Molly Parker, rush about trying to help. But their efforts end in tragedy, and the baby doesn’t survive.\u003c/p>\n\u003cp>The story unfolds over the next eight months. Martha’s mother, played by an astonishing\u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=6388248\" target=\"_blank\" rel=\"noopener noreferrer\"> Ellen Burstyn\u003c/a>, demands justice, urging them to sue the midwife. While Martha retreats into herself, Sean descends noisily into grief and rage. At one point, he becomes frighteningly aggressive in a hard-to-watch sex scene that couldn’t help but remind me that LaBeouf’s former girlfriend recently brought\u003ca href=\"https://www.npr.org/2020/12/11/945549607/fka-twigs-sues-shia-labeouf-accusing-him-of-domestic-abuse\" target=\"_blank\" rel=\"noopener noreferrer\"> abuse allegations \u003c/a>against him. It’s not the first time the actor has given a performance that seems to spring, in part, from his own personal demons.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Pieces of a Woman \u003c/em>doesn’t entirely work; it has its share of falsely contrived moments and heavy-handed symbolism. But Kirby’s quiet, implosive performance is breathtaking in its subtlety. You can see in Martha a quality that also defined Kirby’s young Princess Margaret on \u003cem>The Crown\u003c/em>: a steely refusal to conform to others’ expectations. Martha recoils when loved ones try to comfort her, and she’s reluctant to pursue the lawsuit; her grief exists beyond the reach of compensation or consolation. You don’t always know what she’s thinking from moment to moment, but you believe her completely.\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=%27Promising+Young+Woman%27+And+%27Pieces+Of+A+Woman%27+Examine+Trauma+And+Revenge&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you didn’t know what they were about, you’d be forgiven for confusing the striking new movies \u003cem>Promising Young Woman\u003c/em> and \u003cem>Pieces of a Woman\u003c/em>. They do have similarities that go beyond their titles: Each is an intense but uneven film about the lingering effects of trauma and tragedy. And each one centers on an American woman played by an English actor doing her strongest work in some time.\u003c/p>\n\u003cp>In the devious revenge thriller \u003cem>Promising Young Woman\u003c/em>, the actor is Carey Mulligan, and we first see her character, Cassie, nearly passed out drunk in a nightclub. A nice-seeming young man offers to take her home, but instead brings her back to his place. Just as he starts to undress her, Cassie suddenly snaps to attention, fully awake and fully sober. There’s an ominous cut to black; we never find out what happens to the young man or the many others like him.\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>This is what Cassie does almost every night, offering herself up as bait and turning the tables on would-be rapists. In her mind, she’s making the world a safer place for women, one predator at a time.\u003c/p>\n\u003cp>Her days are uneventful by comparison. At 30, she works in a coffee shop and still lives at home with her parents. Years ago, she was studying to be a doctor, but dropped out after something terrible happened to her best friend and classmate, Nina.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Promising Young Woman\u003c/em> is the first feature written and directed by the English filmmaker Emerald Fennell, who served as showrunner on the second season of \u003ca href=\"https://www.npr.org/2018/04/06/600104179/paterno-and-killing-eve-bring-complexity-and-intrigue-to-cable\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Killing Eve\u003c/em>\u003c/a>. She gives the movie a subversively candy-colored surface; watching it is like biting into a super-sweet cupcake with a surprisingly bitter aftertaste.\u003c/p>\n\u003cp>Initially it suggests a vigilante movie for the #MeToo era, as Cassie tries to settle the score with everyone, including the dean who turned a blind eye to Nina’s pain. But then it turns into a disquietingly charming romantic comedy, as Cassie—who has trained herself to see every nice guy as a potential threat—unexpectedly falls for a nice guy, played by the comedian and filmmaker \u003ca href=\"https://www.npr.org/2018/12/27/680356663/director-bo-burnham-on-growing-up-with-anxiety-and-an-audience\" target=\"_blank\" rel=\"noopener noreferrer\">Bo Burnham\u003c/a>.\u003c/p>\n\u003cp>These wild tonal shifts seem to echo Cassie’s own identity crisis: the trusting innocent she used to be and the self-destructive avenger she’s become. But as it barrels toward an ending that strives to be tragic, darkly funny and queasily nihilistic all at once, \u003cem>Promising\u003c/em> \u003cem>Young Woman \u003c/em>starts to feel at odds with itself, as if it were trying to make you cackle and weep at the same time. That it works at all is a credit to Mulligan’s skillful, shape-shifting performance. She gives this audacious but not fully realized movie an emotional coherence it wouldn’t have had otherwise.\u003c/p>\n\u003cp>Vanessa Kirby does something similar in \u003cem>Pieces of a Woman\u003c/em>: She’s ultimately more convincing than the movie itself. In this grim English-language drama from the Hungarian director Kornél Mundruczó and the screenwriter Kata Wéber, Kirby plays a Boston woman named Martha who’s about to have a child with her partner, Sean, played by Shia LaBeouf.\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/1zLKbMAZNGI'\n title='//www.youtube.com/embed/1zLKbMAZNGI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The two have planned on a home birth, which takes place in a brilliantly choreographed and excruciatingly tense sequence that plays out in real time for almost 25 minutes. I’ve never seen anything quite like this scene, in which Martha endures contraction after contraction, retching and groaning in pain while Sean and the midwife, played by a terrific Molly Parker, rush about trying to help. But their efforts end in tragedy, and the baby doesn’t survive.\u003c/p>\n\u003cp>The story unfolds over the next eight months. Martha’s mother, played by an astonishing\u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=6388248\" target=\"_blank\" rel=\"noopener noreferrer\"> Ellen Burstyn\u003c/a>, demands justice, urging them to sue the midwife. While Martha retreats into herself, Sean descends noisily into grief and rage. At one point, he becomes frighteningly aggressive in a hard-to-watch sex scene that couldn’t help but remind me that LaBeouf’s former girlfriend recently brought\u003ca href=\"https://www.npr.org/2020/12/11/945549607/fka-twigs-sues-shia-labeouf-accusing-him-of-domestic-abuse\" target=\"_blank\" rel=\"noopener noreferrer\"> abuse allegations \u003c/a>against him. It’s not the first time the actor has given a performance that seems to spring, in part, from his own personal demons.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Pieces of a Woman \u003c/em>doesn’t entirely work; it has its share of falsely contrived moments and heavy-handed symbolism. But Kirby’s quiet, implosive performance is breathtaking in its subtlety. You can see in Martha a quality that also defined Kirby’s young Princess Margaret on \u003cem>The Crown\u003c/em>: a steely refusal to conform to others’ expectations. Martha recoils when loved ones try to comfort her, and she’s reluctant to pursue the lawsuit; her grief exists beyond the reach of compensation or consolation. You don’t always know what she’s thinking from moment to moment, but you believe her completely.\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=%27Promising+Young+Woman%27+And+%27Pieces+Of+A+Woman%27+Examine+Trauma+And+Revenge&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! S.F. Latino Film Festival and ‘The Reason I Jump’",
"headTitle": "Now Playing! S.F. Latino Film Festival and ‘The Reason I Jump’ | KQED",
"content": "\u003cp>“You don’t know what you’ve got ‘til it’s gone,” Joni Mitchell warned us years ago. Alas, her rueful Zen koan emerged as the moviegoers’ mantra of 2020. So we continue to hone our home-viewing game until it’s safe to return to theaters. (April 1 at the earliest, I’m guessing, unless venues are allowed to reopen for those with proof of vaccination.)\u003c/p>\n\u003cp>If you haven’t already, then look beyond the well-combed playlists of the major streamers. Stop foraging for binge-worthy (or cringe-worthy) Euro-soaps and detective shows. Instead, watch a new movie via the local virtual cinemas (Roxie, Balboa/Vogue, Smith Rafael Film Center and BAMPFA) or video on demand. Don’t overlook the array of local film festivals, transported online and rife with revelations from around the world. The filmgoers’ mantra for 2021? Neil Young’s wry observation will do nicely for the first few months: “Motion pictures on my TV screen/A home away from home, livin’ in between.”\u003c/p>\n\u003cfigure id=\"attachment_13890979\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/whiteonwhite-1080x675_FilmImage.jpg\" alt=\"Still from 'Blanco en Blanco,' playing as part of the SF Latino Film Festival. \" width=\"800\" height=\"500\" class=\"size-full wp-image-13890979\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/whiteonwhite-1080x675_FilmImage.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/whiteonwhite-1080x675_FilmImage-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/whiteonwhite-1080x675_FilmImage-768x480.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Blanco en Blanco,’ playing as part of the SF Latino Film Festival. \u003ccite>(Dir. Théo Court)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>San Francisco Latino Film Festival\u003c/h2>\n\u003cp>\u003cstrong>Through Jan. 10\u003c/strong>\u003cbr>\n\u003ca href=\"https://cinemas.eventive.org/welcome\" rel=\"noopener noreferrer\" target=\"_blank\">Online\u003c/a>\u003c/p>\n\u003cp>The \u003ca href=\"https://cinemas.eventive.org/welcome\" rel=\"noopener noreferrer\" target=\"_blank\">S.F. Latino Film Festival\u003c/a> opened on Dec. 30, thus staking its claim to the first such event of 2021. A high-quality selection of recent narratives, documentaries and shorts from the southern tip of South America all the way up to Canada and beyond, the program is full of enticements.\u003c/p>\n\u003cp>I enjoyed Brazilian writer-director Déo Cardoso’s take-no-prisoners debut feature, \u003cem>Cabeça de Nêgo\u003c/em> (\u003cem>A Bruddah’s Mind\u003c/em>), a youth-in-revolt homage to the Black Panthers. A bookish Afro-Brazilian high school kid draws the line when another student calls him a monkey and the teacher punishes our ticked-off protagonist instead for mildly retaliating. Saulo initiates a one-man occupation, issuing a list of basic demands (current textbooks, no mice or roaches) and instigating a rally by his fellow students outside the school’s gates.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Saulo name-checks Angela Davis early in \u003cem>Cabeça de Nêgo\u003c/em>, but later confides that his favorite Panther is the charismatic Chicagoan Fred Hampton. It’s only after the movie’s tone darkens, as the authorities respond arrogantly, foolishly and violently to the student protest, that we grasp the full significance of Saulo’s identification. \u003c/p>\n\u003cp>\u003cem>Cabeca de Nêgo\u003c/em> effectively calls out (take a breath) racism, misogyny, militarism, the ruling class and the cooption of TV news, though the political commentary embedded organically in the storyline gives way in the last reel to overt polemics. Then again, the Black Panthers realized that subtlety wasn’t always conducive to social change. The revolution may not be televised, brothers and sisters, but it will be facilitated by cellphones.\u003c/p>\n\u003cp>\u003cem>Dear Homeland\u003c/em>, local filmmaker Claudia Escobar’s verité portrait of Bay Area singer-songwriter Diana Gameros, provides a welcome and poignant perspective on a less-discussed aspect of the immigration conundrum, namely the separation of undocumented Mexicans in the U.S. from their families.\u003c/p>\n\u003cp>Gameros attended a small Michigan college on a student visa, then continued her classes after her documents expired. She moved to San Francisco in the aughts, finding her voice and building a following in the Mission. Years went by, and she couldn’t return to her hometown of Juarez without the green card that would grant her reentry to the United States.\u003c/p>\n\u003cp>\u003cem>Dear Homeland\u003c/em>, which was produced by and will air on KQED later this year, is a unique profile of the artist as activist. (It’s appropriate that Joan Baez makes a brief appearance.) Although the documentary (which boasts a kicker climax) is choppy in places and held together by the quiet urgency of Gameros’ singing and the stark poetry of her lyrics, it is much more than a music film. Gameros embodies the responsibility of identity, the debt to family, the urge to create and thrive in the present and the influences of the past. Her gracefulness—and joy—as she navigates her path is quietly inspiring.\u003c/p>\n\u003cfigure id=\"attachment_13890980\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/ReasonIJump.jpg\" alt=\"A still from 'The Reason I Jump.'\" width=\"800\" height=\"450\" class=\"size-full wp-image-13890980\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/ReasonIJump.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/ReasonIJump-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/ReasonIJump-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘The Reason I Jump.’ \u003ccite>(Courtesy Kino Lorber)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The Reason I Jump’\u003c/h2>\n\u003cp>\u003cstrong>Opens Jan. 8\u003c/strong>\u003cbr>\nCinema SF (Vogue/Balboa), Roxie, Smith Rafael Film Center\u003c/p>\n\u003cp>Narrative and nonfiction directors have attempted to capture and convey the experience of every kind of physical and psychological experience, from blindness (\u003cem>The Miracle Worker\u003c/em>, \u003cem>Ray\u003c/em>) to deafness (\u003cem>In the Land of the Deaf\u003c/em>, \u003cem>Touch the Sound\u003c/em>) to paralysis (\u003cem>The Diving Bell and the Butterfly\u003c/em>) to mental illness (\u003cem>Fear Strikes Out\u003c/em>). The impulse in those movies, and their success, derives in no small measure from, as the late critic Roger Ebert put it, film’s special ability to function as a machine that generates empathy.\u003c/p>\n\u003cp>Jerry Rothwell’s remarkable documentary \u003cem>The Reason I Jump\u003c/em>, which won the Audience Award in the World Cinema Documentary sidebar at Sundance a year ago, does that and much more. It takes Naoki Higashida’s 2013 book, \u003cem>The Reason I Jump: The Inner Voice of a Thirteen-Year-Old Boy with Autism\u003c/em>, as its starting point and voiceover-narration thread. Impressionistic and sensation-alistic in its early stages, the film aspires to evoke autistic children’s impulsive reactions (to sensory stimulants like noise, light and color), their nonlinear sense of time and memory and their frustration at not being able to voice their feelings.\u003c/p>\n\u003cp>But the thing I learned, from the five children and their parents whom we meet in India, England, Virginia and Sierra Leone, is that neurotypicals (people with typical developmental, intellectual and cognitive abilities) \u003cem>can’t\u003c/em> perceive the world the way autistic people do. I can’t imagine, or identify with, their specific worlds. That said, I now see them with more humanity and, yes, empathy.\u003c/p>\n\u003cp>\u003cem>The Reason I Jump\u003c/em> includes a couple of what we could crassly call success stories, but it doesn’t peddle a Hollywood fantasy. At one point Amrit, an Indian girl who pours her vibrant inner world into colorful, geometrically clever drawings, receives a gallery show. But it’s not clear what she thinks of the whole production, and Rothwell allows the moment to pass without forcing an interpretation.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>One of the book’s English translators remarks, “The book felt like an envoy from another world whose cultures, whose rules, I didn’t understand.” By guiding us across that border, Rothwell’s film makes an enormous contribution. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“You don’t know what you’ve got ‘til it’s gone,” Joni Mitchell warned us years ago. Alas, her rueful Zen koan emerged as the moviegoers’ mantra of 2020. So we continue to hone our home-viewing game until it’s safe to return to theaters. (April 1 at the earliest, I’m guessing, unless venues are allowed to reopen for those with proof of vaccination.)\u003c/p>\n\u003cp>If you haven’t already, then look beyond the well-combed playlists of the major streamers. Stop foraging for binge-worthy (or cringe-worthy) Euro-soaps and detective shows. Instead, watch a new movie via the local virtual cinemas (Roxie, Balboa/Vogue, Smith Rafael Film Center and BAMPFA) or video on demand. Don’t overlook the array of local film festivals, transported online and rife with revelations from around the world. The filmgoers’ mantra for 2021? Neil Young’s wry observation will do nicely for the first few months: “Motion pictures on my TV screen/A home away from home, livin’ in between.”\u003c/p>\n\u003cfigure id=\"attachment_13890979\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/whiteonwhite-1080x675_FilmImage.jpg\" alt=\"Still from 'Blanco en Blanco,' playing as part of the SF Latino Film Festival. \" width=\"800\" height=\"500\" class=\"size-full wp-image-13890979\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/whiteonwhite-1080x675_FilmImage.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/whiteonwhite-1080x675_FilmImage-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/whiteonwhite-1080x675_FilmImage-768x480.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Blanco en Blanco,’ playing as part of the SF Latino Film Festival. \u003ccite>(Dir. Théo Court)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>San Francisco Latino Film Festival\u003c/h2>\n\u003cp>\u003cstrong>Through Jan. 10\u003c/strong>\u003cbr>\n\u003ca href=\"https://cinemas.eventive.org/welcome\" rel=\"noopener noreferrer\" target=\"_blank\">Online\u003c/a>\u003c/p>\n\u003cp>The \u003ca href=\"https://cinemas.eventive.org/welcome\" rel=\"noopener noreferrer\" target=\"_blank\">S.F. Latino Film Festival\u003c/a> opened on Dec. 30, thus staking its claim to the first such event of 2021. A high-quality selection of recent narratives, documentaries and shorts from the southern tip of South America all the way up to Canada and beyond, the program is full of enticements.\u003c/p>\n\u003cp>I enjoyed Brazilian writer-director Déo Cardoso’s take-no-prisoners debut feature, \u003cem>Cabeça de Nêgo\u003c/em> (\u003cem>A Bruddah’s Mind\u003c/em>), a youth-in-revolt homage to the Black Panthers. A bookish Afro-Brazilian high school kid draws the line when another student calls him a monkey and the teacher punishes our ticked-off protagonist instead for mildly retaliating. Saulo initiates a one-man occupation, issuing a list of basic demands (current textbooks, no mice or roaches) and instigating a rally by his fellow students outside the school’s gates.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Saulo name-checks Angela Davis early in \u003cem>Cabeça de Nêgo\u003c/em>, but later confides that his favorite Panther is the charismatic Chicagoan Fred Hampton. It’s only after the movie’s tone darkens, as the authorities respond arrogantly, foolishly and violently to the student protest, that we grasp the full significance of Saulo’s identification. \u003c/p>\n\u003cp>\u003cem>Cabeca de Nêgo\u003c/em> effectively calls out (take a breath) racism, misogyny, militarism, the ruling class and the cooption of TV news, though the political commentary embedded organically in the storyline gives way in the last reel to overt polemics. Then again, the Black Panthers realized that subtlety wasn’t always conducive to social change. The revolution may not be televised, brothers and sisters, but it will be facilitated by cellphones.\u003c/p>\n\u003cp>\u003cem>Dear Homeland\u003c/em>, local filmmaker Claudia Escobar’s verité portrait of Bay Area singer-songwriter Diana Gameros, provides a welcome and poignant perspective on a less-discussed aspect of the immigration conundrum, namely the separation of undocumented Mexicans in the U.S. from their families.\u003c/p>\n\u003cp>Gameros attended a small Michigan college on a student visa, then continued her classes after her documents expired. She moved to San Francisco in the aughts, finding her voice and building a following in the Mission. Years went by, and she couldn’t return to her hometown of Juarez without the green card that would grant her reentry to the United States.\u003c/p>\n\u003cp>\u003cem>Dear Homeland\u003c/em>, which was produced by and will air on KQED later this year, is a unique profile of the artist as activist. (It’s appropriate that Joan Baez makes a brief appearance.) Although the documentary (which boasts a kicker climax) is choppy in places and held together by the quiet urgency of Gameros’ singing and the stark poetry of her lyrics, it is much more than a music film. Gameros embodies the responsibility of identity, the debt to family, the urge to create and thrive in the present and the influences of the past. Her gracefulness—and joy—as she navigates her path is quietly inspiring.\u003c/p>\n\u003cfigure id=\"attachment_13890980\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/ReasonIJump.jpg\" alt=\"A still from 'The Reason I Jump.'\" width=\"800\" height=\"450\" class=\"size-full wp-image-13890980\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/ReasonIJump.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/ReasonIJump-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/ReasonIJump-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘The Reason I Jump.’ \u003ccite>(Courtesy Kino Lorber)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The Reason I Jump’\u003c/h2>\n\u003cp>\u003cstrong>Opens Jan. 8\u003c/strong>\u003cbr>\nCinema SF (Vogue/Balboa), Roxie, Smith Rafael Film Center\u003c/p>\n\u003cp>Narrative and nonfiction directors have attempted to capture and convey the experience of every kind of physical and psychological experience, from blindness (\u003cem>The Miracle Worker\u003c/em>, \u003cem>Ray\u003c/em>) to deafness (\u003cem>In the Land of the Deaf\u003c/em>, \u003cem>Touch the Sound\u003c/em>) to paralysis (\u003cem>The Diving Bell and the Butterfly\u003c/em>) to mental illness (\u003cem>Fear Strikes Out\u003c/em>). The impulse in those movies, and their success, derives in no small measure from, as the late critic Roger Ebert put it, film’s special ability to function as a machine that generates empathy.\u003c/p>\n\u003cp>Jerry Rothwell’s remarkable documentary \u003cem>The Reason I Jump\u003c/em>, which won the Audience Award in the World Cinema Documentary sidebar at Sundance a year ago, does that and much more. It takes Naoki Higashida’s 2013 book, \u003cem>The Reason I Jump: The Inner Voice of a Thirteen-Year-Old Boy with Autism\u003c/em>, as its starting point and voiceover-narration thread. Impressionistic and sensation-alistic in its early stages, the film aspires to evoke autistic children’s impulsive reactions (to sensory stimulants like noise, light and color), their nonlinear sense of time and memory and their frustration at not being able to voice their feelings.\u003c/p>\n\u003cp>But the thing I learned, from the five children and their parents whom we meet in India, England, Virginia and Sierra Leone, is that neurotypicals (people with typical developmental, intellectual and cognitive abilities) \u003cem>can’t\u003c/em> perceive the world the way autistic people do. I can’t imagine, or identify with, their specific worlds. That said, I now see them with more humanity and, yes, empathy.\u003c/p>\n\u003cp>\u003cem>The Reason I Jump\u003c/em> includes a couple of what we could crassly call success stories, but it doesn’t peddle a Hollywood fantasy. At one point Amrit, an Indian girl who pours her vibrant inner world into colorful, geometrically clever drawings, receives a gallery show. But it’s not clear what she thinks of the whole production, and Rothwell allows the moment to pass without forcing an interpretation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One of the book’s English translators remarks, “The book felt like an envoy from another world whose cultures, whose rules, I didn’t understand.” By guiding us across that border, Rothwell’s film makes an enormous contribution. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "SF Approves In-Person Sundance Festival Screenings at Fort Mason Center",
"headTitle": "SF Approves In-Person Sundance Festival Screenings at Fort Mason Center | KQED",
"content": "\u003cp>San Francisco city officials will allow drive-in screenings for the \u003ca href=\"https://festival.sundance.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Sundance Film Festival\u003c/a> to go ahead at the end of the month, giving Bay Area movie buffs the opportunity to see the films in-person during the pandemic.\u003c/p>\n\u003cp>A statement sent to KQED from the city’s COVID information team said the decision to permit the festival’s drive-in movie screenings at the \u003ca href=\"https://fortmason.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Fort Mason Center for Arts and Culture\u003c/a> is in accordance with statewide guidelines.\u003c/p>\n\u003cp>“Under California’s regional stay-at-home order, drive-in theaters are permitted to operate,” the statement said. “In line with the city’s allowance of industry operation to the level at which the state permits, San Francisco has worked with the Fort Mason Center for Arts and Culture to carefully examine operating conditions that reduce the risk of drive-in theaters as much as possible. The Fort Mason Center has been a close partner in ensuring that their operations are aligned with the current state of public health conditions in San Francisco and we will continue to work together on these issues.”\u003c/p>\n\u003cp>A follow-up email from the city said drive-ins are currently the only non-essential businesses not currently open in San Francisco that are allowed to be open under state guidelines. “The state does not currently allow San Francisco to consider opening any other closed uses,” the email said.\u003c/p>\n\u003cp>Despite the widespread stay-at-home orders across the Bay Area that forced many non-essential businesses to close down again late last year, drive-ins are currently operating in other parts of the Bay Area, such as the \u003ca href=\"https://www.westwinddi.com/\" target=\"_blank\" rel=\"noopener noreferrer\">West Wind Capitol Drive-In\u003c/a> in San Jose and the \u003ca href=\"https://www.alamedatheatres.com/drivein/\" target=\"_blank\" rel=\"noopener noreferrer\">Alameda Theatre & Cineplex\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Fort Mason Center and its presenting partner the \u003ca href=\"https://www.roxie.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Roxie Theater\u003c/a> will be required to limit cars to a single household and won’t be permitted to sell concessions. Filmgoers must remain in their vehicles unless using the restrooms.\u003c/p>\n\u003cp>“While the Roxie’s doors have been closed for nearly 10 months, we’ve been active this entire time, trying our best to still present great movies and stay connected to a community that’s so dear to us,” said Lex Sloan, the Roxie’s executive director.\u003c/p>\n\u003cp>“These Sundance Festival drive-in screenings at Fort Mason are a chance for us to get a little closer to bringing the theatrical experience we’ve missed so much back to San Francisco,” said Roxie operations manager Kelly Wiggin.\u003c/p>\n\u003cp>Along with its online programming, Sundance selected the Roxie as one of roughly 30 partner film presenters around the country. The historic indie theater is the only Northern California presenter; the state’s other two are in the Los Angeles area.\u003c/p>\n\u003cp>It’s the first time in the festival’s history moviegoers will get to experience Sundance’s entire program without having to trek out to Utah.\u003c/p>\n\u003cp>Moviegoers can see films from an array of Bay Area filmmakers at this year’s festival. Locally-produced highlights include Natalia Almada’s documentary \u003ca href=\"https://www.documentary.org/project/users\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Users\u003c/em>\u003c/a> about the dehumanizing consequences of technological advances, and a pair of documentaries focused on Bay Area public schools: Debbie Lum’s \u003ca href=\"https://tryharderfilm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Try Harder\u003c/em>\u003c/a>, featuring students from San Francisco’s Lowell High School; and Peter Nicks’ \u003ca href=\"http://openhood.org/homeroom/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Homeroom\u003c/em>\u003c/a>, set in Oakland High School. (\u003cem>Homeroom\u003c/em> is only available online; it will not be screened at Fort Mason.)\u003c/p>\n\u003cp>“To have our local story about a San Francisco institution, Lowell High School, be at Sundance is so exciting to begin with,” said \u003cem>Try Harder\u003c/em> director Lum. “This year, we can have a premiere simultaneously in the exclusive venue of Park City and in San Francisco, so that the community at the center of the story can actually attend Sundance.”\u003c/p>\n\u003cp>“For us it was a difficult decision to apply to Sundance knowing COVID would be a factor because the film is really intended for a theater,” said \u003cem>Users\u003c/em> director Almada. “But when we thought about it more deeply, it felt really important to keep making our work as a reflection and a response to the time in which we are living. Waiting for this to all pass didn’t feel right. The silver lining of not being able to go to Sundance is the possibility of having Sundance come to us.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The 2021 Sundance Film Festival runs Jan. 28 through Feb. 3. Full San Francisco Sundance lineup and tickets \u003ca href=\"https://www.roxie.com/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\n",
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"excerpt": "Local audiences can steam the festival online or view it in-person at Fort Mason’s drive-in theater.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco city officials will allow drive-in screenings for the \u003ca href=\"https://festival.sundance.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Sundance Film Festival\u003c/a> to go ahead at the end of the month, giving Bay Area movie buffs the opportunity to see the films in-person during the pandemic.\u003c/p>\n\u003cp>A statement sent to KQED from the city’s COVID information team said the decision to permit the festival’s drive-in movie screenings at the \u003ca href=\"https://fortmason.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Fort Mason Center for Arts and Culture\u003c/a> is in accordance with statewide guidelines.\u003c/p>\n\u003cp>“Under California’s regional stay-at-home order, drive-in theaters are permitted to operate,” the statement said. “In line with the city’s allowance of industry operation to the level at which the state permits, San Francisco has worked with the Fort Mason Center for Arts and Culture to carefully examine operating conditions that reduce the risk of drive-in theaters as much as possible. The Fort Mason Center has been a close partner in ensuring that their operations are aligned with the current state of public health conditions in San Francisco and we will continue to work together on these issues.”\u003c/p>\n\u003cp>A follow-up email from the city said drive-ins are currently the only non-essential businesses not currently open in San Francisco that are allowed to be open under state guidelines. “The state does not currently allow San Francisco to consider opening any other closed uses,” the email said.\u003c/p>\n\u003cp>Despite the widespread stay-at-home orders across the Bay Area that forced many non-essential businesses to close down again late last year, drive-ins are currently operating in other parts of the Bay Area, such as the \u003ca href=\"https://www.westwinddi.com/\" target=\"_blank\" rel=\"noopener noreferrer\">West Wind Capitol Drive-In\u003c/a> in San Jose and the \u003ca href=\"https://www.alamedatheatres.com/drivein/\" target=\"_blank\" rel=\"noopener noreferrer\">Alameda Theatre & Cineplex\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Fort Mason Center and its presenting partner the \u003ca href=\"https://www.roxie.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Roxie Theater\u003c/a> will be required to limit cars to a single household and won’t be permitted to sell concessions. Filmgoers must remain in their vehicles unless using the restrooms.\u003c/p>\n\u003cp>“While the Roxie’s doors have been closed for nearly 10 months, we’ve been active this entire time, trying our best to still present great movies and stay connected to a community that’s so dear to us,” said Lex Sloan, the Roxie’s executive director.\u003c/p>\n\u003cp>“These Sundance Festival drive-in screenings at Fort Mason are a chance for us to get a little closer to bringing the theatrical experience we’ve missed so much back to San Francisco,” said Roxie operations manager Kelly Wiggin.\u003c/p>\n\u003cp>Along with its online programming, Sundance selected the Roxie as one of roughly 30 partner film presenters around the country. The historic indie theater is the only Northern California presenter; the state’s other two are in the Los Angeles area.\u003c/p>\n\u003cp>It’s the first time in the festival’s history moviegoers will get to experience Sundance’s entire program without having to trek out to Utah.\u003c/p>\n\u003cp>Moviegoers can see films from an array of Bay Area filmmakers at this year’s festival. Locally-produced highlights include Natalia Almada’s documentary \u003ca href=\"https://www.documentary.org/project/users\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Users\u003c/em>\u003c/a> about the dehumanizing consequences of technological advances, and a pair of documentaries focused on Bay Area public schools: Debbie Lum’s \u003ca href=\"https://tryharderfilm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Try Harder\u003c/em>\u003c/a>, featuring students from San Francisco’s Lowell High School; and Peter Nicks’ \u003ca href=\"http://openhood.org/homeroom/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Homeroom\u003c/em>\u003c/a>, set in Oakland High School. (\u003cem>Homeroom\u003c/em> is only available online; it will not be screened at Fort Mason.)\u003c/p>\n\u003cp>“To have our local story about a San Francisco institution, Lowell High School, be at Sundance is so exciting to begin with,” said \u003cem>Try Harder\u003c/em> director Lum. “This year, we can have a premiere simultaneously in the exclusive venue of Park City and in San Francisco, so that the community at the center of the story can actually attend Sundance.”\u003c/p>\n\u003cp>“For us it was a difficult decision to apply to Sundance knowing COVID would be a factor because the film is really intended for a theater,” said \u003cem>Users\u003c/em> director Almada. “But when we thought about it more deeply, it felt really important to keep making our work as a reflection and a response to the time in which we are living. Waiting for this to all pass didn’t feel right. The silver lining of not being able to go to Sundance is the possibility of having Sundance come to us.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The 2021 Sundance Film Festival runs Jan. 28 through Feb. 3. Full San Francisco Sundance lineup and tickets \u003ca href=\"https://www.roxie.com/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The annual Christmas Day escape to the multiplex may not be an option, but that doesn’t mean you’re condemned to a Groundhog Day marathon of \u003cem>It’s a Wonderful Life\u003c/em>, \u003cem>Elf\u003c/em> and \u003cem>A Christmas Story\u003c/em>. My pick for an all-day loop is the Alameda-set \u003cem>\u003ca href=\"https://youtu.be/Ru5H3LHiU1M\" rel=\"noopener noreferrer\" target=\"_blank\">Waltz of the Snowflakes\u003c/a>\u003c/em>, a bravura collaboration between choreographer and Post:ballet artistic director Robert Dekkers, cinematographer Ben Tarquin and Post:ballet and Berkeley Ballet Theater Studio Company dance artists.\u003c/p>\n\u003cp>Another Hole in the Head Film Festival offers a weirder Dec. 25 diversion, with San Francisco Art Institute alumnus Christopher Coppola introducing his 1986 short film \u003cem>Palmer’s Pick-up\u003c/em> and his expanded 1999 feature of the same name. The streaming \u003ca href=\"https://www.ahith.com/events/sfai-benefit-palmers-pick-up-an-american-roadshow-odyssey-retrospective-with-christopher-coppola-live-intro-and-q-a\" rel=\"noopener noreferrer\" target=\"_blank\">screening\u003c/a> benefits a student scholarship fund and, adding to the cheer, Coppola joins actors Robert Carradine, Patrick Kilpatrick and Charles Fleischer for a (just guessing) nog-fueled conversation.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Soul\u003c/strong>\u003c/em>\u003cbr>\nPremieres Dec. 25\u003cbr>\nDisney Plus\u003c/p>\n\u003cp>The creative excitement in American movies these days is found in animated films. (Don’t call them cartoons). By that high standard, Pixar hews closest to the sensibility of Disney’s most happily deranged and musically inspired outlier, \u003cem>Fantasia\u003c/em>. Like that dizzy romp, \u003cem>Soul\u003c/em> is aimed at tripping hipsters along with wide-eyed children.\u003c/p>\n\u003cp>The East Bay studio’s latest beautifully rendered, mind-expanding effort was slated to open in June in theaters, but its holiday home-landing is a fine fit with its life-affirming themes. Joe (voiced by Jamie Foxx), a middle-aged Black music teacher in a New York public school, senses the window closing on his jazz dream until he catches a career break. When the rug—er, manhole cover—is yanked out from under him, he’s hurled into an alternate universe and launched on a frenetic quest to get back, Joe, where he once belonged.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Sorry, the Beatles don’t reunite in \u003cem>Soul\u003c/em>, although Dylan’s \u003cem>Subterranean Homesick Blues\u003c/em> does make a cameo appearance on the soundtrack. Joe’s fate is tethered to that of a young soul (the ubiquitous Tina Fey) who’s pathologically reluctant to come to Earth. Eventually (spoiler alert) she chooses life, setting the stage for a sunny September day in 2021 when the Castro pairs \u003cem>Soul\u003c/em> on a double bill with \u003cem>Trainspotting\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13890772\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Polak_Ikarie-XB-1_001-1.jpg\" alt=\"\" width=\"1600\" height=\"900\" class=\"size-full wp-image-13890772\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Polak_Ikarie-XB-1_001-1.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Polak_Ikarie-XB-1_001-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Polak_Ikarie-XB-1_001-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Polak_Ikarie-XB-1_001-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Polak_Ikarie-XB-1_001-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Polak_Ikarie-XB-1_001-1-1536x864.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Ikarie XB-1,’ 1963. \u003ccite>(Courtesy BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Ikarie XB-1\u003c/strong>\u003c/em>\u003cbr>\nNow streaming\u003cbr>\n\u003ca href=\"https://bampfa.org/event/ikarie-xb-1\" rel=\"noopener noreferrer\" target=\"_blank\">BAMPFA\u003c/a>\u003c/p>\n\u003cp>“The Earth is gone!” screams a panic-stricken traveler. And then he shrieks, “The Earth never existed!” Czech director Jindrich Polák launches his first-rate black-and-white 1963 space trek with a crescendo of high drama that cleverly serves as both foreshadowing and misdirection. While home exerts a pull on many of the 40 people on the 22nd-century “space town” Ikarie XB-1, the society forged aboard the ship has its own magnetic draw. And although the outburst is disturbing, it’s an anomaly in this sober yet tactile drama, which was beautifully restored in 2016.\u003c/p>\n\u003cp>The famed Polish author Stanislaw Lem wrote the source novel, and he also wrote \u003cem>Solaris\u003c/em>, which Andrei Tarkovsky brilliantly filmed in 1968. The movies share a fascination with responses to extended separation, but prolonged proximity provides an equally daunting challenge in \u003cem>Ikarie XB-1\u003c/em>. (A clumsily edited and dubbed version was released under the title \u003cem>Voyage to the End of the Universe\u003c/em>.)\u003c/p>\n\u003cp>The minimalist yet sophisticated production design, along with Polák’s emphasis on interpersonal dynamics (encompassing friendship, romance and scientific dispassion) over admittedly intriguing technology, prevents \u003cem>Ikarie XB-1\u003c/em> from feeling campy or dated. If a ’60s idealism permeates the proceedings, it’s grounded in a recognition of the limitations, as well as the aspirations, of human beings. And, importantly, in an abiding acknowledgement of our shared fate on this fragile planet—which puts \u003cem>Ikarie XB-1\u003c/em> on course for family holiday viewing. \u003c/p>\n\u003cfigure id=\"attachment_13890774\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/TheDissident_Still_R5_05112817_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13890774\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/TheDissident_Still_R5_05112817_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/TheDissident_Still_R5_05112817_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/TheDissident_Still_R5_05112817_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/TheDissident_Still_R5_05112817_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/TheDissident_Still_R5_05112817_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Dissident,’ 2020. \u003ccite>(Courtesy Briarcliff Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>The Dissident\u003c/strong>\u003c/em>\u003cbr>\nOpens Dec. 25 in theaters and Jan. 8 on demand\u003c/p>\n\u003cp>Bryan Fogel’s globe-hopping investigation of the 2018 disappearance of Jamal Khashoggi, a longtime Saudi Arabian insider who fled to the West and became an analyst and writer for the \u003cem>Washington Post\u003c/em> (among other outlets), does not fit with my carefully constructed thread of life-affirming, holiday-appropriate movies. So maybe it’s just as well that it’s not playing at a theater near the Bay Area, and you’ll have to wait a few weeks to catch it at home.\u003c/p>\n\u003cp>Everyone knows the rough outline of the case, which is that Khashoggi kept an appointment at the Saudi embassy in Ankara, Turkey (to pick up a document he needed in order to remarry) and was ambushed and killed in the building. The Saudis denied it (although their story changed a few times), most of the world expressed shock and disgust and the occupant of the White House looked the other way.\u003c/p>\n\u003cp>\u003cem>The Dissident\u003c/em> supplies additional, gruesome details of Khashoggi’s demise, thanks to the surprising (to me, at least) testimony of knowledgeable Turkish officials. At the same time, it places his death in the context of Crown Prince Mohammed bin Salman’s crackdown on protestors and freedom fighters at home and abroad. Omar Abdulaziz, a Saudi activist living in Canada who the film develops into a primary character, revises the public perception of Khashoggi as a journalist: He asserts that by cooperating with Abdulaziz’s social media campaign to advance reform ideas among Saudi Arabia’s youth, Khashoggi became (in MBS’s eyes) an enemy of the state.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Fogel turns the absurdly suspenseful soundtrack up to nine, an unsubtle choice that threatens to turn every elevator ride and conference panel into a Tom Clancy scene. Tune it out, or down, and the shocking hubris and brutality of the murder of Jamal Khashoggi still comes through piercingly. As we embark on a new year, with a new administration, let’s agree to reengage with the world on a higher moral plane.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The annual Christmas Day escape to the multiplex may not be an option, but that doesn’t mean you’re condemned to a Groundhog Day marathon of \u003cem>It’s a Wonderful Life\u003c/em>, \u003cem>Elf\u003c/em> and \u003cem>A Christmas Story\u003c/em>. My pick for an all-day loop is the Alameda-set \u003cem>\u003ca href=\"https://youtu.be/Ru5H3LHiU1M\" rel=\"noopener noreferrer\" target=\"_blank\">Waltz of the Snowflakes\u003c/a>\u003c/em>, a bravura collaboration between choreographer and Post:ballet artistic director Robert Dekkers, cinematographer Ben Tarquin and Post:ballet and Berkeley Ballet Theater Studio Company dance artists.\u003c/p>\n\u003cp>Another Hole in the Head Film Festival offers a weirder Dec. 25 diversion, with San Francisco Art Institute alumnus Christopher Coppola introducing his 1986 short film \u003cem>Palmer’s Pick-up\u003c/em> and his expanded 1999 feature of the same name. The streaming \u003ca href=\"https://www.ahith.com/events/sfai-benefit-palmers-pick-up-an-american-roadshow-odyssey-retrospective-with-christopher-coppola-live-intro-and-q-a\" rel=\"noopener noreferrer\" target=\"_blank\">screening\u003c/a> benefits a student scholarship fund and, adding to the cheer, Coppola joins actors Robert Carradine, Patrick Kilpatrick and Charles Fleischer for a (just guessing) nog-fueled conversation.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Soul\u003c/strong>\u003c/em>\u003cbr>\nPremieres Dec. 25\u003cbr>\nDisney Plus\u003c/p>\n\u003cp>The creative excitement in American movies these days is found in animated films. (Don’t call them cartoons). By that high standard, Pixar hews closest to the sensibility of Disney’s most happily deranged and musically inspired outlier, \u003cem>Fantasia\u003c/em>. Like that dizzy romp, \u003cem>Soul\u003c/em> is aimed at tripping hipsters along with wide-eyed children.\u003c/p>\n\u003cp>The East Bay studio’s latest beautifully rendered, mind-expanding effort was slated to open in June in theaters, but its holiday home-landing is a fine fit with its life-affirming themes. Joe (voiced by Jamie Foxx), a middle-aged Black music teacher in a New York public school, senses the window closing on his jazz dream until he catches a career break. When the rug—er, manhole cover—is yanked out from under him, he’s hurled into an alternate universe and launched on a frenetic quest to get back, Joe, where he once belonged.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sorry, the Beatles don’t reunite in \u003cem>Soul\u003c/em>, although Dylan’s \u003cem>Subterranean Homesick Blues\u003c/em> does make a cameo appearance on the soundtrack. Joe’s fate is tethered to that of a young soul (the ubiquitous Tina Fey) who’s pathologically reluctant to come to Earth. Eventually (spoiler alert) she chooses life, setting the stage for a sunny September day in 2021 when the Castro pairs \u003cem>Soul\u003c/em> on a double bill with \u003cem>Trainspotting\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13890772\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Polak_Ikarie-XB-1_001-1.jpg\" alt=\"\" width=\"1600\" height=\"900\" class=\"size-full wp-image-13890772\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Polak_Ikarie-XB-1_001-1.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Polak_Ikarie-XB-1_001-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Polak_Ikarie-XB-1_001-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Polak_Ikarie-XB-1_001-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Polak_Ikarie-XB-1_001-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Polak_Ikarie-XB-1_001-1-1536x864.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Ikarie XB-1,’ 1963. \u003ccite>(Courtesy BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Ikarie XB-1\u003c/strong>\u003c/em>\u003cbr>\nNow streaming\u003cbr>\n\u003ca href=\"https://bampfa.org/event/ikarie-xb-1\" rel=\"noopener noreferrer\" target=\"_blank\">BAMPFA\u003c/a>\u003c/p>\n\u003cp>“The Earth is gone!” screams a panic-stricken traveler. And then he shrieks, “The Earth never existed!” Czech director Jindrich Polák launches his first-rate black-and-white 1963 space trek with a crescendo of high drama that cleverly serves as both foreshadowing and misdirection. While home exerts a pull on many of the 40 people on the 22nd-century “space town” Ikarie XB-1, the society forged aboard the ship has its own magnetic draw. And although the outburst is disturbing, it’s an anomaly in this sober yet tactile drama, which was beautifully restored in 2016.\u003c/p>\n\u003cp>The famed Polish author Stanislaw Lem wrote the source novel, and he also wrote \u003cem>Solaris\u003c/em>, which Andrei Tarkovsky brilliantly filmed in 1968. The movies share a fascination with responses to extended separation, but prolonged proximity provides an equally daunting challenge in \u003cem>Ikarie XB-1\u003c/em>. (A clumsily edited and dubbed version was released under the title \u003cem>Voyage to the End of the Universe\u003c/em>.)\u003c/p>\n\u003cp>The minimalist yet sophisticated production design, along with Polák’s emphasis on interpersonal dynamics (encompassing friendship, romance and scientific dispassion) over admittedly intriguing technology, prevents \u003cem>Ikarie XB-1\u003c/em> from feeling campy or dated. If a ’60s idealism permeates the proceedings, it’s grounded in a recognition of the limitations, as well as the aspirations, of human beings. And, importantly, in an abiding acknowledgement of our shared fate on this fragile planet—which puts \u003cem>Ikarie XB-1\u003c/em> on course for family holiday viewing. \u003c/p>\n\u003cfigure id=\"attachment_13890774\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/TheDissident_Still_R5_05112817_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13890774\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/TheDissident_Still_R5_05112817_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/TheDissident_Still_R5_05112817_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/TheDissident_Still_R5_05112817_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/TheDissident_Still_R5_05112817_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/TheDissident_Still_R5_05112817_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Dissident,’ 2020. \u003ccite>(Courtesy Briarcliff Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>The Dissident\u003c/strong>\u003c/em>\u003cbr>\nOpens Dec. 25 in theaters and Jan. 8 on demand\u003c/p>\n\u003cp>Bryan Fogel’s globe-hopping investigation of the 2018 disappearance of Jamal Khashoggi, a longtime Saudi Arabian insider who fled to the West and became an analyst and writer for the \u003cem>Washington Post\u003c/em> (among other outlets), does not fit with my carefully constructed thread of life-affirming, holiday-appropriate movies. So maybe it’s just as well that it’s not playing at a theater near the Bay Area, and you’ll have to wait a few weeks to catch it at home.\u003c/p>\n\u003cp>Everyone knows the rough outline of the case, which is that Khashoggi kept an appointment at the Saudi embassy in Ankara, Turkey (to pick up a document he needed in order to remarry) and was ambushed and killed in the building. The Saudis denied it (although their story changed a few times), most of the world expressed shock and disgust and the occupant of the White House looked the other way.\u003c/p>\n\u003cp>\u003cem>The Dissident\u003c/em> supplies additional, gruesome details of Khashoggi’s demise, thanks to the surprising (to me, at least) testimony of knowledgeable Turkish officials. At the same time, it places his death in the context of Crown Prince Mohammed bin Salman’s crackdown on protestors and freedom fighters at home and abroad. Omar Abdulaziz, a Saudi activist living in Canada who the film develops into a primary character, revises the public perception of Khashoggi as a journalist: He asserts that by cooperating with Abdulaziz’s social media campaign to advance reform ideas among Saudi Arabia’s youth, Khashoggi became (in MBS’s eyes) an enemy of the state.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Fogel turns the absurdly suspenseful soundtrack up to nine, an unsubtle choice that threatens to turn every elevator ride and conference panel into a Tom Clancy scene. Tune it out, or down, and the shocking hubris and brutality of the murder of Jamal Khashoggi still comes through piercingly. As we embark on a new year, with a new administration, let’s agree to reengage with the world on a higher moral plane.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Successful, Sentimental and Satirized, 'Love Story' Celebrates 50th Anniversary",
"headTitle": "Successful, Sentimental and Satirized, ‘Love Story’ Celebrates 50th Anniversary | KQED",
"content": "\u003cp>Fifty years ago, a simple but tragic love story became a global sensation that stunned the entertainment industry. \u003cem>Love Story\u003c/em>, the romantic tearjerker starring Ryan O’Neal and Ali MacGraw, broke box office records and the book it was based on was a bestseller that was translated into more than 30 languages.\u003c/p>\n\u003cp>“What can you say about a 25-year-old girl who dies?” So begins the novel and screenplay, both written by Erich Segal.\u003c/p>\n\u003cp>In December, 1970, in the midst of the Vietnam War and the continuing fight for Civil Rights—along came an “unabashedly sentimental” story “about the power of love,” says Segal’s daughter, writer Francesca Segal. It was “genuine and earnest and I think it just struck a chord,” she says. The \u003ca href=\"https://www.harpercollins.com/products/love-story-50th-anniversary-edition-erich-segal?variant=32128735903778\" target=\"_blank\" rel=\"noopener noreferrer\">50th anniversary edition of the novel\u003c/a> \u003cem>Love Story\u003c/em> includes an introduction by Francesca.\u003c/p>\n\u003cp>Erich Segal was 30 years old and a professor at Yale when he wrote the 131-page \u003cem>Love Story.\u003c/em> The idea came when he learned that one of his former students was just 25 when he lost his wife to cancer. Oliver Barrett IV, played by Ryan O’Neal in the movie, is a sensitive, rich kid and a Harvard hockey player. The \u003ca href=\"https://www.washingtonpost.com/news/reliable-source/wp/2013/10/10/al-gore-vs-terry-lenzner-who-was-the-real-oliver-of-love-story/\" target=\"_blank\" rel=\"noopener noreferrer\">inspiration\u003c/a> for Oliver has been the source of intrigue and even controversy. Segal said Oliver was partly modeled after Al Gore, but mostly after Tommy Lee Jones (who also has a part in the movie). Segal got to know both men when they were all students at Harvard together. Some years later, Segal said he modeled Oliver after Watergate investigator \u003ca href=\"https://www.nytimes.com/2020/04/29/us/politics/terry-lenzner-dead.html\" target=\"_blank\" rel=\"noopener noreferrer\">Terry Lenzner\u003c/a>.\u003c/p>\n\u003cp>Jenny, played by MacGraw, is a sassy, working-class baker’s daughter who goes to Radcliffe and works in the library. In 1970, \u003ca href=\"https://www.nytimes.com/1997/12/14/us/author-of-love-story-disputes-a-gore-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">Segal told \u003cem>The New York Times\u003c/em>\u003c/a> Jenny was modeled after a woman he dated while he was a student at Harvard.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Ollie, you’re a preppie millionaire, and I’m a social zero,” Jenny teases.\u003c/p>\n\u003cp>They were gorgeous to look at as they frolic in the snow, argue, fall deeply in love and marry, despite the disapproval of Oliver’s father. Just as they start a new life together, Jenny learns she has a fatal blood disease and dies. (Only in the book is the disease identified as leukemia.)\u003c/p>\n\u003cp>“It was cliché, but it worked,” says Ali MacGraw. “And everybody was completely flabbergasted when it had the reception that it had, which was right away,” she remembers.\u003c/p>\n\u003cp>People flocked to see \u003cem>Love Story\u003c/em> when it was released widely on Christmas Day, with numerous accounts of people waiting in long lines at the box office. Movie attendance had been down in 1970. \u003cem>The Los Angeles Times \u003c/em>called \u003cem>Love Story\u003c/em> a “phenomenon” that was a “boon” to the “embattled” studio Paramount and “evidence people … still want to go to the movies in vast numbers.” The film, directed by Arthur Hiller, was nominated for seven Oscars, winning one for Francis Lai’s original score. It won five Golden Globes, including Best Drama and Best Actress and Actor for MacGraw and O’Neal respectively. \u003ca href=\"http://www.glamamor.com/2010/10/inspiration-ali-macgraw-in-love-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">MacGraw\u003c/a> quickly became a fashion icon.\u003c/p>\n\u003cp>Bestselling romance writer \u003ca href=\"https://susanelizabethphillips.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Susan Elizabeth Phillips\u003c/a> says just about everyone she knew saw the movie after first reading the book.\u003c/p>\n\u003cp>Phillips, who was in her early 20s when the book and movie came out, also recalls the sobs. “\u003cem>Love Story\u003c/em> was an ugly cry,” she says.\u003c/p>\n\u003cp>“I remember when I read it, of course dissolving in tears,” says Phillips. “I read it to my boyfriend at the time, read it out loud to him, sobbing through the whole thing. We’ve now been married for 50 years.” Phillips says her husband doesn’t remember any of this. “So that’s a blessing,” she jokes.\u003c/p>\n\u003cp>As for \u003cem>Love Story’s\u003c/em> very famous, oft-ridiculed line, “Love means never having to say you’re sorry,” even MacGraw says she didn’t know what it meant at the time. But now, years later, she finds truth in it: “Saying sorry isn’t what it’s about. It’s about really feeling badly for the hurt … and then absolutely trying never to do it again. So there’s a lot of work more than, ‘Gee, I’m sorry,’ and then scooting outside to get on your bike and ride into the fall leaves or whatever.”\u003c/p>\n\u003cp>Still, MacGraw wishes she’d asked about the meaning 50 years ago during filming: “It’s an insane line. But I said it. And I live with it!”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=P-4jKZ3X1zQ&feature=emb_logo\u003c/p>\n\u003cp>MacGraw also lives with the many parodies \u003cem>Love Story\u003c/em> inspired. Her personal favorite is by \u003ca href=\"https://www.youtube.com/watch?v=oJCO3hh7bAg&list=RDoJCO3hh7bAg&start_radio=1&t=270\" target=\"_blank\" rel=\"noopener noreferrer\">Carol Burnett\u003c/a> and Harvey Korman. “Fabulous,” says MacGraw. In an episode of \u003cem>The Simpsons,\u003c/em> Homer and Marge are big fans of the movie and force their kids to watch it. They don’t get it at all. When Bart hears the opening line, “What can you say about a 25-year-old girl who dies,” he blurts out, “I say bury her before she starts to smell!” Homer and Marge are appalled.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=oJCO3hh7bAg&feature=emb_log\u003c/p>\n\u003cp>Many a Simpson writer attended Harvard where \u003cem>Love Story\u003c/em> was filmed and where it is \u003ca href=\"https://www.nytimes.com/2010/08/22/movies/22love.html\" target=\"_blank\" rel=\"noopener noreferrer\">still lampooned\u003c/a> to this day. The school’s Crimson Key Society puts on an annual, \u003cem>Rocky Horror\u003c/em>-style screening for first-year students (this year’s was canceled due to the pandemic). Older students dress up like hippies and heckle the screen from beginning to end. Junior Davis Bailey, president of the Crimson Key Society, says they make fun of everything about it. “Basically every ten seconds or so we have a line that, collectively or individually, some of us will shout out at the screen or we do something that we act out,” says Bailey. “Because the movie is definitely very sappy.”\u003c/p>\n\u003cp>“Sappy” is how some critics felt about \u003cem>Love Story\u003c/em> way back in 1970. “Phony,” “cliché,” “contrived” were some of the words they used.\u003c/p>\n\u003cp>And here’s where Erich Segal’s best-known work becomes an example of what happens when popular culture and academia collide.\u003c/p>\n\u003cp>Segal, the son of a rabbi, grew up in New York. While \u003cem>Love Story\u003c/em> was embraced by the masses, Segal also wrote scholarly \u003ca href=\"https://erichsegal.com/scholarship/\" target=\"_blank\" rel=\"noopener noreferrer\">works\u003c/a> on Plato and Plautus and his lectures at Yale were hugely popular. “Electrifying” is how one of his students, \u003ca href=\"https://www.washingtonpost.com/doonesbury/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Doonesbury \u003c/em>\u003c/a>creator Garry Trudeau, described him. But in 1972, Segal was denied tenure at Yale. “It wasn’t fair,” Trudeau told the \u003ca href=\"https://yalealumnimagazine.com/articles/2854-erich-segal-s-yale-story\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Yale Alumni Magazine\u003c/em>\u003c/a> in 2010, shortly after Segal’s death, “but you can’t dress up in tight leather pants to chat with starlets on \u003cem>Johnny Carson \u003c/em>Friday night and expect to be taken seriously in a classroom Monday morning.” Yale denies that the popular and commercial success of Segal’s \u003cem>Love Story’s\u003c/em> had anything to do with its decision.\u003c/p>\n\u003cp>Francesca Segal says her father was, “for a long time, completely and absolutely devastated and heartbroken that he didn’t make tenure at Yale.” She believes one of the reasons \u003cem>Love Story\u003c/em> touched so many people is because her father “didn’t have a cynical bone in his body,” and that he wrote from his heart.\u003c/p>\n\u003cp>Romance fiction writer Susan Elizabeth Phillips says critics back in 1970 had an aversion to just about anything that was embraced by the masses. “The fact that a work of art, which that book is, evokes this strong emotion was something that the literati at the time looked down on,” says Phillips. “The experience was supposed to be cerebral. It wasn’t supposed to be emotional.”\u003c/p>\n\u003cp>If nothing else, \u003cem>Love Story\u003c/em> is definitely emotional. Reviewing the film, Roger Ebert called it a “a three-, four-or five-handkerchief movie.” \u003cem>Le Monde\u003c/em> wrote it was the novel that “no one dared to write, but everyone was waiting to read.”\u003c/p>\n\u003cfigure id=\"attachment_13890748\" class=\"wp-caption aligncenter\" style=\"max-width: 769px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890748\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Screen-Shot-2020-12-22-at-4.37.34-PM.png\" alt=\"'Love Story' stars Ryan O'Neal and Ali MacGraw walk on the campus of Harvard University in Cambridge, Mass., in Feb. 2016.\" width=\"769\" height=\"429\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-22-at-4.37.34-PM.png 769w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-22-at-4.37.34-PM-160x89.png 160w\" sizes=\"(max-width: 769px) 100vw, 769px\">\u003cfigcaption class=\"wp-caption-text\">‘Love Story’ stars Ryan O’Neal and Ali MacGraw walk on the campus of Harvard University in Cambridge, Mass., in Feb. 2016. \u003ccite>(Elise Amendola/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At a time when people could use a good cry, Ali MacGraw wonders if today’s audiences have the patience for a simple story about love and loss.\u003c/p>\n\u003cp>“The terrifying thing about this ever more automaton world that we’re walking into,” she says, is “that we’re functioning as opposed to feeling. And I think there’s a big difference.”\u003c/p>\n\u003cp>Still, MacGraw says, to this day, she hears from people who remember being deeply moved by \u003cem>Love Story\u003c/em>. “Always somebody comes up and says, ‘Oh, you were in that movie, why aren’t you guys making another one?’ Of course, the fact that I’m dead and considerably older probably hasn’t computed,” she laughs.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Nina Gregory edited this story.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=Successful%2C+Sentimental+And+Satirized%2C+%27Love+Story%27+Celebrates+50th+Anniversary&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fifty years ago, a simple but tragic love story became a global sensation that stunned the entertainment industry. \u003cem>Love Story\u003c/em>, the romantic tearjerker starring Ryan O’Neal and Ali MacGraw, broke box office records and the book it was based on was a bestseller that was translated into more than 30 languages.\u003c/p>\n\u003cp>“What can you say about a 25-year-old girl who dies?” So begins the novel and screenplay, both written by Erich Segal.\u003c/p>\n\u003cp>In December, 1970, in the midst of the Vietnam War and the continuing fight for Civil Rights—along came an “unabashedly sentimental” story “about the power of love,” says Segal’s daughter, writer Francesca Segal. It was “genuine and earnest and I think it just struck a chord,” she says. The \u003ca href=\"https://www.harpercollins.com/products/love-story-50th-anniversary-edition-erich-segal?variant=32128735903778\" target=\"_blank\" rel=\"noopener noreferrer\">50th anniversary edition of the novel\u003c/a> \u003cem>Love Story\u003c/em> includes an introduction by Francesca.\u003c/p>\n\u003cp>Erich Segal was 30 years old and a professor at Yale when he wrote the 131-page \u003cem>Love Story.\u003c/em> The idea came when he learned that one of his former students was just 25 when he lost his wife to cancer. Oliver Barrett IV, played by Ryan O’Neal in the movie, is a sensitive, rich kid and a Harvard hockey player. The \u003ca href=\"https://www.washingtonpost.com/news/reliable-source/wp/2013/10/10/al-gore-vs-terry-lenzner-who-was-the-real-oliver-of-love-story/\" target=\"_blank\" rel=\"noopener noreferrer\">inspiration\u003c/a> for Oliver has been the source of intrigue and even controversy. Segal said Oliver was partly modeled after Al Gore, but mostly after Tommy Lee Jones (who also has a part in the movie). Segal got to know both men when they were all students at Harvard together. Some years later, Segal said he modeled Oliver after Watergate investigator \u003ca href=\"https://www.nytimes.com/2020/04/29/us/politics/terry-lenzner-dead.html\" target=\"_blank\" rel=\"noopener noreferrer\">Terry Lenzner\u003c/a>.\u003c/p>\n\u003cp>Jenny, played by MacGraw, is a sassy, working-class baker’s daughter who goes to Radcliffe and works in the library. In 1970, \u003ca href=\"https://www.nytimes.com/1997/12/14/us/author-of-love-story-disputes-a-gore-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">Segal told \u003cem>The New York Times\u003c/em>\u003c/a> Jenny was modeled after a woman he dated while he was a student at Harvard.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Ollie, you’re a preppie millionaire, and I’m a social zero,” Jenny teases.\u003c/p>\n\u003cp>They were gorgeous to look at as they frolic in the snow, argue, fall deeply in love and marry, despite the disapproval of Oliver’s father. Just as they start a new life together, Jenny learns she has a fatal blood disease and dies. (Only in the book is the disease identified as leukemia.)\u003c/p>\n\u003cp>“It was cliché, but it worked,” says Ali MacGraw. “And everybody was completely flabbergasted when it had the reception that it had, which was right away,” she remembers.\u003c/p>\n\u003cp>People flocked to see \u003cem>Love Story\u003c/em> when it was released widely on Christmas Day, with numerous accounts of people waiting in long lines at the box office. Movie attendance had been down in 1970. \u003cem>The Los Angeles Times \u003c/em>called \u003cem>Love Story\u003c/em> a “phenomenon” that was a “boon” to the “embattled” studio Paramount and “evidence people … still want to go to the movies in vast numbers.” The film, directed by Arthur Hiller, was nominated for seven Oscars, winning one for Francis Lai’s original score. It won five Golden Globes, including Best Drama and Best Actress and Actor for MacGraw and O’Neal respectively. \u003ca href=\"http://www.glamamor.com/2010/10/inspiration-ali-macgraw-in-love-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">MacGraw\u003c/a> quickly became a fashion icon.\u003c/p>\n\u003cp>Bestselling romance writer \u003ca href=\"https://susanelizabethphillips.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Susan Elizabeth Phillips\u003c/a> says just about everyone she knew saw the movie after first reading the book.\u003c/p>\n\u003cp>Phillips, who was in her early 20s when the book and movie came out, also recalls the sobs. “\u003cem>Love Story\u003c/em> was an ugly cry,” she says.\u003c/p>\n\u003cp>“I remember when I read it, of course dissolving in tears,” says Phillips. “I read it to my boyfriend at the time, read it out loud to him, sobbing through the whole thing. We’ve now been married for 50 years.” Phillips says her husband doesn’t remember any of this. “So that’s a blessing,” she jokes.\u003c/p>\n\u003cp>As for \u003cem>Love Story’s\u003c/em> very famous, oft-ridiculed line, “Love means never having to say you’re sorry,” even MacGraw says she didn’t know what it meant at the time. But now, years later, she finds truth in it: “Saying sorry isn’t what it’s about. It’s about really feeling badly for the hurt … and then absolutely trying never to do it again. So there’s a lot of work more than, ‘Gee, I’m sorry,’ and then scooting outside to get on your bike and ride into the fall leaves or whatever.”\u003c/p>\n\u003cp>Still, MacGraw wishes she’d asked about the meaning 50 years ago during filming: “It’s an insane line. But I said it. And I live with 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/P-4jKZ3X1zQ'\n title='//www.youtube.com/embed/P-4jKZ3X1zQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>MacGraw also lives with the many parodies \u003cem>Love Story\u003c/em> inspired. Her personal favorite is by \u003ca href=\"https://www.youtube.com/watch?v=oJCO3hh7bAg&list=RDoJCO3hh7bAg&start_radio=1&t=270\" target=\"_blank\" rel=\"noopener noreferrer\">Carol Burnett\u003c/a> and Harvey Korman. “Fabulous,” says MacGraw. In an episode of \u003cem>The Simpsons,\u003c/em> Homer and Marge are big fans of the movie and force their kids to watch it. They don’t get it at all. When Bart hears the opening line, “What can you say about a 25-year-old girl who dies,” he blurts out, “I say bury her before she starts to smell!” Homer and Marge are appalled.\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/oJCO3hh7bAg'\n title='//www.youtube.com/embed/oJCO3hh7bAg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Many a Simpson writer attended Harvard where \u003cem>Love Story\u003c/em> was filmed and where it is \u003ca href=\"https://www.nytimes.com/2010/08/22/movies/22love.html\" target=\"_blank\" rel=\"noopener noreferrer\">still lampooned\u003c/a> to this day. The school’s Crimson Key Society puts on an annual, \u003cem>Rocky Horror\u003c/em>-style screening for first-year students (this year’s was canceled due to the pandemic). Older students dress up like hippies and heckle the screen from beginning to end. Junior Davis Bailey, president of the Crimson Key Society, says they make fun of everything about it. “Basically every ten seconds or so we have a line that, collectively or individually, some of us will shout out at the screen or we do something that we act out,” says Bailey. “Because the movie is definitely very sappy.”\u003c/p>\n\u003cp>“Sappy” is how some critics felt about \u003cem>Love Story\u003c/em> way back in 1970. “Phony,” “cliché,” “contrived” were some of the words they used.\u003c/p>\n\u003cp>And here’s where Erich Segal’s best-known work becomes an example of what happens when popular culture and academia collide.\u003c/p>\n\u003cp>Segal, the son of a rabbi, grew up in New York. While \u003cem>Love Story\u003c/em> was embraced by the masses, Segal also wrote scholarly \u003ca href=\"https://erichsegal.com/scholarship/\" target=\"_blank\" rel=\"noopener noreferrer\">works\u003c/a> on Plato and Plautus and his lectures at Yale were hugely popular. “Electrifying” is how one of his students, \u003ca href=\"https://www.washingtonpost.com/doonesbury/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Doonesbury \u003c/em>\u003c/a>creator Garry Trudeau, described him. But in 1972, Segal was denied tenure at Yale. “It wasn’t fair,” Trudeau told the \u003ca href=\"https://yalealumnimagazine.com/articles/2854-erich-segal-s-yale-story\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Yale Alumni Magazine\u003c/em>\u003c/a> in 2010, shortly after Segal’s death, “but you can’t dress up in tight leather pants to chat with starlets on \u003cem>Johnny Carson \u003c/em>Friday night and expect to be taken seriously in a classroom Monday morning.” Yale denies that the popular and commercial success of Segal’s \u003cem>Love Story’s\u003c/em> had anything to do with its decision.\u003c/p>\n\u003cp>Francesca Segal says her father was, “for a long time, completely and absolutely devastated and heartbroken that he didn’t make tenure at Yale.” She believes one of the reasons \u003cem>Love Story\u003c/em> touched so many people is because her father “didn’t have a cynical bone in his body,” and that he wrote from his heart.\u003c/p>\n\u003cp>Romance fiction writer Susan Elizabeth Phillips says critics back in 1970 had an aversion to just about anything that was embraced by the masses. “The fact that a work of art, which that book is, evokes this strong emotion was something that the literati at the time looked down on,” says Phillips. “The experience was supposed to be cerebral. It wasn’t supposed to be emotional.”\u003c/p>\n\u003cp>If nothing else, \u003cem>Love Story\u003c/em> is definitely emotional. Reviewing the film, Roger Ebert called it a “a three-, four-or five-handkerchief movie.” \u003cem>Le Monde\u003c/em> wrote it was the novel that “no one dared to write, but everyone was waiting to read.”\u003c/p>\n\u003cfigure id=\"attachment_13890748\" class=\"wp-caption aligncenter\" style=\"max-width: 769px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890748\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Screen-Shot-2020-12-22-at-4.37.34-PM.png\" alt=\"'Love Story' stars Ryan O'Neal and Ali MacGraw walk on the campus of Harvard University in Cambridge, Mass., in Feb. 2016.\" width=\"769\" height=\"429\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-22-at-4.37.34-PM.png 769w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-22-at-4.37.34-PM-160x89.png 160w\" sizes=\"(max-width: 769px) 100vw, 769px\">\u003cfigcaption class=\"wp-caption-text\">‘Love Story’ stars Ryan O’Neal and Ali MacGraw walk on the campus of Harvard University in Cambridge, Mass., in Feb. 2016. \u003ccite>(Elise Amendola/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At a time when people could use a good cry, Ali MacGraw wonders if today’s audiences have the patience for a simple story about love and loss.\u003c/p>\n\u003cp>“The terrifying thing about this ever more automaton world that we’re walking into,” she says, is “that we’re functioning as opposed to feeling. And I think there’s a big difference.”\u003c/p>\n\u003cp>Still, MacGraw says, to this day, she hears from people who remember being deeply moved by \u003cem>Love Story\u003c/em>. “Always somebody comes up and says, ‘Oh, you were in that movie, why aren’t you guys making another one?’ Of course, the fact that I’m dead and considerably older probably hasn’t computed,” she laughs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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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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"mindshift": {
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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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"order": 12
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"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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},
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"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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