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"content": "\u003cp>Has working from home brought you and your cat closer this year? Has binge-watching \u003cem>Tiger King\u003c/em> given you a newfound reverence for all things feline? Have (the \u003ca href=\"https://www.kqed.org/arts/13886240/the-de-young-museum-will-reopen-to-the-public-on-sept-25\" target=\"_blank\" rel=\"noopener noreferrer\">soon-to-be-over\u003c/a>!) museum closures left you desperate for more art in your eyeballs?\u003c/p>\n\u003cp>If you answered “yes” to any of the above, and need viewing material both soothing and strange, I’ve got just the thing. It’s called \u003cem>Metropolitan Cats, 1983—A History of Cats at The Met\u003c/em> and it’s currently online, via the New York Metropolitan Museum’s \u003cem>\u003ca href=\"https://www.metmuseum.org/150/from-the-vaults?v=the-hunt-of-the-unicorn-1974-from-the-vaults\" target=\"_blank\" rel=\"noopener noreferrer\">From The Vaults\u003c/a>\u003c/em> series. [aside postid='pop_104602']\u003c/p>\n\u003cp>Back in 1983, the staff of The Met got together to discuss the history of cats in art. Documentary filmmaker \u003ca href=\"https://en.wikipedia.org/wiki/Robin_Lehman\" target=\"_blank\" rel=\"noopener noreferrer\">Robert Lehman\u003c/a> (son of the banker Robert Lehman, who donated \u003ca href=\"https://www.metmuseum.org/about-the-met/curatorial-departments/the-robert-lehman-collection\" target=\"_blank\" rel=\"noopener noreferrer\">thousands of artworks\u003c/a> to The Met) condensed it down into a 24-minute video that manages to be both informative and consistently bizarre.\u003c/p>\n\u003cp>The staff display an odd mix of reverence and fear towards cats, both real and depicted. Several of them talk of the cat as a rare creature that can symbolize domesticity and wildness simultaneously. Some speak of sacrificing their own comfort for that of their pet cats. And some sound like they’re in a dominance-and-submission discussion group that’s gone awry.\u003c/p>\n\u003cp>“I find it very easy to worship a cat,” says one woman. Another earnestly states: “The one thing I’ve found with cats—which is why I’ve not been involved with them—is they do not bend to human will.” At one point, someone else admits that “I’ve tried spanking a cat.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That weird tone also slips into some of the artwork analysis. One cat is deemed symbolic of a “courtesan, the geisha.” Another, depicted walking with kittens, is compared to “the happy hooker with her wages of sin.” And there’s hyperbole everywhere; at one point someone says of a cat portrait, “It’s a small print, but when it’s blown up, it’s like the large Andy Warhol portraits of Mao.” [aside postid='pop_104802']\u003c/p>\n\u003cp>Needless to say, watching this, if you’re not learning you’re laughing. Art featured includes works by Renoir, Francisco Goya, Currier & Ives, Oide Tōkō, Théophile Steinlen and more. And remember everyone, as one staff member notes here: “All cats are beautiful—even ugly cats are beautiful.”\u003c/p>\n\u003cp>You can watch \u003cem>Metropolitan Cats, 1983—A History of Cats at The Met \u003c/em>in full, below.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CwK5ukue0Pw\u003c/p>\n\n",
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"title": "Now Playing! Oakland International Film Fest, ‘Antebellum’ on the Home Screen",
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"content": "\u003cp>The vast majority of film festivals, especially in the Bay Area, aren’t simply cultural events or entertainment options. They are community gatherings. Online iterations necessitated by the pandemic try to replicate that feeling. (The new tradition of the opening night drive-in screening is a way of creating a live experience by placing \u003cem>some\u003c/em> people in safe proximity.)\u003c/p>\n\u003cp>But online fests are better than nothing, no doubt. They do require, however, a little more effort—focusing our full attention during streamed home screenings, attending post-film Zoom Q&As with the filmmakers—than passively sitting in a packed theater. Test the waters, join the fray, catch a flick at the Oakland International Film Festival and Frameline (a.k.a. the San Francisco International LGBTQ+ Film Festival), both launching their respective 10-day bashes Sept. 17. \u003c/p>\n\u003cp>https://youtu.be/1lJRPZLuY9c\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"https://www.oiff.org\" rel=\"noopener noreferrer\" target=\"_blank\">Oakland International Film Festival\u003c/a>\u003c/b>\u003cbr>\nSept. 17–27\u003cbr>\nOnline\u003c/p>\n\u003cp>David Roach searches far and wide to populate the OIFF with a chorus of voices that speak to Oakland’s challenges, history, multiculturalism and vitality. The lineup of 65-plus shorts and features corresponds to the metropolis’s wide-ranging and ever-evolving character.\u003c/p>\n\u003cp>The opening night film, \u003cem>We Are the Dream: The Kids of the Oakland MLK Oratorical Fest\u003c/em>, gives us a front-row introduction to the best and brightest speechmakers, poets and public speakers among Oaktown’s children. (The competition is open to pre-kindergarten through 12th grade.) The participants include a Sri Lankan boy who lectures us on Dr. King’s contributions, a tiny Black girl practicing her poem on a picnic table for her dad, and a 9-year-old preacher’s grandson who delivers a powerhouse rendition of the “I’ve Been to the Mountaintop” speech. You won’t be able to limit yourself to just one favorite.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Oakland writer-director-actor Pharoah Charles Powell’s latest made-on-a-shoestring feature, \u003cem>All the Love\u003c/em>, centers on a young woman forced to confront the truth about her father, and her own identity. Powell will discuss his film at 10:25pm on Sept. 24 following its screening.\u003c/p>\n\u003cp>Another local filmmaker, Spencer Wilkinson (\u003cem>One Voice: The Story of the Oakland Interfaith Gospel Choir\u003c/em>), returns with his second quintessential hometown documentary \u003cem>\u003ca href=\"https://www.kqed.org/arts/13875585/in-alice-street-oakland-artist-activists-build-power-by-bridging-communities\" rel=\"noopener noreferrer\" target=\"_blank\">Alice Street\u003c/a>\u003c/em>. Wilkinson originally set out to document the conception and execution of a mural near his house. But nothing is simple, or static, in America’s cities, and the public art becomes the catalyst for a saga of gentrification and empowerment.\u003c/p>\n\u003cp>\u003cb>Frameline44\u003c/b>\u003cbr>\nSept. 17–27\u003cbr>\nOnline\u003c/p>\n\u003cp>Check back later this week for an overview of the 44th San Francisco International LGBTQ+ Film Festival, rescheduled and reshaped from its usual omnibus in June. But drop everything right this instant and reserve a ticket to \u003cem>Shit & Champagne\u003c/em>, the world premiere of S.F. writer-director-star D’Arcy Drollinger’s delicious drag parody of 1970s sexploitation movies at the West Wind Solano Drive-in in Concord on opening night.\u003c/p>\n\u003cfigure id=\"attachment_13886380\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Collaboration_Irmi_005-2_1200.jpg\" alt=\"\" width=\"1200\" height=\"861\" class=\"size-full wp-image-13886380\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Collaboration_Irmi_005-2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Collaboration_Irmi_005-2_1200-800x574.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Collaboration_Irmi_005-2_1200-1020x732.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Collaboration_Irmi_005-2_1200-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Collaboration_Irmi_005-2_1200-768x551.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Irmi,’ 2020. \u003ccite>(Courtesy BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003cem>Irmi\u003c/em>\u003c/b>\u003cbr>\n\u003ca href=\"https://bampfa.org/event/irmi\" rel=\"noopener noreferrer\" target=\"_blank\">BAMPFA\u003c/a>\u003cbr>\nNow streaming\u003c/p>\n\u003cp>Ace editor and occasional director Veronica Selver has been a crucial component of the Bay Area’s world-class independent documentary community since the mid-’70s, when she partnered with Peter Adair, Lucy Massie Phenix, Rob Epstein and a couple other gutsy visionaries on the breakthrough gay and lesbian oral history \u003cem>Word Is Out\u003c/em>. If anyone can avoid the pitfalls (with panache) of the family documentary, that most perilous of nonfiction films, it’s Selver.\u003c/p>\n\u003cp>Fifteen years after her mother’s death at 97, Selver and co-director Susan Fanshel recount Irmi Selver’s roller-coaster ride through the 20th century with affection, wit and an appreciation for the unknowable mystery that is at the heart of every person. Using her late-in-life memoir (read by Hanna Schygulla) as a guide, \u003cem>Irmi\u003c/em> traces its protagonist’s affluent childhood in pre- and post-World War I Germany to—and far beyond—the tragedy that struck her young family in 1939 on a refugee ship in the North Sea.\u003c/p>\n\u003cp>Resolutely life-affirming and unexpectedly universal, \u003cem>Irmi\u003c/em> is streaming through BAMPFA, along with a recorded conversation among the filmmakers and esteemed film composer Todd Boekelheide, following its July debut in the Jewish Film Festival’s Cinegogue Summer Days.\u003c/p>\n\u003cp>https://youtu.be/7MPib67BDHY\u003c/p>\n\u003cp>\u003cb>\u003cem>Antebellum\u003c/em>\u003c/b>\u003cbr>\nOpens Sept. 18\u003cbr>\n\u003ca href=\"https://www.lionsgate.com/movies/antebellum\" rel=\"noopener noreferrer\" target=\"_blank\">Premium video on demand\u003c/a>\u003c/p>\n\u003cp>Janelle Monáe can do it all, and co-writers and directors Gerard Bush and Christopher Renz invite her to handle just about everything but singing in \u003cem>Antebellum\u003c/em>. In a double role that spans then and now, slavery and independence, Monáe exudes dignity and inner strength throughout, and fashion-mag style and action-heroine grit in the film’s middle and later sections.\u003c/p>\n\u003cp>Her performance, by turns glowering and glamorous, is undercut by a screenplay whose pieces don’t completely click into lucid, satisfying place. Set on a plantation in Civil War-era Louisiana, \u003cem>Antebellum\u003c/em> is a walking nightmare dreamed at golden hour, when the sun gleams languidly through the trees as if to mock the horrors that we know await in just a few hours.\u003c/p>\n\u003cp>The filmmakers display great care in avoiding the torture-porn clichés of slavery without eliding the cavalier cruelty or soul-crushing hopelessness. Then, late one night, the anachronistic ring of a cellphone jolts us and the movie into the present-day life of Dr. Veronica Henley (also played by Monáe), an in-demand intellectual and the author of \u003cem>Shedding the Coping Persona\u003c/em>. While she revels with friends at a conference in New Orleans, Bush and Renz disturbingly portray how casual and overt racism are precisely meant to dent and demean successful Black people. \u003c/p>\n\u003cp>Our journey with Monae’s dual characters from literal to paranoid to fantastical pays off with a reasonably satisfying cascade of payback. \u003cem>Antebellum\u003c/em>’s clever structure works to demonstrate in a visceral way how whites have smuggled, in broad daylight, 19th-century racism all the way into today. It’s not, shall we say, a pretty picture.\u003c/p>\n\u003cp>\u003c/p>\n",
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"excerpt": "Online festivals and standalone films offer life-affirming parables of survival and independence.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The vast majority of film festivals, especially in the Bay Area, aren’t simply cultural events or entertainment options. They are community gatherings. Online iterations necessitated by the pandemic try to replicate that feeling. (The new tradition of the opening night drive-in screening is a way of creating a live experience by placing \u003cem>some\u003c/em> people in safe proximity.)\u003c/p>\n\u003cp>But online fests are better than nothing, no doubt. They do require, however, a little more effort—focusing our full attention during streamed home screenings, attending post-film Zoom Q&As with the filmmakers—than passively sitting in a packed theater. Test the waters, join the fray, catch a flick at the Oakland International Film Festival and Frameline (a.k.a. the San Francisco International LGBTQ+ Film Festival), both launching their respective 10-day bashes Sept. 17. \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/1lJRPZLuY9c'\n title='//www.youtube.com/embed/1lJRPZLuY9c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>\u003ca href=\"https://www.oiff.org\" rel=\"noopener noreferrer\" target=\"_blank\">Oakland International Film Festival\u003c/a>\u003c/b>\u003cbr>\nSept. 17–27\u003cbr>\nOnline\u003c/p>\n\u003cp>David Roach searches far and wide to populate the OIFF with a chorus of voices that speak to Oakland’s challenges, history, multiculturalism and vitality. The lineup of 65-plus shorts and features corresponds to the metropolis’s wide-ranging and ever-evolving character.\u003c/p>\n\u003cp>The opening night film, \u003cem>We Are the Dream: The Kids of the Oakland MLK Oratorical Fest\u003c/em>, gives us a front-row introduction to the best and brightest speechmakers, poets and public speakers among Oaktown’s children. (The competition is open to pre-kindergarten through 12th grade.) The participants include a Sri Lankan boy who lectures us on Dr. King’s contributions, a tiny Black girl practicing her poem on a picnic table for her dad, and a 9-year-old preacher’s grandson who delivers a powerhouse rendition of the “I’ve Been to the Mountaintop” speech. You won’t be able to limit yourself to just one favorite.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Oakland writer-director-actor Pharoah Charles Powell’s latest made-on-a-shoestring feature, \u003cem>All the Love\u003c/em>, centers on a young woman forced to confront the truth about her father, and her own identity. Powell will discuss his film at 10:25pm on Sept. 24 following its screening.\u003c/p>\n\u003cp>Another local filmmaker, Spencer Wilkinson (\u003cem>One Voice: The Story of the Oakland Interfaith Gospel Choir\u003c/em>), returns with his second quintessential hometown documentary \u003cem>\u003ca href=\"https://www.kqed.org/arts/13875585/in-alice-street-oakland-artist-activists-build-power-by-bridging-communities\" rel=\"noopener noreferrer\" target=\"_blank\">Alice Street\u003c/a>\u003c/em>. Wilkinson originally set out to document the conception and execution of a mural near his house. But nothing is simple, or static, in America’s cities, and the public art becomes the catalyst for a saga of gentrification and empowerment.\u003c/p>\n\u003cp>\u003cb>Frameline44\u003c/b>\u003cbr>\nSept. 17–27\u003cbr>\nOnline\u003c/p>\n\u003cp>Check back later this week for an overview of the 44th San Francisco International LGBTQ+ Film Festival, rescheduled and reshaped from its usual omnibus in June. But drop everything right this instant and reserve a ticket to \u003cem>Shit & Champagne\u003c/em>, the world premiere of S.F. writer-director-star D’Arcy Drollinger’s delicious drag parody of 1970s sexploitation movies at the West Wind Solano Drive-in in Concord on opening night.\u003c/p>\n\u003cfigure id=\"attachment_13886380\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Collaboration_Irmi_005-2_1200.jpg\" alt=\"\" width=\"1200\" height=\"861\" class=\"size-full wp-image-13886380\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Collaboration_Irmi_005-2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Collaboration_Irmi_005-2_1200-800x574.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Collaboration_Irmi_005-2_1200-1020x732.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Collaboration_Irmi_005-2_1200-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Collaboration_Irmi_005-2_1200-768x551.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Irmi,’ 2020. \u003ccite>(Courtesy BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003cem>Irmi\u003c/em>\u003c/b>\u003cbr>\n\u003ca href=\"https://bampfa.org/event/irmi\" rel=\"noopener noreferrer\" target=\"_blank\">BAMPFA\u003c/a>\u003cbr>\nNow streaming\u003c/p>\n\u003cp>Ace editor and occasional director Veronica Selver has been a crucial component of the Bay Area’s world-class independent documentary community since the mid-’70s, when she partnered with Peter Adair, Lucy Massie Phenix, Rob Epstein and a couple other gutsy visionaries on the breakthrough gay and lesbian oral history \u003cem>Word Is Out\u003c/em>. If anyone can avoid the pitfalls (with panache) of the family documentary, that most perilous of nonfiction films, it’s Selver.\u003c/p>\n\u003cp>Fifteen years after her mother’s death at 97, Selver and co-director Susan Fanshel recount Irmi Selver’s roller-coaster ride through the 20th century with affection, wit and an appreciation for the unknowable mystery that is at the heart of every person. Using her late-in-life memoir (read by Hanna Schygulla) as a guide, \u003cem>Irmi\u003c/em> traces its protagonist’s affluent childhood in pre- and post-World War I Germany to—and far beyond—the tragedy that struck her young family in 1939 on a refugee ship in the North Sea.\u003c/p>\n\u003cp>Resolutely life-affirming and unexpectedly universal, \u003cem>Irmi\u003c/em> is streaming through BAMPFA, along with a recorded conversation among the filmmakers and esteemed film composer Todd Boekelheide, following its July debut in the Jewish Film Festival’s Cinegogue Summer Days.\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/7MPib67BDHY'\n title='//www.youtube.com/embed/7MPib67BDHY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>\u003cem>Antebellum\u003c/em>\u003c/b>\u003cbr>\nOpens Sept. 18\u003cbr>\n\u003ca href=\"https://www.lionsgate.com/movies/antebellum\" rel=\"noopener noreferrer\" target=\"_blank\">Premium video on demand\u003c/a>\u003c/p>\n\u003cp>Janelle Monáe can do it all, and co-writers and directors Gerard Bush and Christopher Renz invite her to handle just about everything but singing in \u003cem>Antebellum\u003c/em>. In a double role that spans then and now, slavery and independence, Monáe exudes dignity and inner strength throughout, and fashion-mag style and action-heroine grit in the film’s middle and later sections.\u003c/p>\n\u003cp>Her performance, by turns glowering and glamorous, is undercut by a screenplay whose pieces don’t completely click into lucid, satisfying place. Set on a plantation in Civil War-era Louisiana, \u003cem>Antebellum\u003c/em> is a walking nightmare dreamed at golden hour, when the sun gleams languidly through the trees as if to mock the horrors that we know await in just a few hours.\u003c/p>\n\u003cp>The filmmakers display great care in avoiding the torture-porn clichés of slavery without eliding the cavalier cruelty or soul-crushing hopelessness. Then, late one night, the anachronistic ring of a cellphone jolts us and the movie into the present-day life of Dr. Veronica Henley (also played by Monáe), an in-demand intellectual and the author of \u003cem>Shedding the Coping Persona\u003c/em>. While she revels with friends at a conference in New Orleans, Bush and Renz disturbingly portray how casual and overt racism are precisely meant to dent and demean successful Black people. \u003c/p>\n\u003cp>Our journey with Monae’s dual characters from literal to paranoid to fantastical pays off with a reasonably satisfying cascade of payback. \u003cem>Antebellum\u003c/em>’s clever structure works to demonstrate in a visceral way how whites have smuggled, in broad daylight, 19th-century racism all the way into today. It’s not, shall we say, a pretty picture.\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "'The Third Day' Makes Mysterious But Predictable Promises",
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"content": "\u003cp>A community of strange locals, closed-mouthed about their history and their practices but firmly separated from most of society, is a staple of mystery stories. So is the person who stumbles upon them, fascinated and frightened and seduced by the unknown.\u003c/p>\n\u003cp>That’s the basic set-up for \u003cem>The Third Day\u003c/em>, a six-part HBO miniseries that premiered Monday night. Jude Law stars as Sam, a man we first meet while he’s in the middle of a frantic phone call, stopped by the side of a deserted road. We quickly learn that he’s got problems at home, but he’s also on his way to complete a ritual related to grief in his past. He encounters a young teenager in distress, and he wants to help her and take her home, so he follows her directions to Osea Island. Sam finds it—you guessed it—odd, beguiling, confusing, full of mystery.\u003c/p>\n\u003cp>The series is divided into two parts. We will follow Sam’s story for the first three episodes, called “Summer,” and then we will follow a woman named Helen (Naomie Harris) and her daughters—who also find themselves at Osea Island—for three episodes, called “Winter.” How this all comes together into a single narrative is something it wouldn’t be fair to explain (critics were given five out of the six episodes, making reviewing it something of a challenge).\u003c/p>\n\u003cp>\u003cem>The Third Day \u003c/em>is an effective creepy mystery in the early going, setting up question after question—\u003cem>why did that person do that? What is he talking about? What’s that mysterious-looking thing?—\u003c/em>that it will eventually have to answer in order to be satisfying. Many of those questions are answered over the course of the first five episodes, and they do hang together in a coherent fashion. The problem is that the story they tell isn’t all that interesting, nor is it outside the … well, the expected set of explanations for a community of creepy locals. It calls back to numerous other stories of those who stumble into towns from which they probably should skedaddle posthaste, to the point where you could almost diagram at the beginning the flow chart of options for where this is all going, and you wouldn’t have to move very far off the chart by the end.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=T43V6z9wYyE\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Law is a talented actor who’s expanded his image since his impossibly pretty youth, and this is certainly one of his less glamorous roles. (But let’s face it: He’s still one of the most facially symmetrical actors we have.) He’s always been more interesting when used at an angle, either in a way that makes his beauty tragic (as in \u003cem>The Talented Mr. Ripley\u003c/em>) or that transforms his charisma into something almost grotesque (as in \u003cem>Spy\u003c/em>). Sam is certainly a tortured man with a pained history that gives Law a lot of room to emote, but is the character particularly \u003cem>complex\u003c/em>? I’m not sure. It feels at times like \u003cem>The Third Day \u003c/em>has confusion where it should have nuance, the blunt sense that you’re waiting for an envelope to be opened where you should feel engrossed in the fates of the characters.\u003c/p>\n\u003cp>The cast is solid, even outside of Law, who carries the first half: Harris is a good and protective mom, Emily Watson is fun as one of the townspeople whose entire demeanor should be a red flag for Sam, and Katherine Waterston is just the right amount of normal as a woman who explains to Sam that she came to Osea to study it. It’s possible that choosing any of those characters, rather than Sam, to carry the first three episodes might have been wise, if only to change up the point of view.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s hard to knock a show that knows what its mood is (in this case, creeping dread) and carries it through. Genre pieces feel like the genres they belong to, and it’s unfair to ding them for that. But there’s something that just never quite takes off about these five installments (I’d love to tell you whether the sixth solves the problem, but who knows?). The setting is there, but there’s something disappointing about the reveals, and a little hollow. You want the resolution to a mystery to be expansive like an essay, not just a multiple-choice question where you can finally circle the right answer.\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=%27The+Third+Day%27+Makes+Mysterious+But+Predictable+Promises&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>Law is a talented actor who’s expanded his image since his impossibly pretty youth, and this is certainly one of his less glamorous roles. (But let’s face it: He’s still one of the most facially symmetrical actors we have.) He’s always been more interesting when used at an angle, either in a way that makes his beauty tragic (as in \u003cem>The Talented Mr. Ripley\u003c/em>) or that transforms his charisma into something almost grotesque (as in \u003cem>Spy\u003c/em>). Sam is certainly a tortured man with a pained history that gives Law a lot of room to emote, but is the character particularly \u003cem>complex\u003c/em>? I’m not sure. It feels at times like \u003cem>The Third Day \u003c/em>has confusion where it should have nuance, the blunt sense that you’re waiting for an envelope to be opened where you should feel engrossed in the fates of the characters.\u003c/p>\n\u003cp>The cast is solid, even outside of Law, who carries the first half: Harris is a good and protective mom, Emily Watson is fun as one of the townspeople whose entire demeanor should be a red flag for Sam, and Katherine Waterston is just the right amount of normal as a woman who explains to Sam that she came to Osea to study it. It’s possible that choosing any of those characters, rather than Sam, to carry the first three episodes might have been wise, if only to change up the point of view.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s hard to knock a show that knows what its mood is (in this case, creeping dread) and carries it through. Genre pieces feel like the genres they belong to, and it’s unfair to ding them for that. But there’s something that just never quite takes off about these five installments (I’d love to tell you whether the sixth solves the problem, but who knows?). The setting is there, but there’s something disappointing about the reveals, and a little hollow. You want the resolution to a mystery to be expansive like an essay, not just a multiple-choice question where you can finally circle the right answer.\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=%27The+Third+Day%27+Makes+Mysterious+But+Predictable+Promises&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Long before CGI was invented, Marcel Duchamp made his 1926 experimental film, \u003cem>Anémic Cinéma\u003c/em>, by creating abstract shapes out of cardboard and spinning them on a turnable for hypnotizing effect. (This was nearly a decade after he signed his name on a urinal and called it a sculpture, inventing the readymade and redefining what art could be.)\u003c/p>\n\u003cp>\u003cem>Anémic Cinéma\u003c/em> and many other strange, surreal cinematic feats from the first half of the 20th century will be playing on Oct. 1 at San Francisco’s new drive-in movie theater, \u003ca href=\"https://fortmason.org/event/flix/\" target=\"_blank\" rel=\"noopener noreferrer\">Fort Mason Flix\u003c/a>. The program, co-presented by Intersection for the Arts and curated by Izzy Parlamis, is called \u003ca href=\"https://www.eventbrite.com/e/loud-cinema-tickets-118073951367\" target=\"_blank\" rel=\"noopener noreferrer\">Loud Cinema\u003c/a> and features films by Duchamp and other experimentalists such as Slavko Vorkapich and Mary Ellen Bute.\u003c/p>\n\u003cp>To bring these films into the modern day, some talented, up-and-coming songwriters and improvisors recorded new soundtracks. The list of artists includes classically trained pop auteur \u003ca href=\"https://kadhjabonet.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kadhja Bonet\u003c/a>, jazz improvisors \u003ca href=\"https://www.kqed.org/arts/13864118/sci-fi-album-climate-anxiety-salami-rose-joe-louis-brainfeeder\" target=\"_blank\" rel=\"noopener noreferrer\">Salami Rose Joe Louis\u003c/a> and \u003ca href=\"https://cheflee.bandcamp.com/album/snowflake-clone-vol-2-instrumentals\" target=\"_blank\" rel=\"noopener noreferrer\">Cheflee\u003c/a> and Latin soul band \u003ca href=\"https://almasfronterizas.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Almas Fronterizas\u003c/a>.\u003c/p>\n\u003cp>Off the Grid will serve food, and 50% of ticket proceeds go to \u003ca href=\"https://www.astraeafoundation.org/stories/transgender-gender-variant-and-intersex-justice-project/\" target=\"_blank\" rel=\"noopener noreferrer\">Transgender, Gender-Variant and Intersex Justice Project\u003c/a>, which advocates for trans and gender-nonconforming people in jails and prisons. \u003ca href=\"https://www.eventbrite.com/e/loud-cinema-tickets-118073951367\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Long before CGI was invented, Marcel Duchamp made his 1926 experimental film, \u003cem>Anémic Cinéma\u003c/em>, by creating abstract shapes out of cardboard and spinning them on a turnable for hypnotizing effect. (This was nearly a decade after he signed his name on a urinal and called it a sculpture, inventing the readymade and redefining what art could be.)\u003c/p>\n\u003cp>\u003cem>Anémic Cinéma\u003c/em> and many other strange, surreal cinematic feats from the first half of the 20th century will be playing on Oct. 1 at San Francisco’s new drive-in movie theater, \u003ca href=\"https://fortmason.org/event/flix/\" target=\"_blank\" rel=\"noopener noreferrer\">Fort Mason Flix\u003c/a>. The program, co-presented by Intersection for the Arts and curated by Izzy Parlamis, is called \u003ca href=\"https://www.eventbrite.com/e/loud-cinema-tickets-118073951367\" target=\"_blank\" rel=\"noopener noreferrer\">Loud Cinema\u003c/a> and features films by Duchamp and other experimentalists such as Slavko Vorkapich and Mary Ellen Bute.\u003c/p>\n\u003cp>To bring these films into the modern day, some talented, up-and-coming songwriters and improvisors recorded new soundtracks. The list of artists includes classically trained pop auteur \u003ca href=\"https://kadhjabonet.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kadhja Bonet\u003c/a>, jazz improvisors \u003ca href=\"https://www.kqed.org/arts/13864118/sci-fi-album-climate-anxiety-salami-rose-joe-louis-brainfeeder\" target=\"_blank\" rel=\"noopener noreferrer\">Salami Rose Joe Louis\u003c/a> and \u003ca href=\"https://cheflee.bandcamp.com/album/snowflake-clone-vol-2-instrumentals\" target=\"_blank\" rel=\"noopener noreferrer\">Cheflee\u003c/a> and Latin soul band \u003ca href=\"https://almasfronterizas.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Almas Fronterizas\u003c/a>.\u003c/p>\n\u003cp>Off the Grid will serve food, and 50% of ticket proceeds go to \u003ca href=\"https://www.astraeafoundation.org/stories/transgender-gender-variant-and-intersex-justice-project/\" target=\"_blank\" rel=\"noopener noreferrer\">Transgender, Gender-Variant and Intersex Justice Project\u003c/a>, which advocates for trans and gender-nonconforming people in jails and prisons. \u003ca href=\"https://www.eventbrite.com/e/loud-cinema-tickets-118073951367\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Good news for those who loved Daveed Diggs and Rafael Casal’s Oakland-set 2018 film \u003ci>Blindspotting\u003c/i>: it’s turning into a TV show—and picking up right where it left off.\u003c/p>\n\u003cp>Starz has greenlit a series expanding on the film, this time focusing on the character Ashley (played by \u003ci>Hamilton\u003c/i> star Jasmine Cephas Jones), longtime partner of and co-parent with Casal’s Miles. What slim information we have on the show’s premise is that when Miles is suddenly incarcerated (hmmm, \u003ca href=\"https://www.kqed.org/arts/13837271/what-the-complicated-friendship-in-blindspotting-reveals-about-race\" target=\"_blank\" rel=\"noopener noreferrer\">sounds likely\u003c/a>), Ashley is forced to move in with Miles’ mother and half-sister.\u003c/p>\n\u003cp>The ensuing half-hour dramedy will feature Ashley navigating “a chaotic and humorous existential crisis,” according to \u003ca href=\"https://variety.com/2020/tv/news/blindspotting-series-starz-1234765365/\" target=\"_blank\" rel=\"noopener noreferrer\">Variety\u003c/a>. The show will remain set in Oakland; Diggs and Casal will write and executive produce the series, with Casal serving as showrunner. Jones will also produce the show in addition to starring in it.\u003c/p>\n\u003cp>Word’s still out whether the series will actually be filmed in Oakland, but Diggs and Casal’s joint statement made one thing clear: “The soundtrack will indeed slap. OH BOY!”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>To fulfill my undergraduate rhetoric requirement many years ago, I chose a course on satire. Around the fourth week our assignment was to pick up the current copy of \u003cem>National Lampoon\u003c/em>, which provoked a brouhaha over a house ad touting a contest to predict the date of 76-year-old former First Lady Mamie Eisenhower’s death.\u003c/p>\n\u003cp>A little over half the students in the class were from Chicago and its suburbs while the other half were from small towns and rural hamlets, mirroring the enrollment at this large public university in downstate Illinois. Several students from the latter demographic angrily criticized the promotion (the prize was a year’s subscription, if memory serves) for unforgivable bad taste and appalling immorality. No disputing the first charge, but I didn’t see how venturing a guess could remotely influence or hasten a random stranger’s demise.\u003c/p>\n\u003cp>Your position on this crucial existential debate will determine your enjoyment of Mike Scholtz’s \u003cem>\u003ca href=\"https://sfdocfest2020.eventive.org/films/5f174138cf0874005370ca10\" rel=\"noopener noreferrer\" target=\"_blank\">Riplist\u003c/a>\u003c/em>, a wry, intelligent sliver of singular American weirdness. Structured around their 2017 draft of potentially dearly departed celebrities in the coming year, the film queries seven unpretentious, self-aware Minnesotans about their obsession and competition, and the stigma of participating in a death pool. I chuckled practically nonstop through \u003cem>Riplist\u003c/em>, which may be an indication of how much (or how little) I’ve matured since college.\u003c/p>\n\u003cfigure id=\"attachment_13885740\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Truth-Consequences_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13885740\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Truth-Consequences_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Truth-Consequences_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Truth-Consequences_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Truth-Consequences_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Truth-Consequences_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Truth or Consequences.’ \u003ccite>(SF DocFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Welcome to \u003ca href=\"https://sfdocfest2020.eventive.org/welcome\" rel=\"noopener noreferrer\" target=\"_blank\">SF DocFest\u003c/a>, the beloved annual compendium of odd, unusual nonfiction films from every nook and corner of our bizarro country and beyond. Waving off the pedigreed, high-profile docs that premiere at Sundance, get theatrical releases (or these days, national virtual releases) and chart a course for the Academy Awards, SF DocFest’s programmers opt for poignant, intimate works that miss the mainstream by dint of their iconoclasm and/or lack of a marketing hook.\u003c/p>\n\u003cp>Bumped by the pandemic from its June residency at the Roxie, SF DocFest plants its flag online from Sept. 3 through 20 with a program encompassing 25 features, nearly two-dozen short films and a plethora of streaming Q&As.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://sfdocfest2020.eventive.org/films/5f17463088821b00695b7886\" rel=\"noopener noreferrer\" target=\"_blank\">Truth or Consequences\u003c/a>\u003c/em>, Hannah Jayanti’s introspective lost-in-America postcard that’s toasted with the festival’s centerpiece slot, epitomizes the ethos of DocFest: A unique point of view well off the beaten path, leisurely paced and quietly revelatory. Jayanti shows us a handful of scavengers and survivors stuck in the sun-blistered perma-limbo of the titular New Mexico town, luring us into a web of detritus, entropy and failure. Bill Frisell’s lovely lonesome-cowboy guitar picking fills in the melancholic open spaces, and you half expect a tumbleweed to blow by. It’s a strangely entrancing film to get lost in.\u003c/p>\n\u003cp>The producer of \u003cem>Truth or Consequences\u003c/em>, Sara Archambault, is this year’s recipient of the fest’s Non-Fiction Vanguard Award. Like most champions of independent artists, Archambault has zero name recognition among the public, but anything she works on is deserving of attention.\u003c/p>\n\u003cfigure id=\"attachment_13885742\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Rutland.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13885742\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Rutland.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Rutland-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Rutland-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Rutland-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Rutland-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘For the Love of Rutland.’ \u003ccite>(SF DocFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The economic prospects aren’t much brighter at the other end of the continent, in old-line Vermont, where Jennifer Maytorena Taylor shot the patient and engrossing \u003cem>\u003ca href=\"https://sfdocfest2020.eventive.org/films/5f173d2e6f03120059f27d22\" rel=\"noopener noreferrer\" target=\"_blank\">For the Love of Rutland\u003c/a>\u003c/em>. (Disclosure: Taylor and I worked together on the KQED show \u003ci>Independent View\u003c/i> several years ago.) \u003c/p>\n\u003cp>Taylor’s work examines American resistance to diversity, and one deduces that what drew her to Rutland was the mayor’s unilateral 2016 decision to accept 100 Syrian refugees—and the fault lines it exposed between hardline anti-immigrants and those who imagined how motivated newcomers could help rejuvenate a waning former manufacturing town with an opioid problem.\u003c/p>\n\u003cp>It turned out that just two Syrian families had resettled in Rutland when a new president squashed immigration from “Muslim countries.” So the veteran San Francisco filmmaker had to pivot, and she shifted her focus to a white mother fighting to keeping her family together in the face of chronic poverty and scant opportunity. Taylor came away with a moving, cliché-resistant portrait of the working poor that, miraculously, leaves us believing in the persistence and possibility of community. \u003c/p>\n\u003cfigure id=\"attachment_13885737\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/ROYS-WORLD_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13885737\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ROYS-WORLD_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ROYS-WORLD_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ROYS-WORLD_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ROYS-WORLD_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ROYS-WORLD_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Roy’s World: Barry Gifford’s Chicago.’ \u003ccite>(SF DocFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Berkeley author Barry Gifford is best-known for his Sailor and Lula novels that inspired the films \u003cem>Wild at Heart\u003c/em> and \u003cem>Perdita Durango\u003c/em>. His voluminous writings include the Roy chronicles, a slew of autobiographical short stories detailing a boy’s coming of age in Chicago in the 1950s. It was a corrupt, racist town (what’s changed, you say?), as real as it gets, and Gifford nails it in unadorned sentences that, en masse, convey Roy’s expanding horizons.\u003c/p>\n\u003cp>Rob Christopher’s altogether wonderful \u003cem>\u003ca href=\"https://sfdocfest2020.eventive.org/films/5f1741be799de80029a81930\" rel=\"noopener noreferrer\" target=\"_blank\">Roy’s World: Barry Gifford’s Chicago\u003c/a>\u003c/em> spoke to me as an expatriate who grew up on the same streets in the same world, albeit a few years later. But any urbanite whose childhood and adolescence preceded the digital age will have the same reaction, for Gifford’s writing (flawlessly read by the perfectly cast trio of Willem Dafoe, Lili Taylor and Matt Dillon) and the plethora of archival footage connect us to tangible, physical objects: a used Buick with tattered seats, a snowstorm, a sand-filled ashtray in a hotel lobby, a newsstand, a back porch, an alley with a reflecting pool of rainwater.\u003c/p>\n\u003cp>\u003cem>Roy’s World\u003c/em> isn’t about the writing process so much as the stories themselves—the experiences they evoke and delineate. Maintaining the effect that we’re sharing Roy’s life and not Adult Barry’s, the filmmaker keeps Gifford off-camera until the very end. Jason Adasiewicz’s original jazz score neatly sets the mood and the place, adding another bittersweet layer of pleasure.\u003c/p>\n\u003cfigure id=\"attachment_13885741\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/unlocking_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13885741\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/unlocking_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/unlocking_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/unlocking_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/unlocking_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/unlocking_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Unlocking the Doors of Cinema.’ \u003ccite>(SF DocFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Syrian film director Mohammad Malas warmly expounds at length on his philosophy and working methods in \u003cem>\u003ca href=\"https://sfdocfest2020.eventive.org/films/5f17475067d179008f9362e0\" rel=\"noopener noreferrer\" target=\"_blank\">Unlocking the Doors of Cinema\u003c/a>\u003c/em>. Essentially unknown in the Bay Area outside of Arab film cognoscenti, Malas is the lone speaker in this one-hour doc, guiding us through a singular career that took off with the 1987 narrative debut \u003cem>Dreams of the City\u003c/em>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“My lifelong journey with cinema,” Malas tells us, “is one of rebellion against despotism, overcoming obstacles, telling stories no one dares to tell.” That’s a pretty good mantra for SF DocFest.\u003c/p>\n\n",
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"excerpt": "The beloved annual compendium of odd, unusual nonfiction films from every corner of our bizarro country is now online.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>To fulfill my undergraduate rhetoric requirement many years ago, I chose a course on satire. Around the fourth week our assignment was to pick up the current copy of \u003cem>National Lampoon\u003c/em>, which provoked a brouhaha over a house ad touting a contest to predict the date of 76-year-old former First Lady Mamie Eisenhower’s death.\u003c/p>\n\u003cp>A little over half the students in the class were from Chicago and its suburbs while the other half were from small towns and rural hamlets, mirroring the enrollment at this large public university in downstate Illinois. Several students from the latter demographic angrily criticized the promotion (the prize was a year’s subscription, if memory serves) for unforgivable bad taste and appalling immorality. No disputing the first charge, but I didn’t see how venturing a guess could remotely influence or hasten a random stranger’s demise.\u003c/p>\n\u003cp>Your position on this crucial existential debate will determine your enjoyment of Mike Scholtz’s \u003cem>\u003ca href=\"https://sfdocfest2020.eventive.org/films/5f174138cf0874005370ca10\" rel=\"noopener noreferrer\" target=\"_blank\">Riplist\u003c/a>\u003c/em>, a wry, intelligent sliver of singular American weirdness. Structured around their 2017 draft of potentially dearly departed celebrities in the coming year, the film queries seven unpretentious, self-aware Minnesotans about their obsession and competition, and the stigma of participating in a death pool. I chuckled practically nonstop through \u003cem>Riplist\u003c/em>, which may be an indication of how much (or how little) I’ve matured since college.\u003c/p>\n\u003cfigure id=\"attachment_13885740\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Truth-Consequences_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13885740\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Truth-Consequences_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Truth-Consequences_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Truth-Consequences_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Truth-Consequences_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Truth-Consequences_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Truth or Consequences.’ \u003ccite>(SF DocFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Welcome to \u003ca href=\"https://sfdocfest2020.eventive.org/welcome\" rel=\"noopener noreferrer\" target=\"_blank\">SF DocFest\u003c/a>, the beloved annual compendium of odd, unusual nonfiction films from every nook and corner of our bizarro country and beyond. Waving off the pedigreed, high-profile docs that premiere at Sundance, get theatrical releases (or these days, national virtual releases) and chart a course for the Academy Awards, SF DocFest’s programmers opt for poignant, intimate works that miss the mainstream by dint of their iconoclasm and/or lack of a marketing hook.\u003c/p>\n\u003cp>Bumped by the pandemic from its June residency at the Roxie, SF DocFest plants its flag online from Sept. 3 through 20 with a program encompassing 25 features, nearly two-dozen short films and a plethora of streaming Q&As.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://sfdocfest2020.eventive.org/films/5f17463088821b00695b7886\" rel=\"noopener noreferrer\" target=\"_blank\">Truth or Consequences\u003c/a>\u003c/em>, Hannah Jayanti’s introspective lost-in-America postcard that’s toasted with the festival’s centerpiece slot, epitomizes the ethos of DocFest: A unique point of view well off the beaten path, leisurely paced and quietly revelatory. Jayanti shows us a handful of scavengers and survivors stuck in the sun-blistered perma-limbo of the titular New Mexico town, luring us into a web of detritus, entropy and failure. Bill Frisell’s lovely lonesome-cowboy guitar picking fills in the melancholic open spaces, and you half expect a tumbleweed to blow by. It’s a strangely entrancing film to get lost in.\u003c/p>\n\u003cp>The producer of \u003cem>Truth or Consequences\u003c/em>, Sara Archambault, is this year’s recipient of the fest’s Non-Fiction Vanguard Award. Like most champions of independent artists, Archambault has zero name recognition among the public, but anything she works on is deserving of attention.\u003c/p>\n\u003cfigure id=\"attachment_13885742\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Rutland.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13885742\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Rutland.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Rutland-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Rutland-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Rutland-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Rutland-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘For the Love of Rutland.’ \u003ccite>(SF DocFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The economic prospects aren’t much brighter at the other end of the continent, in old-line Vermont, where Jennifer Maytorena Taylor shot the patient and engrossing \u003cem>\u003ca href=\"https://sfdocfest2020.eventive.org/films/5f173d2e6f03120059f27d22\" rel=\"noopener noreferrer\" target=\"_blank\">For the Love of Rutland\u003c/a>\u003c/em>. (Disclosure: Taylor and I worked together on the KQED show \u003ci>Independent View\u003c/i> several years ago.) \u003c/p>\n\u003cp>Taylor’s work examines American resistance to diversity, and one deduces that what drew her to Rutland was the mayor’s unilateral 2016 decision to accept 100 Syrian refugees—and the fault lines it exposed between hardline anti-immigrants and those who imagined how motivated newcomers could help rejuvenate a waning former manufacturing town with an opioid problem.\u003c/p>\n\u003cp>It turned out that just two Syrian families had resettled in Rutland when a new president squashed immigration from “Muslim countries.” So the veteran San Francisco filmmaker had to pivot, and she shifted her focus to a white mother fighting to keeping her family together in the face of chronic poverty and scant opportunity. Taylor came away with a moving, cliché-resistant portrait of the working poor that, miraculously, leaves us believing in the persistence and possibility of community. \u003c/p>\n\u003cfigure id=\"attachment_13885737\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/ROYS-WORLD_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13885737\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ROYS-WORLD_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ROYS-WORLD_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ROYS-WORLD_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ROYS-WORLD_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ROYS-WORLD_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Roy’s World: Barry Gifford’s Chicago.’ \u003ccite>(SF DocFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Berkeley author Barry Gifford is best-known for his Sailor and Lula novels that inspired the films \u003cem>Wild at Heart\u003c/em> and \u003cem>Perdita Durango\u003c/em>. His voluminous writings include the Roy chronicles, a slew of autobiographical short stories detailing a boy’s coming of age in Chicago in the 1950s. It was a corrupt, racist town (what’s changed, you say?), as real as it gets, and Gifford nails it in unadorned sentences that, en masse, convey Roy’s expanding horizons.\u003c/p>\n\u003cp>Rob Christopher’s altogether wonderful \u003cem>\u003ca href=\"https://sfdocfest2020.eventive.org/films/5f1741be799de80029a81930\" rel=\"noopener noreferrer\" target=\"_blank\">Roy’s World: Barry Gifford’s Chicago\u003c/a>\u003c/em> spoke to me as an expatriate who grew up on the same streets in the same world, albeit a few years later. But any urbanite whose childhood and adolescence preceded the digital age will have the same reaction, for Gifford’s writing (flawlessly read by the perfectly cast trio of Willem Dafoe, Lili Taylor and Matt Dillon) and the plethora of archival footage connect us to tangible, physical objects: a used Buick with tattered seats, a snowstorm, a sand-filled ashtray in a hotel lobby, a newsstand, a back porch, an alley with a reflecting pool of rainwater.\u003c/p>\n\u003cp>\u003cem>Roy’s World\u003c/em> isn’t about the writing process so much as the stories themselves—the experiences they evoke and delineate. Maintaining the effect that we’re sharing Roy’s life and not Adult Barry’s, the filmmaker keeps Gifford off-camera until the very end. Jason Adasiewicz’s original jazz score neatly sets the mood and the place, adding another bittersweet layer of pleasure.\u003c/p>\n\u003cfigure id=\"attachment_13885741\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/unlocking_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13885741\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/unlocking_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/unlocking_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/unlocking_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/unlocking_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/unlocking_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Unlocking the Doors of Cinema.’ \u003ccite>(SF DocFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Syrian film director Mohammad Malas warmly expounds at length on his philosophy and working methods in \u003cem>\u003ca href=\"https://sfdocfest2020.eventive.org/films/5f17475067d179008f9362e0\" rel=\"noopener noreferrer\" target=\"_blank\">Unlocking the Doors of Cinema\u003c/a>\u003c/em>. Essentially unknown in the Bay Area outside of Arab film cognoscenti, Malas is the lone speaker in this one-hour doc, guiding us through a singular career that took off with the 1987 narrative debut \u003cem>Dreams of the City\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“My lifelong journey with cinema,” Malas tells us, “is one of rebellion against despotism, overcoming obstacles, telling stories no one dares to tell.” That’s a pretty good mantra for SF DocFest.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The MTV VMAs In 2020: 10 Takeaways",
"headTitle": "The MTV VMAs In 2020: 10 Takeaways | KQED",
"content": "\u003cp>Awards shows often take place amid distractions, from natural disasters to civil unrest to the aftermath of a high-profile death. Sunday night’s MTV Video Music Awards had to coexist with all three, not to mention a worldwide pandemic that made it impossible — and, in New York City, illegal — to assemble a live audience.\u003c/p>\n\u003cp>How did it go? Here are 10 takeaways.\u003c/p>\n\u003cp>1) \u003cstrong>The VMAs actually happened in 2020.\u003c/strong> You’d be forgiven if they’d slipped your mind, but MTV somehow made a performance-driven awards show without live crowds. The energy was weird and spontaneity was hard to come by — more on that in a moment — but they pulled it off, complete with lavishly staged performances by Lady Gaga, BTS, The Weeknd, Doja Cat, DaBaby, Miley Cyrus, Maluma, Black Eyed Peas and others.\u003c/p>\n\u003cp>2) \u003cstrong>It was a big night for Lady Gaga.\u003c/strong> The superstar took home the inaugural Tricon Award — “triple threat/icon”? — which is basically the equivalent of being inducted into the VMAs Hall of Fame. She put on a grand and game performance with a guest appearance from Ariana Grande, she won a bucket of other awards (Artist of the Year, Song of the Year, Best Collaboration, Best Cinematography), she gave a bunch of speeches and she rocked a series of truly magnificent masks. It was her night.\u003c/p>\n\u003cp>https://youtu.be/5D4vjndnB0w\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>3) \u003cstrong>It was also a big night for green screens. \u003c/strong>Without crowds, artists seized the opportunity to seriously blur the lines separating “live performances” from “music videos.” What they lost in spontaneity, they gained in production values, from BTS dancing in front of an assortment of wildly different backdrops to Maluma and CNCO each performing at what looked like a neon-lit drive-in theater. Bonus points to rapper DaBaby, who brought in the dance troupe Jabbawockeez to help serve up a bit of visual commentary about police violence.\u003c/p>\n\u003cp>https://youtu.be/WUQXgU-R_wM\u003c/p>\n\u003cp>4) \u003cstrong>The show appeared to be almost entirely pre-taped.\u003c/strong> At the very beginning of the show, host Keke Palmer appeared in a lo-res video — it looked as if it was shot on a webcam or cell phone — in which she dedicated the night to the memory of actor Chadwick Boseman, who died Friday. Everything else with Palmer looked a lot slicker, which suggests that the intro was tacked on after the rest of her work was completed. Given the green-screen effects in so many of the performances, there wasn’t much here that could really be considered “live.”\u003c/p>\n\u003cp>5) \u003cstrong>Pre-taped means pre-vetted.\u003c/strong> The VMAs are typically known for bonkers moments — beefs between performers, Kanye West interrupting Taylor Swift’s acceptance speech, that sort of thing. But nothing here could really be engineered to fly off the rails or otherwise surprise, which made for a relatively uneventful evening. The Weeknd gave the night a dose of humanity and gravity by accepting his awards — for Video of the Year and Best R&B — with a plea for “justice for Jacob Blake, justice for Breonna Taylor.” But if you were hoping for Kanye West to burst in via hologram and announce that he’s a wizard now, it didn’t happen.\u003c/p>\n\u003cp>6) \u003cstrong>The actual awards were easy to predict.\u003c/strong> If you wanted to break a tie between, say, Lady Gaga (who performed) and Billie Eilish (who didn’t), you didn’t have to think very hard. An unforgivably cruel and cynical viewer might be left to wonder whether they’d booked the performers with award winners in mind (or worse). Based on \u003ca href=\"https://www.bustle.com/articles/36113-the-mtv-vmas-are-determined-by-fans-and-mysterious-strangers\">the opaqueness of the VMAs’ process\u003c/a>, we may never know.\u003c/p>\n\u003cp>7) \u003cstrong>BTS was more than an afterthought.\u003c/strong> For the past few years, the VMAs have made more of a place for BTS than, say, the Grammys. But this was still the K-pop juggernaut’s first time actually \u003cem>performing\u003c/em> on the VMAs — and the group picked up well-earned trophies for Best Pop, Best Group, Best K-Pop and Best Choreography.\u003c/p>\n\u003cp>https://youtu.be/zJCdkOpU90g\u003c/p>\n\u003cp>8) \u003cstrong>About that “Tricon Award”…\u003c/strong> The VMAs’ equivalent of a Lifetime Achievement Award began as something called the “Video Vanguard Award” — and, later, the “Michael Jackson Video Vanguard Award.” Without fanfare or even explanation, it would appear that the prize has again been renamed, this time as the “Tricon Award,” perhaps as a quiet effort to distance the VMAs from \u003ca href=\"https://www.npr.org/2019/03/05/699995484/michael-jackson-a-quarter-century-of-sexual-abuse-allegations\">controversies surrounding Jackson\u003c/a>. If you hear about these VMAs at all in the coming days, this issue might be the reason why. [aside postid='arts_13885461']\u003c/p>\n\u003cp>9) \u003cstrong>Black Eyed Peas?\u003c/strong> Black Eyed Peas were inescapable a few years back, performing at a Super Bowl halftime show and frequently turning up in brightly lit showcases at the Grammys. But somehow, the group had never performed at the VMAs… until the closing set of this year’s telecast. Why? Who knows? But those weird glowing crotches will linger as the VMAs’ deeply unnerving final image. Thanks, 2020.\u003c/p>\n\u003cp>https://youtu.be/4OJEeR8Aj4o\u003c/p>\n\u003cp>10) \u003cstrong>Give Keke Palmer credit.\u003c/strong> The actress, singer and newly minted VMAs host had a basically impossible job: She had to maintain energy, perform skits, tell jokes and otherwise keep an awards show moving, and she had to do it in empty rooms. Sure, the production simulated crowd noise, in a bit of fakery that distracted as much as it helped. But Palmer held her own — and, seriously, that was a \u003cem>feat\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>See a \u003c/em>\u003ca href=\"http://www.mtv.com/vma/vote/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>complete list of winners\u003c/em>\u003c/a>\u003cem> from the 2020 Video Music Awards.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">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=The+MTV+VMAs+In+2020%3A+10+Takeaways&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Awards shows often take place amid distractions, from natural disasters to civil unrest to the aftermath of a high-profile death. Sunday night’s MTV Video Music Awards had to coexist with all three, not to mention a worldwide pandemic that made it impossible — and, in New York City, illegal — to assemble a live audience.\u003c/p>\n\u003cp>How did it go? Here are 10 takeaways.\u003c/p>\n\u003cp>1) \u003cstrong>The VMAs actually happened in 2020.\u003c/strong> You’d be forgiven if they’d slipped your mind, but MTV somehow made a performance-driven awards show without live crowds. The energy was weird and spontaneity was hard to come by — more on that in a moment — but they pulled it off, complete with lavishly staged performances by Lady Gaga, BTS, The Weeknd, Doja Cat, DaBaby, Miley Cyrus, Maluma, Black Eyed Peas and others.\u003c/p>\n\u003cp>2) \u003cstrong>It was a big night for Lady Gaga.\u003c/strong> The superstar took home the inaugural Tricon Award — “triple threat/icon”? — which is basically the equivalent of being inducted into the VMAs Hall of Fame. She put on a grand and game performance with a guest appearance from Ariana Grande, she won a bucket of other awards (Artist of the Year, Song of the Year, Best Collaboration, Best Cinematography), she gave a bunch of speeches and she rocked a series of truly magnificent masks. It was her night.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/5D4vjndnB0w'\n title='//www.youtube.com/embed/5D4vjndnB0w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>3) \u003cstrong>It was also a big night for green screens. \u003c/strong>Without crowds, artists seized the opportunity to seriously blur the lines separating “live performances” from “music videos.” What they lost in spontaneity, they gained in production values, from BTS dancing in front of an assortment of wildly different backdrops to Maluma and CNCO each performing at what looked like a neon-lit drive-in theater. Bonus points to rapper DaBaby, who brought in the dance troupe Jabbawockeez to help serve up a bit of visual commentary about police violence.\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/WUQXgU-R_wM'\n title='//www.youtube.com/embed/WUQXgU-R_wM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>4) \u003cstrong>The show appeared to be almost entirely pre-taped.\u003c/strong> At the very beginning of the show, host Keke Palmer appeared in a lo-res video — it looked as if it was shot on a webcam or cell phone — in which she dedicated the night to the memory of actor Chadwick Boseman, who died Friday. Everything else with Palmer looked a lot slicker, which suggests that the intro was tacked on after the rest of her work was completed. Given the green-screen effects in so many of the performances, there wasn’t much here that could really be considered “live.”\u003c/p>\n\u003cp>5) \u003cstrong>Pre-taped means pre-vetted.\u003c/strong> The VMAs are typically known for bonkers moments — beefs between performers, Kanye West interrupting Taylor Swift’s acceptance speech, that sort of thing. But nothing here could really be engineered to fly off the rails or otherwise surprise, which made for a relatively uneventful evening. The Weeknd gave the night a dose of humanity and gravity by accepting his awards — for Video of the Year and Best R&B — with a plea for “justice for Jacob Blake, justice for Breonna Taylor.” But if you were hoping for Kanye West to burst in via hologram and announce that he’s a wizard now, it didn’t happen.\u003c/p>\n\u003cp>6) \u003cstrong>The actual awards were easy to predict.\u003c/strong> If you wanted to break a tie between, say, Lady Gaga (who performed) and Billie Eilish (who didn’t), you didn’t have to think very hard. An unforgivably cruel and cynical viewer might be left to wonder whether they’d booked the performers with award winners in mind (or worse). Based on \u003ca href=\"https://www.bustle.com/articles/36113-the-mtv-vmas-are-determined-by-fans-and-mysterious-strangers\">the opaqueness of the VMAs’ process\u003c/a>, we may never know.\u003c/p>\n\u003cp>7) \u003cstrong>BTS was more than an afterthought.\u003c/strong> For the past few years, the VMAs have made more of a place for BTS than, say, the Grammys. But this was still the K-pop juggernaut’s first time actually \u003cem>performing\u003c/em> on the VMAs — and the group picked up well-earned trophies for Best Pop, Best Group, Best K-Pop and Best Choreography.\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/zJCdkOpU90g'\n title='//www.youtube.com/embed/zJCdkOpU90g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>8) \u003cstrong>About that “Tricon Award”…\u003c/strong> The VMAs’ equivalent of a Lifetime Achievement Award began as something called the “Video Vanguard Award” — and, later, the “Michael Jackson Video Vanguard Award.” Without fanfare or even explanation, it would appear that the prize has again been renamed, this time as the “Tricon Award,” perhaps as a quiet effort to distance the VMAs from \u003ca href=\"https://www.npr.org/2019/03/05/699995484/michael-jackson-a-quarter-century-of-sexual-abuse-allegations\">controversies surrounding Jackson\u003c/a>. If you hear about these VMAs at all in the coming days, this issue might be the reason why. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>9) \u003cstrong>Black Eyed Peas?\u003c/strong> Black Eyed Peas were inescapable a few years back, performing at a Super Bowl halftime show and frequently turning up in brightly lit showcases at the Grammys. But somehow, the group had never performed at the VMAs… until the closing set of this year’s telecast. Why? Who knows? But those weird glowing crotches will linger as the VMAs’ deeply unnerving final image. Thanks, 2020.\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/4OJEeR8Aj4o'\n title='//www.youtube.com/embed/4OJEeR8Aj4o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>10) \u003cstrong>Give Keke Palmer credit.\u003c/strong> The actress, singer and newly minted VMAs host had a basically impossible job: She had to maintain energy, perform skits, tell jokes and otherwise keep an awards show moving, and she had to do it in empty rooms. Sure, the production simulated crowd noise, in a bit of fakery that distracted as much as it helped. But Palmer held her own — and, seriously, that was a \u003cem>feat\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>See a \u003c/em>\u003ca href=\"http://www.mtv.com/vma/vote/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>complete list of winners\u003c/em>\u003c/a>\u003cem> from the 2020 Video Music Awards.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">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=The+MTV+VMAs+In+2020%3A+10+Takeaways&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Tenet' Opens Internationally and in Select U.S. Cities Next Month",
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"content": "\u003cp>It’s always been about timing with \u003cem>Tenet\u003c/em>. Christopher Nolan’s highly anticipated action thriller stars John David Washington as a secret agent who inverts time to try to save the world from an impending World War III.\u003c/p>\n\u003cp>His character apparently doesn’t so much time travel as bend time. The actor has told reporters he had to run and do stunts backwards for his scenes. “Don’t try to understand it, just feel it,” he said to \u003cem>ET Canada\u003c/em>, about the film’s complicated story line. “Just enjoy being in a theater and looking at an event. It’s such wonder and spectacle and location and scale, beautiful scenery … And then on the second and third viewing, try to deconstruct it and break it down.”\u003c/p>\n\u003cp>To open\u003cem> Tenet\u003c/em> in theaters, Warner Brothers also had to bend time. The studio originally slated it to open in July, but repeatedly rescheduled the film’s release while the coronavirus pandemic shuttered cinemas around the globe. Now that theaters have reopened, \u003cem>Tenet\u003c/em> has already premiered in Australia, and opens Wednesday in Canada, South Korea, and much of Europe. Next week, it opens in select American cities, though not Los Angeles or New York. Following that will be Russia, China, Brazil, Mexico and Japan.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AZGcmvrTX9M\u003c/p>\n\u003cp>“They wanted enough available theaters to make it worth their while, that over the long term they can make their money back,” says Paul Dergarabedian, senior media analyst with Comscore. “This was not an inexpensive movie.” He says the $200 million plus movie is not the first big film to open overseas before it does domestically:\u003cem> The Avengers\u003c/em> and the \u003cem>Fast and Furious\u003c/em> franchise also opened globally first. But Dergarabedian says \u003cem>Tenet\u003c/em> is seen as the big American studio film that might lure people back to theaters around the world.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“This is an industry that’s been blind-sided by the pandemic,” Dergarabedian says. “A lot of people are saying it’s over, people are going to just stream movies now at home. That’s not true. People are going back to the movie theater, and they want to feel safe and secure doing that. And \u003cem>Tenet\u003c/em> is the big ticket, the movie that everyone has been waiting for.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Christopher Nolan, who shot \u003cem>Tenet\u003c/em> on 70 millimeter and IMAX, has long championed the cinematic experience. He made a direct pitch to China, where the film is set to open on Sept. 4. “I like nothing more than escaping to another world through the power of movies,” he said in a video for Chinese audience.” And \u003cem>Tenet\u003c/em> is our attempt to make as big a film as possible, with as immersive action as possible for the big screen.” As for U.S. audiences, there are sneak previews Aug. 30. It opens wider Sept. 3. So if you want to go back to the movies, set your timers.\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=%27Tenet%27+Opens+Internationally.+Will+Be+Shown+In+Select+U.S.+Cities+Next+Month&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s always been about timing with \u003cem>Tenet\u003c/em>. Christopher Nolan’s highly anticipated action thriller stars John David Washington as a secret agent who inverts time to try to save the world from an impending World War III.\u003c/p>\n\u003cp>His character apparently doesn’t so much time travel as bend time. The actor has told reporters he had to run and do stunts backwards for his scenes. “Don’t try to understand it, just feel it,” he said to \u003cem>ET Canada\u003c/em>, about the film’s complicated story line. “Just enjoy being in a theater and looking at an event. It’s such wonder and spectacle and location and scale, beautiful scenery … And then on the second and third viewing, try to deconstruct it and break it down.”\u003c/p>\n\u003cp>To open\u003cem> Tenet\u003c/em> in theaters, Warner Brothers also had to bend time. The studio originally slated it to open in July, but repeatedly rescheduled the film’s release while the coronavirus pandemic shuttered cinemas around the globe. Now that theaters have reopened, \u003cem>Tenet\u003c/em> has already premiered in Australia, and opens Wednesday in Canada, South Korea, and much of Europe. Next week, it opens in select American cities, though not Los Angeles or New York. Following that will be Russia, China, Brazil, Mexico and Japan.\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/AZGcmvrTX9M'\n title='//www.youtube.com/embed/AZGcmvrTX9M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“They wanted enough available theaters to make it worth their while, that over the long term they can make their money back,” says Paul Dergarabedian, senior media analyst with Comscore. “This was not an inexpensive movie.” He says the $200 million plus movie is not the first big film to open overseas before it does domestically:\u003cem> The Avengers\u003c/em> and the \u003cem>Fast and Furious\u003c/em> franchise also opened globally first. But Dergarabedian says \u003cem>Tenet\u003c/em> is seen as the big American studio film that might lure people back to theaters around the world.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“This is an industry that’s been blind-sided by the pandemic,” Dergarabedian says. “A lot of people are saying it’s over, people are going to just stream movies now at home. That’s not true. People are going back to the movie theater, and they want to feel safe and secure doing that. And \u003cem>Tenet\u003c/em> is the big ticket, the movie that everyone has been waiting for.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Christopher Nolan, who shot \u003cem>Tenet\u003c/em> on 70 millimeter and IMAX, has long championed the cinematic experience. He made a direct pitch to China, where the film is set to open on Sept. 4. “I like nothing more than escaping to another world through the power of movies,” he said in a video for Chinese audience.” And \u003cem>Tenet\u003c/em> is our attempt to make as big a film as possible, with as immersive action as possible for the big screen.” As for U.S. audiences, there are sneak previews Aug. 30. It opens wider Sept. 3. So if you want to go back to the movies, set your timers.\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=%27Tenet%27+Opens+Internationally.+Will+Be+Shown+In+Select+U.S.+Cities+Next+Month&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "At a Crossroads: SF Cinematheque’s Avant-Garde Festival Goes Online",
"headTitle": "At a Crossroads: SF Cinematheque’s Avant-Garde Festival Goes Online | KQED",
"content": "\u003cp>Eleven years after Steve Polta launched Crossroads, San Francisco Cinematheque’s annual festival of experimental film and video has established itself as one of the top stops on the avant-garde calendar. Filmgoers who crowd the Victoria Theatre and SFMOMA’s Phyllis Wattis Theater every June (in a typical year, that is) know they’re seeing the global cream of the avant-garde crop. \u003c/p>\n\u003cp>[aside postID='arts_13884924']\u003ca href=\"http://www.sfcinematheque.org/festival/crossroads-2020/\" rel=\"noopener noreferrer\" target=\"_blank\">Crossroads\u003c/a> began yesterday, with nine programs and 85 films livestreaming for free through Aug. 29. In addition, the entire lineup is online through Sept. 30.\u003c/p>\n\u003cp>The festival’s loyal audience may be surprised to learn that showing movies is not the institution’s raison d’être. “The mission of the Cinematheque is to cultivate the international field of artist-made film,” Polta says. “Presenting the festival is one of the ways we do that.”\u003c/p>\n\u003cp>The artists, consequently, have embraced the necessary transition from the SFMOMA screen to an online portal. “A lot of filmmakers are actually heartened that Crossroads is still going on, and do feel it is a way of gesturing to community,” Polta says.\u003c/p>\n\u003cp>https://vimeo.com/440844693\u003c/p>\n\u003cp>Filmmakers around the world, as well as around the country, have heard the Cinematheque’s call. That might account for Polta’s unsettling realization as he sifted through the stack of Crossroads submissions back in February. Even though they were conceived and completed before anyone had ever heard of shelter in place or social distancing, many of the films had a dystopian vibe.\u003c/p>\n\u003cp>“I was kind of panicked about it,” Polta recalls. “I said to someone, ‘These movies are so dark and dismal.’ They replied, ‘Well, you know, look around. What do you expect?’” The good news, six months into the pandemic? “The films don’t feel as bad now, compared to what’s actually happening in the world,” Polta says with a wry chuckle.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Crossroads’ appeal to filmmakers from abroad suggests that Trumpism isn’t the only source of discontent, and that a more generalized pessimism is infecting many artists in their 20s. As an antidote of sorts, Polta has bookended the festival with programs that hearken to better times. \u003c/p>\n\u003cp>The opener, “\u003ca href=\"http://www.sfcinematheque.org/video-programs/crossroads-2020-program-1/\" rel=\"noopener noreferrer\" target=\"_blank\">Ever Westward: Remembering Bruce Baillie\u003c/a>,” pays tribute to the filmmaker who birthed Cinematheque some 60 years ago on a bedsheet in a Northern California backyard. (Baillie, who died in April, was also one of the founders of the distribution cooperative Canyon Cinema.) The tribute includes his quintessential single-shot slice of summer, \u003cem>All My Life\u003c/em>, from 1966, which languidly pans across a roadside fence overgrown with flowers in front of a blue sky while Ella Fitzgerald sings with the Teddy Wilson Orchestra.\u003c/p>\n\u003cfigure id=\"attachment_13885186\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Baillie_All-My-Life_1200.jpg\" alt=\"\" width=\"1200\" height=\"894\" class=\"size-full wp-image-13885186\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Baillie_All-My-Life_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Baillie_All-My-Life_1200-800x596.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Baillie_All-My-Life_1200-1020x760.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Baillie_All-My-Life_1200-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Baillie_All-My-Life_1200-768x572.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Bruce Baillie, Still from ‘All My Life,’ 1966. \u003ccite>(SF Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Bruce was a major filmmaker affiliated with the ’60s trend of lyrical filmmaking,” Polta says. “His films are visually beautiful, they veer away from language and narrative and are about sensual encounters with life. He was alive with this ’60s counterculture thing: living in communes, living in his vehicle, traveling all through the West, and living this beatnik poet life. I think there’s something utopian in that lifestyle. You can critique it in the same way you can critique Kerouac—white male doing what he wants in the world—but there’s also something free and utopian about it, in contrast with online culture.”\u003c/p>\n\u003cp>The final program, “\u003ca href=\"http://www.sfcinematheque.org/video-programs/crossroads-2020-program-9/\" rel=\"noopener noreferrer\" target=\"_blank\">as long as there is breath\u003c/a>,” takes its title from local filmmaker Emily Chao’s redolent meditation on isolation, memory, the natural world and, as its title suggests, an open-ended future. A short, late addition to the Crossroads lineup that Chao finished while she was stuck inside like the rest of us, it is as addictive as a pop song or an Emily Dickinson poem.\u003c/p>\n\u003cp>Polta included \u003cem>All My Life\u003c/em> in “as long as there is breath” as well, surrounded by new work. “There’s a certain bittersweet celebration of freedom in the last program that echoes the freedom in the Bruce Baillie program,” Polta says. An ease and abandon that is not much present while sheltering in place, nor for that matter in pre-COVID internet culture.\u003c/p>\n\u003cp>Our experience of the virus and the last several months informs how audiences will view both individual works and entire programs, of course. Another factor is the dynamic of online viewing. Polta imagines intriguing contexts for presenting experimental and avant-garde film in the virtual space, and has some online programs in the pipeline for later this year, but the 2020 Crossroads that he envisioned and assembled was an in-person event.\u003c/p>\n\u003cfigure id=\"attachment_13885188\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Luther-Price_1200.jpg\" alt=\"\" width=\"1200\" height=\"750\" class=\"size-full wp-image-13885188\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Luther-Price_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Luther-Price_1200-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Luther-Price_1200-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Luther-Price_1200-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Luther-Price_1200-768x480.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Luther Price’s ‘A Patch of Green,’ 2004–05. \u003ccite>(SF Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“My curatorial interest is work that is sensorially immersive, and how it functions in the darkened space,” Polta explains. “Viewers agree to put themselves in a kind of submissive or receptive state to whatever’s going to happen. You’re looking at something that has a bigger-than-life scale that could be working on you in registers that are doing things to the physical mechanisms of your eyes and ears.”\u003c/p>\n\u003cp>This is especially true of experimental film, with its purposeful attention to editing rhythm, light and darkness, asynchronous sound, manipulated archival footage and onscreen text. But the phenomenon that Polta is describing applies to other big-screen motion pictures, as well.\u003c/p>\n\u003cp>“There’s something about the experience that’s unstoppable,” Polta notes. “This is not something we get when we’re viewing at home. Looking at something on a computer screen, or even a TV screen, is different. It’s not monolithic. The potential for something being overwhelming is really diminished.”\u003c/p>\n\u003cp>Yet another key element of theatrical screenings is what filmmaker Mike Hoolboom calls “a choir of attention.” There are a lot of social aspects to seeing films with lots of strangers, notably the shared experience. Polta’s approach to curating is driven in large part by how films collide with each other when screened back to back, and the cumulative effect of the individual program. \u003c/p>\n\u003cfigure id=\"attachment_13885187\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Apertures_1200.jpg\" alt=\"\" width=\"1200\" height=\"846\" class=\"size-full wp-image-13885187\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Apertures_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Apertures_1200-800x564.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Apertures_1200-1020x719.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Apertures_1200-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Apertures_1200-768x541.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Karissa Hahn’s ‘Apertures (a brighter darkness),’ 2019. \u003ccite>(SF Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“In every case you have a before and after [each film], and everybody’s going through these things together and coming out the other side,” Polta says. “I love watching the shows in that space with people. To me, it’s the big payoff for the year. And it’s not really going to be happening online.”\u003c/p>\n\u003cp>If the pandemic has encouraged us to develop one skill, it is the ability to focus our home-viewing attention when the film demands it. In my experience, there are several things about the nature of Crossroads programs—the brevity and intensity of the films, the power of poetry, the galvanizing effect of innovative techniques—that combine to grab, hold and stimulate me, wherever I’m watching.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>Crossroads 2020 is livestreaming through Aug. 29 and will be available online through Sept. 30. \u003ca href=\"http://www.sfcinematheque.org/festival/crossroads-2020/\" rel=\"noopener noreferrer\" target=\"_blank\">Details\u003cbr>\nhere\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Eleven years after Steve Polta launched Crossroads, San Francisco Cinematheque’s annual festival of experimental film and video has established itself as one of the top stops on the avant-garde calendar. Filmgoers who crowd the Victoria Theatre and SFMOMA’s Phyllis Wattis Theater every June (in a typical year, that is) know they’re seeing the global cream of the avant-garde crop. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ca href=\"http://www.sfcinematheque.org/festival/crossroads-2020/\" rel=\"noopener noreferrer\" target=\"_blank\">Crossroads\u003c/a> began yesterday, with nine programs and 85 films livestreaming for free through Aug. 29. In addition, the entire lineup is online through Sept. 30.\u003c/p>\n\u003cp>The festival’s loyal audience may be surprised to learn that showing movies is not the institution’s raison d’être. “The mission of the Cinematheque is to cultivate the international field of artist-made film,” Polta says. “Presenting the festival is one of the ways we do that.”\u003c/p>\n\u003cp>The artists, consequently, have embraced the necessary transition from the SFMOMA screen to an online portal. “A lot of filmmakers are actually heartened that Crossroads is still going on, and do feel it is a way of gesturing to community,” Polta says.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Filmmakers around the world, as well as around the country, have heard the Cinematheque’s call. That might account for Polta’s unsettling realization as he sifted through the stack of Crossroads submissions back in February. Even though they were conceived and completed before anyone had ever heard of shelter in place or social distancing, many of the films had a dystopian vibe.\u003c/p>\n\u003cp>“I was kind of panicked about it,” Polta recalls. “I said to someone, ‘These movies are so dark and dismal.’ They replied, ‘Well, you know, look around. What do you expect?’” The good news, six months into the pandemic? “The films don’t feel as bad now, compared to what’s actually happening in the world,” Polta says with a wry chuckle.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Crossroads’ appeal to filmmakers from abroad suggests that Trumpism isn’t the only source of discontent, and that a more generalized pessimism is infecting many artists in their 20s. As an antidote of sorts, Polta has bookended the festival with programs that hearken to better times. \u003c/p>\n\u003cp>The opener, “\u003ca href=\"http://www.sfcinematheque.org/video-programs/crossroads-2020-program-1/\" rel=\"noopener noreferrer\" target=\"_blank\">Ever Westward: Remembering Bruce Baillie\u003c/a>,” pays tribute to the filmmaker who birthed Cinematheque some 60 years ago on a bedsheet in a Northern California backyard. (Baillie, who died in April, was also one of the founders of the distribution cooperative Canyon Cinema.) The tribute includes his quintessential single-shot slice of summer, \u003cem>All My Life\u003c/em>, from 1966, which languidly pans across a roadside fence overgrown with flowers in front of a blue sky while Ella Fitzgerald sings with the Teddy Wilson Orchestra.\u003c/p>\n\u003cfigure id=\"attachment_13885186\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Baillie_All-My-Life_1200.jpg\" alt=\"\" width=\"1200\" height=\"894\" class=\"size-full wp-image-13885186\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Baillie_All-My-Life_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Baillie_All-My-Life_1200-800x596.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Baillie_All-My-Life_1200-1020x760.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Baillie_All-My-Life_1200-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Baillie_All-My-Life_1200-768x572.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Bruce Baillie, Still from ‘All My Life,’ 1966. \u003ccite>(SF Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Bruce was a major filmmaker affiliated with the ’60s trend of lyrical filmmaking,” Polta says. “His films are visually beautiful, they veer away from language and narrative and are about sensual encounters with life. He was alive with this ’60s counterculture thing: living in communes, living in his vehicle, traveling all through the West, and living this beatnik poet life. I think there’s something utopian in that lifestyle. You can critique it in the same way you can critique Kerouac—white male doing what he wants in the world—but there’s also something free and utopian about it, in contrast with online culture.”\u003c/p>\n\u003cp>The final program, “\u003ca href=\"http://www.sfcinematheque.org/video-programs/crossroads-2020-program-9/\" rel=\"noopener noreferrer\" target=\"_blank\">as long as there is breath\u003c/a>,” takes its title from local filmmaker Emily Chao’s redolent meditation on isolation, memory, the natural world and, as its title suggests, an open-ended future. A short, late addition to the Crossroads lineup that Chao finished while she was stuck inside like the rest of us, it is as addictive as a pop song or an Emily Dickinson poem.\u003c/p>\n\u003cp>Polta included \u003cem>All My Life\u003c/em> in “as long as there is breath” as well, surrounded by new work. “There’s a certain bittersweet celebration of freedom in the last program that echoes the freedom in the Bruce Baillie program,” Polta says. An ease and abandon that is not much present while sheltering in place, nor for that matter in pre-COVID internet culture.\u003c/p>\n\u003cp>Our experience of the virus and the last several months informs how audiences will view both individual works and entire programs, of course. Another factor is the dynamic of online viewing. Polta imagines intriguing contexts for presenting experimental and avant-garde film in the virtual space, and has some online programs in the pipeline for later this year, but the 2020 Crossroads that he envisioned and assembled was an in-person event.\u003c/p>\n\u003cfigure id=\"attachment_13885188\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Luther-Price_1200.jpg\" alt=\"\" width=\"1200\" height=\"750\" class=\"size-full wp-image-13885188\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Luther-Price_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Luther-Price_1200-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Luther-Price_1200-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Luther-Price_1200-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Luther-Price_1200-768x480.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Luther Price’s ‘A Patch of Green,’ 2004–05. \u003ccite>(SF Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“My curatorial interest is work that is sensorially immersive, and how it functions in the darkened space,” Polta explains. “Viewers agree to put themselves in a kind of submissive or receptive state to whatever’s going to happen. You’re looking at something that has a bigger-than-life scale that could be working on you in registers that are doing things to the physical mechanisms of your eyes and ears.”\u003c/p>\n\u003cp>This is especially true of experimental film, with its purposeful attention to editing rhythm, light and darkness, asynchronous sound, manipulated archival footage and onscreen text. But the phenomenon that Polta is describing applies to other big-screen motion pictures, as well.\u003c/p>\n\u003cp>“There’s something about the experience that’s unstoppable,” Polta notes. “This is not something we get when we’re viewing at home. Looking at something on a computer screen, or even a TV screen, is different. It’s not monolithic. The potential for something being overwhelming is really diminished.”\u003c/p>\n\u003cp>Yet another key element of theatrical screenings is what filmmaker Mike Hoolboom calls “a choir of attention.” There are a lot of social aspects to seeing films with lots of strangers, notably the shared experience. Polta’s approach to curating is driven in large part by how films collide with each other when screened back to back, and the cumulative effect of the individual program. \u003c/p>\n\u003cfigure id=\"attachment_13885187\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Apertures_1200.jpg\" alt=\"\" width=\"1200\" height=\"846\" class=\"size-full wp-image-13885187\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Apertures_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Apertures_1200-800x564.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Apertures_1200-1020x719.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Apertures_1200-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Apertures_1200-768x541.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Karissa Hahn’s ‘Apertures (a brighter darkness),’ 2019. \u003ccite>(SF Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“In every case you have a before and after [each film], and everybody’s going through these things together and coming out the other side,” Polta says. “I love watching the shows in that space with people. To me, it’s the big payoff for the year. And it’s not really going to be happening online.”\u003c/p>\n\u003cp>If the pandemic has encouraged us to develop one skill, it is the ability to focus our home-viewing attention when the film demands it. In my experience, there are several things about the nature of Crossroads programs—the brevity and intensity of the films, the power of poetry, the galvanizing effect of innovative techniques—that combine to grab, hold and stimulate me, wherever I’m watching.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>Crossroads 2020 is livestreaming through Aug. 29 and will be available online through Sept. 30. \u003ca href=\"http://www.sfcinematheque.org/festival/crossroads-2020/\" rel=\"noopener noreferrer\" target=\"_blank\">Details\u003cbr>\nhere\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Most people never have to explain why they enjoy going to the movies. But, Denise Decker sometimes needs to do that.\u003c/p>\n\u003cp>The retired federal worker, who lives in Washington, D.C., says some sighted people don’t understand how someone who is blind can appreciate watching film.\u003c/p>\n\u003cp>“Those of us who are vision impaired enjoy going to the movies probably as much as anyone else does and we probably go as much as some sighted people do,” she says.\u003c/p>\n\u003cp>Decker says she enjoys all types of movies, as long as it’s a “good story.” But, foreign language films that are only subtitled are not an option.\u003c/p>\n\u003cp>And dubbing wouldn’t solve the problem.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Dubbing just tells us the dialogue,” she explains. “It doesn’t tell us the surrounding actions and the other things that are taking place, maybe what the individuals are wearing, the expressions on their face, are they moving, what else is happening.”\u003c/p>\n\u003cp>The solution, Decker says, is \u003ca href=\"https://www.youtube.com/watch?v=rgRv4bSdLdU&feature=emb_rel_end\" target=\"_blank\" rel=\"noopener noreferrer\">audio description\u003c/a>: an embedded voice that translates visual imagery and action on the screen into spoken word.\u003c/p>\n\u003cp>These bits of narration play during pauses in a movie’s dialogue. Typically, one voice actor performs the description.\u003c/p>\n\u003cp>But, while almost all Hollywood films provide this inclusive feature, most non-English language movies produced overseas and distributed in the United States do not. And that prevents millions of blind and visually impaired Americans from fully appreciating many foreign pictures.\u003c/p>\n\u003cp>Around 3.4-million Americans over the age of 40 are blind or have low vision, according to the Centers for Disease Control and Prevention. The American Foundation for the Blind says 26.9-million people have experience difficulty seeing even with correction or are blind and legally blind.\u003c/p>\n\u003cp>Joel Snyder, who directs the American Council of the Blind’s audio description project suspects that this accessibility service is not included in many American releases because local distributors don’t think subtitled films are big draws at the box office.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7-XOHN2BWG4\u003c/p>\n\u003cp>He says adding audio description to a film that is not originally in English is “somewhat more complicated, but not prohibitive” to produce. It would require at least two narrators; one providing the visual explanation and another that speaks the subtitles, he explains.\u003c/p>\n\u003cp>Snyder says compared to closed-captioning, audio description is still not as well known by the general public, even though its been available in live theater and on some American movies’ VHS or DVD releases for decades.\u003c/p>\n\u003cp>And since 2017, the Americans With Disabilities Act has required movie theaters to provide audio description services when available. So, now in many cinemas, a visually impaired customer can request a headset and transmitter box that plays the descriptive track in sync with the film.\u003c/p>\n\u003cp>Streaming services also provide audio description for many of the titles on their platforms.\u003c/p>\n\u003cp>But, \u003ca href=\"https://dralegal.org/staff-members/rebecca-williford/\" target=\"_blank\" rel=\"noopener noreferrer\">Rebecca Williford\u003c/a>, managing attorney at Disability Rights Advocates in Berkeley, Calif., says it took lawsuits to make these companies offer this feature.\u003c/p>\n\u003cp>“One with Netflix and one with Hulu, where we were able to get increased audio description content on those streaming services,” Williford says. “And we were able to work out a settlement with AMC to make sure they would do things like do more frequent checks of their equipment so things like that wouldn’t ruin people’s evening at the movies.”\u003c/p>\n\u003cp>Williford did not want to weigh in on whether the ADA, which was signed into law 30-years ago, requires the American distributors of foreign films to include audio description for their US releases.\u003c/p>\n\u003cp>The unavailability of this feature for non-English language films gained some attention during this year’s Oscars, when the South Korean dark comedy \u003cem>Parasite\u003c/em> became the first subtitled movie to win Best Picture. It was this category’s only nominee that didn’t include audio description.\u003c/p>\n\u003cp>Bong Joon-ho, \u003cem>Parasite\u003c/em>‘s director, has remarked that Americans must “overcome the 1-inch-tall barrier of subtitles” so they can “be introduced to so many more amazing films.” He was perhaps unaware that his U.S. distributor, Neon, did not include audio description for the movie’s theatrical or home release.\u003c/p>\n\u003cp>Tom Quinn, Neon’s co-founder, declined NPR’s request for comment.\u003c/p>\n\u003cp>For now, the only way for America’s blind and visually impaired to overcome this film’s accessibility barrier, is to get hold of \u003cem>Parasite\u003c/em>‘s U.K. DVD release.\u003c/p>\n\u003cp>The world’s only English language descriptive track for \u003cem>Parasite\u003c/em> was written and performed by Matthew Jarman of Bad Princess Productions.\u003c/p>\n\u003cp>“English language is no indication of quality in film and if it’s about accessibility, why should you be only able to access films from one culture,” says Jarman who, with a colleague, recorded the audio description at his home studio in London.\u003c/p>\n\u003cp>“America do make a lot of films, the U.K, as well, but everybody is making films so we should be able to enjoy them all,” he adds.\u003c/p>\n\u003cp>Denise Decker hopes that \u003cem>Parasite\u003c/em>‘s success and popularity will raise awareness about the inaccessibility of foreign language films in the US.\u003c/p>\n\u003cp>And she says she does what she can to inform sighted people about the importance of audio description.\u003c/p>\n\u003cp>“Sometimes when I’m at a movie with a friend who are sighted, I’ve just taken one side of the headset and let them listen to a little of the audio description so they understand what I’m hearing while they’re watching the movie. Immediately, people say, ‘Oh yeah, I get it. I understand why it’s important to you.'”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Jason Strother is a freelance multimedia journalist based in Seoul.\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=There%27s+A+Better+Way+To+%27Dub%27+Movie+Audio+For+Visually+Impaired+Fans&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Most people never have to explain why they enjoy going to the movies. But, Denise Decker sometimes needs to do that.\u003c/p>\n\u003cp>The retired federal worker, who lives in Washington, D.C., says some sighted people don’t understand how someone who is blind can appreciate watching film.\u003c/p>\n\u003cp>“Those of us who are vision impaired enjoy going to the movies probably as much as anyone else does and we probably go as much as some sighted people do,” she says.\u003c/p>\n\u003cp>Decker says she enjoys all types of movies, as long as it’s a “good story.” But, foreign language films that are only subtitled are not an option.\u003c/p>\n\u003cp>And dubbing wouldn’t solve the problem.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Dubbing just tells us the dialogue,” she explains. “It doesn’t tell us the surrounding actions and the other things that are taking place, maybe what the individuals are wearing, the expressions on their face, are they moving, what else is happening.”\u003c/p>\n\u003cp>The solution, Decker says, is \u003ca href=\"https://www.youtube.com/watch?v=rgRv4bSdLdU&feature=emb_rel_end\" target=\"_blank\" rel=\"noopener noreferrer\">audio description\u003c/a>: an embedded voice that translates visual imagery and action on the screen into spoken word.\u003c/p>\n\u003cp>These bits of narration play during pauses in a movie’s dialogue. Typically, one voice actor performs the description.\u003c/p>\n\u003cp>But, while almost all Hollywood films provide this inclusive feature, most non-English language movies produced overseas and distributed in the United States do not. And that prevents millions of blind and visually impaired Americans from fully appreciating many foreign pictures.\u003c/p>\n\u003cp>Around 3.4-million Americans over the age of 40 are blind or have low vision, according to the Centers for Disease Control and Prevention. The American Foundation for the Blind says 26.9-million people have experience difficulty seeing even with correction or are blind and legally blind.\u003c/p>\n\u003cp>Joel Snyder, who directs the American Council of the Blind’s audio description project suspects that this accessibility service is not included in many American releases because local distributors don’t think subtitled films are big draws at the box office.\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/7-XOHN2BWG4'\n title='//www.youtube.com/embed/7-XOHN2BWG4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>He says adding audio description to a film that is not originally in English is “somewhat more complicated, but not prohibitive” to produce. It would require at least two narrators; one providing the visual explanation and another that speaks the subtitles, he explains.\u003c/p>\n\u003cp>Snyder says compared to closed-captioning, audio description is still not as well known by the general public, even though its been available in live theater and on some American movies’ VHS or DVD releases for decades.\u003c/p>\n\u003cp>And since 2017, the Americans With Disabilities Act has required movie theaters to provide audio description services when available. So, now in many cinemas, a visually impaired customer can request a headset and transmitter box that plays the descriptive track in sync with the film.\u003c/p>\n\u003cp>Streaming services also provide audio description for many of the titles on their platforms.\u003c/p>\n\u003cp>But, \u003ca href=\"https://dralegal.org/staff-members/rebecca-williford/\" target=\"_blank\" rel=\"noopener noreferrer\">Rebecca Williford\u003c/a>, managing attorney at Disability Rights Advocates in Berkeley, Calif., says it took lawsuits to make these companies offer this feature.\u003c/p>\n\u003cp>“One with Netflix and one with Hulu, where we were able to get increased audio description content on those streaming services,” Williford says. “And we were able to work out a settlement with AMC to make sure they would do things like do more frequent checks of their equipment so things like that wouldn’t ruin people’s evening at the movies.”\u003c/p>\n\u003cp>Williford did not want to weigh in on whether the ADA, which was signed into law 30-years ago, requires the American distributors of foreign films to include audio description for their US releases.\u003c/p>\n\u003cp>The unavailability of this feature for non-English language films gained some attention during this year’s Oscars, when the South Korean dark comedy \u003cem>Parasite\u003c/em> became the first subtitled movie to win Best Picture. It was this category’s only nominee that didn’t include audio description.\u003c/p>\n\u003cp>Bong Joon-ho, \u003cem>Parasite\u003c/em>‘s director, has remarked that Americans must “overcome the 1-inch-tall barrier of subtitles” so they can “be introduced to so many more amazing films.” He was perhaps unaware that his U.S. distributor, Neon, did not include audio description for the movie’s theatrical or home release.\u003c/p>\n\u003cp>Tom Quinn, Neon’s co-founder, declined NPR’s request for comment.\u003c/p>\n\u003cp>For now, the only way for America’s blind and visually impaired to overcome this film’s accessibility barrier, is to get hold of \u003cem>Parasite\u003c/em>‘s U.K. DVD release.\u003c/p>\n\u003cp>The world’s only English language descriptive track for \u003cem>Parasite\u003c/em> was written and performed by Matthew Jarman of Bad Princess Productions.\u003c/p>\n\u003cp>“English language is no indication of quality in film and if it’s about accessibility, why should you be only able to access films from one culture,” says Jarman who, with a colleague, recorded the audio description at his home studio in London.\u003c/p>\n\u003cp>“America do make a lot of films, the U.K, as well, but everybody is making films so we should be able to enjoy them all,” he adds.\u003c/p>\n\u003cp>Denise Decker hopes that \u003cem>Parasite\u003c/em>‘s success and popularity will raise awareness about the inaccessibility of foreign language films in the US.\u003c/p>\n\u003cp>And she says she does what she can to inform sighted people about the importance of audio description.\u003c/p>\n\u003cp>“Sometimes when I’m at a movie with a friend who are sighted, I’ve just taken one side of the headset and let them listen to a little of the audio description so they understand what I’m hearing while they’re watching the movie. 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"content": "\u003cp>No industry remains untouched by the economic impact of the coronavirus pandemic, and independent filmmakers, already in a precarious financial state, are no exception. Film festivals have been canceled or rerouted into streaming events; releases have been delayed; the gatherings that allow filmmakers to share ideas, resources and enthusiasm for each others’ projects are all suspended for the foreseeable future. (Will we really be flying to Park City in January 2021?) \u003c/p>\n\u003cp>[aside postID='arts_13884767']And like many industries forced to fill gaps in government spending on health care and coronavirus-related relief funds, the filmmaking community has had to step up to ensure its members can weather this global health crisis and emerge with stories to tell (and the means to do so). \u003c/p>\n\u003cp>To that end, the Center for Asian American Media, with support from the Sundance Institute, is awarding as many as \u003ca href=\"https://caamedia.org/blog/2020/08/13/caam-to-offer-emergency-grants-for-filmmakers-from-the-sundance-institute/?utm_source=MadMimi&utm_medium=email&utm_content=Apply+for+Emergency+Grants+for+Filmmakers+Made+Possible+by+Sundance+Institute&utm_campaign=20200814_m159625399_Apply+for+Emergency+Grants+For+Filmmakers+Made+Possible+By+Sundance+Institute&utm_term=here\" rel=\"noopener noreferrer\" target=\"_blank\">15 emergency grants of up to $1,000 each\u003c/a> to Asian American filmmakers with demonstrated financial needs as a result of the COVID-19 pandemic.\u003c/p>\n\u003cp>The funds come from the $1 million \u003ca href=\"https://www.sundance.org/covid19\" rel=\"noopener noreferrer\" target=\"_blank\">Sundance Institute Respond and Reimagine Plan\u003c/a>, which awarded grants directly to artists, as well as through \u003ca href=\"https://www.artistrelief.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Artist Relief\u003c/a>, and selected organizations to redistribute a remaining $405,000 to artists from historically marginalized communities. Sundance picked 39 grantees across the world, including local media orgs CAAM and Frameline.\u003c/p>\n\u003cp>Applicants for the CAAM emergency grants, among other requirements, must identify as Asian American; cannot be current students; must be directors, producers, cinematographers or editors experiencing dire financial emergencies due to the pandemic; and must have completed at least “one nonfiction film or interactive media project that was publicly exhibited in a curated and/or noncommercial environment.” \u003c/p>\n\u003cp>Applications are due by Monday, Aug. 31. \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSd8SRRSdwVwmJa9_0l_CtalDp1w7bYQKSr2SCeeLjqaZjXTEg/viewform\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>No industry remains untouched by the economic impact of the coronavirus pandemic, and independent filmmakers, already in a precarious financial state, are no exception. Film festivals have been canceled or rerouted into streaming events; releases have been delayed; the gatherings that allow filmmakers to share ideas, resources and enthusiasm for each others’ projects are all suspended for the foreseeable future. (Will we really be flying to Park City in January 2021?) \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And like many industries forced to fill gaps in government spending on health care and coronavirus-related relief funds, the filmmaking community has had to step up to ensure its members can weather this global health crisis and emerge with stories to tell (and the means to do so). \u003c/p>\n\u003cp>To that end, the Center for Asian American Media, with support from the Sundance Institute, is awarding as many as \u003ca href=\"https://caamedia.org/blog/2020/08/13/caam-to-offer-emergency-grants-for-filmmakers-from-the-sundance-institute/?utm_source=MadMimi&utm_medium=email&utm_content=Apply+for+Emergency+Grants+for+Filmmakers+Made+Possible+by+Sundance+Institute&utm_campaign=20200814_m159625399_Apply+for+Emergency+Grants+For+Filmmakers+Made+Possible+By+Sundance+Institute&utm_term=here\" rel=\"noopener noreferrer\" target=\"_blank\">15 emergency grants of up to $1,000 each\u003c/a> to Asian American filmmakers with demonstrated financial needs as a result of the COVID-19 pandemic.\u003c/p>\n\u003cp>The funds come from the $1 million \u003ca href=\"https://www.sundance.org/covid19\" rel=\"noopener noreferrer\" target=\"_blank\">Sundance Institute Respond and Reimagine Plan\u003c/a>, which awarded grants directly to artists, as well as through \u003ca href=\"https://www.artistrelief.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Artist Relief\u003c/a>, and selected organizations to redistribute a remaining $405,000 to artists from historically marginalized communities. Sundance picked 39 grantees across the world, including local media orgs CAAM and Frameline.\u003c/p>\n\u003cp>Applicants for the CAAM emergency grants, among other requirements, must identify as Asian American; cannot be current students; must be directors, producers, cinematographers or editors experiencing dire financial emergencies due to the pandemic; and must have completed at least “one nonfiction film or interactive media project that was publicly exhibited in a curated and/or noncommercial environment.” \u003c/p>\n\u003cp>Applications are due by Monday, Aug. 31. \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSd8SRRSdwVwmJa9_0l_CtalDp1w7bYQKSr2SCeeLjqaZjXTEg/viewform\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "6 Activities to Get You Through Your End-of-Summer Slump",
"headTitle": "6 Activities to Get You Through Your End-of-Summer Slump | KQED",
"content": "\u003cp>Here in the Bay Area, summer is notoriously unpredictable. Carrying around layers in case of unexpected fog is a must, and the best beach days tend to come in August and September. Unfortunately for us, the typical end-of-summer music festivals and gatherings are off because—you know. And with sheltering in place dragging on into the fifth month, you may have baked all the sourdough you can muster, cast aside aspirations to learn a new language (sorry, Duolingo) and sworn off livestreams.\u003c/p>\n\u003cp>To get you out of your late-summer slump—which, by the way, \u003ca href=\"https://www.talkspace.com/blog/august-anxiety-summer-end/\" target=\"_blank\" rel=\"noopener noreferrer\">is a thing\u003c/a> even in normal times, according to psychologists—the KQED Arts & Culture staff has come up with some fun and family-friendly activities to get your creative juices flowing.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003ch2>Snacks with Friends—and Your Community\u003c/h2>\n\u003cp>Kindergarten teachers are right, snacks and friendship are two of life’s greatest joys. Why not spread the wealth? If you live in Oakland, you may have noticed fridges full of free food popping up around the town from the activist collective Town Fridge. It’s a mutual aid effort where anyone with extra food to spare can leave it in the fridge, and anyone who needs food can take it.\u003c/p>\n\u003cp>Okay, so here’s the plan. Invite your friends for a socially distanced trip to the grocery store. Get your favorite snacks, and make sure to buy extras. Then, find a nearby park. After your squad gets a chance to catch up and eat together, drive or bike around to the Town Fridges and leave some snacks to share with the community. It’s a chance to see your pals and do a good deed. Win, win. And if you don’t live in Oakland or a city with a similar program (\u003ca href=\"https://hoodline.com/2020/07/san-francisco-s-first-community-fridge-brings-free-food-to-covid-ravaged-mission\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco has one too\u003c/a>), consider donating to a local food bank on behalf of your friend group.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>https://www.instagram.com/p/CDg2RfOhvJ9/\u003c/p>\n\u003ch2>Take Stock of the Weather\u003c/h2>\n\u003cp>In mid-May, without fanfare or explanation, director David Lynch started posting daily weather reports on his \u003ca href=\"https://www.youtube.com/c/DAVIDLYNCHTHEATER/\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube channel\u003c/a>. For those more intimately familiar with the auteur’s experimental (and often Dadaist) oeuvre, it was a return to form: In the aughts, Lynch routinely commented on the weather from the same spot in his home. There’s something innately comforting about Lynch’s steady cadence, as well as his insistence, at the end of each clip, that everyone have a great day.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Take a page from Lynch’s playbook and start off each day by remarking on its unique properties. With so much of our lives reduced to indoor, repetitive tasks, taking stock of temperatures, clouds, breezes and ambient moisture can help expand one’s sense of how today might actually be different from yesterday. New experiences! Imagine that. This Lynchian act can be as simple as poking one’s head out a window, or as complicated as setting up your own weather station.\u003cem>—Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/Eco9O7nH1vc\u003c/p>\n\u003ch2>Turn Your Daily Walk Into a Scavenger Hunt\u003c/h2>\n\u003cp>If you’re like me, you try to get outside every day for a walk. And you’re very familiar with every square foot within a half-mile radius of your house—almost to the point of boredom. I’ve started injecting some idle fun into these walks with friends or family with a Quarantine Scavenger Hunt: I’ll make identical lists of 10-15 things people could possibly see on the walk, and hand them out to each person. They’re as simple as “food on the ground” or “a bicycle in a state of disrepair,” and as convoluted as “a person who looks like they belong to the illuminati.” In fact, while making your list of items, you can utilize your knowledge of the neighborhood to surprise your contestants. (That toilet painted blue, two streets over? Add it to the list and let someone else spot it first, surprised that they actually crossed off “a blue-painted toilet.”) Think of it as a walking version of those old “Highway Bingo” games, and make sure you give a ridiculous prize to the winner who spots the most items first.\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003ch2>Feeding Wildlife\u003c/h2>\n\u003cp>When my beloved dog Besito died at the end of May, what followed were several weeks of willful laziness. Without a tiny creature in the house forcing me outside three times a day, I found myself rather unmotivated to get out and exercise. Until one Sunday, starved of animal companionship, I remembered how incredibly tame the squirrels on the UC Berkeley campus are. I armed myself with a bag of unsalted walnuts and strolled for two hours, searching for squirrels and then gleefully hand-feeding them. (If you’ve never experienced a tiny squirrel hand in yours, I cannot recommend it enough.)\u003c/p>\n\u003cp>The following weekend, I walked the perimeter of Lake Merritt, feeding raw pumpkin seeds to geese along the way. I have since escalated to picking up tubs of species-appropriate food from pet stores and feeding the turtles in Golden Gate Park’s \u003ca href=\"https://stowlakeboathouse.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Stow Lake\u003c/a>, and the lagoon at the Palace of Fine Arts. (The latter wins extra points for also introducing me to some humongous, ravenous fish who swam to the edge of the water in search of a snack.) Sadly, the gathering of about 100 pelicans I recently saw at Pier 39 had to go hungry—I’m not carrying around a bag of fish with me. Yet.\u003cem>—Rae Alexandra\u003c/em>\u003c/p>\n\u003ch2>Send a Fish in the Mail\u003c/h2>\n\u003cp>OK! Now that I have your attention, do not send a fish in the mail. However, you can send pretty much anything that you’re able to get an address and some stamps on. Tuck a letter into an old shoe and tape it up with duct tape. Repurpose an airline barf bag as an envelope. Fold up some photos and magazine cutouts into an old DVD case. Write a letter and stuff it into a used box of macaroni and cheese. The possibilities are endless!\u003c/p>\n\u003cp>It’s a testament to the dedication of the United States Postal Service that its carriers will, whenever possible, deliver the mail, no matter how creative its container. Your friends will get a kick out of it, and you’ll be supporting the post office \u003ca href=\"https://www.kqed.org/forum/2010101876981/pandemic-pushes-u-s-postal-service-toward-collapse\" target=\"_blank\" rel=\"noopener noreferrer\">when it needs it most\u003c/a>. Just don’t send a fish to your friend in a manila envelope during the hottest month of the year. The post office will deliver it all the way to the door slot of your friend’s house, and your friend might have just left town for a few days, and then when they get back home their entire house will reek of decaying flesh. Not that I’d know know anything about that!\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13884813\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13884813\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/ZAK02893-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/ZAK02893-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/ZAK02893-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/ZAK02893-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/ZAK02893-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/ZAK02893-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/ZAK02893.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Growing houseplants from foraged cuttings is a satisfying hobby. \u003ccite>(Urmila Ramakrishnan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Forage and Become a Botanist\u003c/h2>\n\u003cp>Notice a pretty plant you really want on your daily walk? Bring a scissors along and take a cutting of it (as long as it’s not a state or national park). You don’t need to pay $350 for that potted monstera. Instead, through plant swaps or online portals, you can get cuttings for free or really cheap. When taking a cutting, make sure to cut where there is a node, or where there are leaves. You’ll take that, take off the leaves at the node and put it into a jar of water. You’ll want to top off the jar every day and change the water every couple of days. Soon, you’ll have glass jars all around your humble abode, filled with cool art-like plants with visible roots.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>If you’re ready to get dirty, the cuttings should be ready to plant when there looks like there are substantial roots growing. For those who are culinarily inclined, you can do this with herbs too.\u003cem>—Urmila Ramakrishnan\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Here in the Bay Area, summer is notoriously unpredictable. Carrying around layers in case of unexpected fog is a must, and the best beach days tend to come in August and September. Unfortunately for us, the typical end-of-summer music festivals and gatherings are off because—you know. And with sheltering in place dragging on into the fifth month, you may have baked all the sourdough you can muster, cast aside aspirations to learn a new language (sorry, Duolingo) and sworn off livestreams.\u003c/p>\n\u003cp>To get you out of your late-summer slump—which, by the way, \u003ca href=\"https://www.talkspace.com/blog/august-anxiety-summer-end/\" target=\"_blank\" rel=\"noopener noreferrer\">is a thing\u003c/a> even in normal times, according to psychologists—the KQED Arts & Culture staff has come up with some fun and family-friendly activities to get your creative juices flowing.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003ch2>Snacks with Friends—and Your Community\u003c/h2>\n\u003cp>Kindergarten teachers are right, snacks and friendship are two of life’s greatest joys. Why not spread the wealth? If you live in Oakland, you may have noticed fridges full of free food popping up around the town from the activist collective Town Fridge. It’s a mutual aid effort where anyone with extra food to spare can leave it in the fridge, and anyone who needs food can take it.\u003c/p>\n\u003cp>Okay, so here’s the plan. Invite your friends for a socially distanced trip to the grocery store. Get your favorite snacks, and make sure to buy extras. Then, find a nearby park. After your squad gets a chance to catch up and eat together, drive or bike around to the Town Fridges and leave some snacks to share with the community. It’s a chance to see your pals and do a good deed. Win, win. And if you don’t live in Oakland or a city with a similar program (\u003ca href=\"https://hoodline.com/2020/07/san-francisco-s-first-community-fridge-brings-free-food-to-covid-ravaged-mission\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco has one too\u003c/a>), consider donating to a local food bank on behalf of your friend group.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ch2>Take Stock of the Weather\u003c/h2>\n\u003cp>In mid-May, without fanfare or explanation, director David Lynch started posting daily weather reports on his \u003ca href=\"https://www.youtube.com/c/DAVIDLYNCHTHEATER/\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube channel\u003c/a>. For those more intimately familiar with the auteur’s experimental (and often Dadaist) oeuvre, it was a return to form: In the aughts, Lynch routinely commented on the weather from the same spot in his home. There’s something innately comforting about Lynch’s steady cadence, as well as his insistence, at the end of each clip, that everyone have a great day.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Take a page from Lynch’s playbook and start off each day by remarking on its unique properties. With so much of our lives reduced to indoor, repetitive tasks, taking stock of temperatures, clouds, breezes and ambient moisture can help expand one’s sense of how today might actually be different from yesterday. New experiences! Imagine that. This Lynchian act can be as simple as poking one’s head out a window, or as complicated as setting up your own weather station.\u003cem>—Sarah Hotchkiss\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Eco9O7nH1vc'\n title='//www.youtube.com/embed/Eco9O7nH1vc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Turn Your Daily Walk Into a Scavenger Hunt\u003c/h2>\n\u003cp>If you’re like me, you try to get outside every day for a walk. And you’re very familiar with every square foot within a half-mile radius of your house—almost to the point of boredom. I’ve started injecting some idle fun into these walks with friends or family with a Quarantine Scavenger Hunt: I’ll make identical lists of 10-15 things people could possibly see on the walk, and hand them out to each person. They’re as simple as “food on the ground” or “a bicycle in a state of disrepair,” and as convoluted as “a person who looks like they belong to the illuminati.” In fact, while making your list of items, you can utilize your knowledge of the neighborhood to surprise your contestants. (That toilet painted blue, two streets over? Add it to the list and let someone else spot it first, surprised that they actually crossed off “a blue-painted toilet.”) Think of it as a walking version of those old “Highway Bingo” games, and make sure you give a ridiculous prize to the winner who spots the most items first.\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003ch2>Feeding Wildlife\u003c/h2>\n\u003cp>When my beloved dog Besito died at the end of May, what followed were several weeks of willful laziness. Without a tiny creature in the house forcing me outside three times a day, I found myself rather unmotivated to get out and exercise. Until one Sunday, starved of animal companionship, I remembered how incredibly tame the squirrels on the UC Berkeley campus are. I armed myself with a bag of unsalted walnuts and strolled for two hours, searching for squirrels and then gleefully hand-feeding them. (If you’ve never experienced a tiny squirrel hand in yours, I cannot recommend it enough.)\u003c/p>\n\u003cp>The following weekend, I walked the perimeter of Lake Merritt, feeding raw pumpkin seeds to geese along the way. I have since escalated to picking up tubs of species-appropriate food from pet stores and feeding the turtles in Golden Gate Park’s \u003ca href=\"https://stowlakeboathouse.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Stow Lake\u003c/a>, and the lagoon at the Palace of Fine Arts. (The latter wins extra points for also introducing me to some humongous, ravenous fish who swam to the edge of the water in search of a snack.) Sadly, the gathering of about 100 pelicans I recently saw at Pier 39 had to go hungry—I’m not carrying around a bag of fish with me. Yet.\u003cem>—Rae Alexandra\u003c/em>\u003c/p>\n\u003ch2>Send a Fish in the Mail\u003c/h2>\n\u003cp>OK! Now that I have your attention, do not send a fish in the mail. However, you can send pretty much anything that you’re able to get an address and some stamps on. Tuck a letter into an old shoe and tape it up with duct tape. Repurpose an airline barf bag as an envelope. Fold up some photos and magazine cutouts into an old DVD case. Write a letter and stuff it into a used box of macaroni and cheese. The possibilities are endless!\u003c/p>\n\u003cp>It’s a testament to the dedication of the United States Postal Service that its carriers will, whenever possible, deliver the mail, no matter how creative its container. Your friends will get a kick out of it, and you’ll be supporting the post office \u003ca href=\"https://www.kqed.org/forum/2010101876981/pandemic-pushes-u-s-postal-service-toward-collapse\" target=\"_blank\" rel=\"noopener noreferrer\">when it needs it most\u003c/a>. Just don’t send a fish to your friend in a manila envelope during the hottest month of the year. The post office will deliver it all the way to the door slot of your friend’s house, and your friend might have just left town for a few days, and then when they get back home their entire house will reek of decaying flesh. Not that I’d know know anything about that!\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13884813\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13884813\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/ZAK02893-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/ZAK02893-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/ZAK02893-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/ZAK02893-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/ZAK02893-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/ZAK02893-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/ZAK02893.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Growing houseplants from foraged cuttings is a satisfying hobby. \u003ccite>(Urmila Ramakrishnan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Forage and Become a Botanist\u003c/h2>\n\u003cp>Notice a pretty plant you really want on your daily walk? Bring a scissors along and take a cutting of it (as long as it’s not a state or national park). You don’t need to pay $350 for that potted monstera. Instead, through plant swaps or online portals, you can get cuttings for free or really cheap. When taking a cutting, make sure to cut where there is a node, or where there are leaves. You’ll take that, take off the leaves at the node and put it into a jar of water. You’ll want to top off the jar every day and change the water every couple of days. Soon, you’ll have glass jars all around your humble abode, filled with cool art-like plants with visible roots.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If you’re ready to get dirty, the cuttings should be ready to plant when there looks like there are substantial roots growing. For those who are culinarily inclined, you can do this with herbs too.\u003cem>—Urmila Ramakrishnan\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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},
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"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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