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"content": "\u003cp>It happened last night. A video from \u003cem>Wonder Woman\u003c/em>‘s Gal Gadot and a host of her celebrity chums, all singing John Lennon’s “Imagine.” The end result is so useless and cringeworthy, it wouldn’t be unreasonable to describe it as weaponized thoughts and prayers.\u003c/p>\n\u003cp>Welcome to the nightmare:\u003c/p>\n\u003cp>https://www.instagram.com/p/B95M4kNhbzz/\u003c/p>\n\u003cp>The montage has everything! Sarah Silverman trying to be sincere! Zoë Kravitz fresh from a nap and wondering what she’s doing here! Sia missing the point entirely and just screaming at everyone! (It’s not a competition, Sia!) James Marsden and Amy Adams feeling really pleased they finally have a reason to sing in public! Mark Ruffalo singing for the first time ever! (In his whole life, apparently!) And, of course, Gal Gadot bookending the entire thing with her most rehearsed smug face!\u003c/p>\n\u003cp>The video was swiftly \u003ca href=\"https://twitter.com/joshgondelman/status/1240642905947148289\" target=\"_blank\" rel=\"noopener noreferrer\">destroyed on Twitter\u003c/a> and no wonder. If anything is going to make the world feel infinitely worse right now, it’s Will Ferrell, Kristen Wiig and Maya Rudolph \u003cem>not\u003c/em> being funny. (Not to mention the fact that it’s \u003ca href=\"https://www.nytimes.com/2020/03/18/us/coronavirus-testing-elite.html\" target=\"_blank\" rel=\"noopener noreferrer\">becoming abundantly clear\u003c/a> that famous people have more access to coronavirus testing and treatment than the rest of us plebeians.)\u003c/p>\n\u003cp>[aside postID='arts_13876876,arts_13876925,arts_13876781' label='How To Deal']\u003c/p>\n\u003cp>Sadly, “Imagine” is not the only time this week that celebrities trying to be useful in the age of coronavirus has made us want to smash something. Inside our homes. Where we do everything now.\u003c/p>\n\u003cp>Vanessa Hudgens got things off to \u003ca href=\"https://news.sky.com/story/coronavirus-vanessa-hudgens-criticised-for-heartless-comments-on-pandemic-11959421\" target=\"_blank\" rel=\"noopener noreferrer\">a raging start\u003c/a> when she hit Instagram live to say that quarantine was “a bunch of bullshit,” and “It’s a virus, I get it, like, I respect it, but at the same time I’m like, even if everybody gets it, like yeah, people are going to die, which is terrible but like, inevitable?” (She apologized the next day, \u003cem>but like\u003c/em>, \u003cem>whatever\u003c/em>.)\u003c/p>\n\u003cp>On top of that massive blunder, we’ve had Britney telling us it’s important to “stay with people”(!) and offering up a yoga pose a day “for inspiration for men and children and women around the world.”\u003c/p>\n\u003cp>https://www.instagram.com/p/B94z3sEAFEh/\u003c/p>\n\u003cp>We’ve had Jared Leto pretending to be too cool to notice a global crisis. (Go back to \u003ca href=\"https://www.kqed.org/arts/13865555/thirty-seconds-to-mars-jared-leto-started-a-cult-because-of-course-he-did\" target=\"_blank\" rel=\"noopener noreferrer\">your cult, Leto\u003c/a>!)\u003c/p>\n\u003cp>https://www.instagram.com/p/B90q7dpAnHW/\u003c/p>\n\u003cp>We’ve had Naomi Campbell scaring the crap out of everyone in this airport, with an outfit she “\u003ca href=\"https://www.instagram.com/p/B9ksdqbnb9G/\" target=\"_blank\" rel=\"noopener noreferrer\">bought on Amazon 6 six weeks ago\u003c/a>.”\u003c/p>\n\u003cp>https://www.instagram.com/p/B9kwcbPnFPo/\u003c/p>\n\u003cp>We’ve had Arnold Schwarzenegger reminding us that, while you were fighting over that last jar of pasta sauce in Safeway a couple of days ago, he was hanging out in his jacuzzi and \u003ca href=\"https://www.instagram.com/p/B9x0m3FAFnS/\" target=\"_blank\" rel=\"noopener noreferrer\">feeding his miniature ponies\u003c/a> all the fresh food you can’t find.\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=6&v=4HtpM7XvUnQ&feature=emb_logo\u003c/p>\n\u003cp>We’ve had Judi Dench doing (for the love of God!) \u003cem>Cats\u003c/em> stuff with her mate Gyles Brandreth, while washing their hands as creepily as possible.\u003c/p>\n\u003cp>https://twitter.com/GylesB1/status/1239482467691696129\u003c/p>\n\u003cp>We’ve had Gwyneth Paltrow trying to act like she knows how to deal with all this because she died in a movie about a pandemic once.\u003c/p>\n\u003cp>https://www.instagram.com/p/B9BxGPqFfpw/\u003c/p>\n\u003cp>And we’ve had Bono force close-ups of his wispy facial hair on us, like he forced that album onto our iTunes accounts back in ’14.\u003c/p>\n\u003cp>https://www.instagram.com/p/B92YsciHcUu/\u003c/p>\n\u003cp>If celebrities truly want to be a source of comfort in this time of woe, they could use their mountains of wealth to assist the many thousands of people in this country who just lost their only sources of income.\u003c/p>\n\u003cp>If they want to stick to entertainment, screw “Imagine.” The greatest contribution to lockdown entertainment this week came on Tuesday night after Seth Rogen decided to get stoned and live-tweet \u003cem>Cats\u003c/em>. If you haven’t already seen \u003ca href=\"https://twitter.com/Sethrogen/status/1240122704226811906\" target=\"_blank\" rel=\"noopener noreferrer\">the resulting thread\u003c/a>, just know that it’s the most joy you’ll find online this week. If celebs want to help us without spending any money, it would behoove them to all take a leaf out of Rogen’s book.\u003c/p>\n\u003cp>We’ll leave you with some highlights…\u003c/p>\n\u003cp>https://twitter.com/Sethrogen/status/1240122704226811906\u003c/p>\n\u003cp>https://twitter.com/Sethrogen/status/1240124956601696258\u003c/p>\n\u003cp>https://twitter.com/Sethrogen/status/1240126222224539648\u003c/p>\n\u003cp>https://twitter.com/Sethrogen/status/1240127631653306375\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cp>Of the Universal classic monsters—Dracula, Frankenstein, The Wolf Man, The Mummy, et al.—The Invisible Man is by far the most destructive, the most psychotic, and, not coincidentally, the most recognizably human of them all. (As played by Claude Rains, he’s also the wittiest.) When a man doesn’t have to look at himself in the mirror, he divorces himself from the moral accountability that curbs his worst instincts. Arrogance and contempt are his defining character traits, and invisibility has the effect of weaponizing them, because his scientific genius has both isolated him from other people and heightened his superiority complex. \u003c/p>\n\u003cp>With his ingenious updating of \u003cem>The Invisible Man\u003c/em>, writer-director Leigh Whannell changes perspective from the mad scientist to the terrified victim he’s stalking, which effectively turns the film into \u003cem>Gaslight\u003c/em> with a horror twist. And with an actress of Elisabeth Moss’ caliber in the lead role, the film has a psychological realism that’s unusual for the genre, with Moss playing a woman who’s withstanding a form of domestic abuse that may have a supernatural component, but feels sickeningly familiar in many respects. Invisibility has the effect of elevating a person’s worst instincts, so it follows that the manipulation and torment she experiences is just a more extreme version of common behaviors. \u003c/p>\n\u003cp>https://youtu.be/dSBsNeYqh-k\u003c/p>\n\u003cp>The brilliant opening sequence underlines this theme by removing all science fiction from the equation. In the middle of the night, Cecelia (Moss) slips away from the bed she shares with her scientist husband Adrian (Oliver Jackson-Cohen) and carries out a plan to leave him for good. There are obstacles to the plan, like the lonely cliffside location of their house and the high-tech security he’s installed as much to keep her in as to keep intruders out. But at this point in the film, Adrian is still a visible menace and Cecelia has to dash out into the night to escape him, as if this was an ordinary case of domestic battery. \u003c/p>\n\u003cp>Except it’s not remotely ordinary. Cecelia has her sister Emily (Harriet Dyer) drop her off at the house of an old friend, James (Aldis Hodge), a well-built policeman who offers her protection and allows her to bunk with his daughter (Storm Reid). Cecelia can hardly bring herself to leave the house until she gets word from Emily that Adrian has committed suicide and that she’s due for a multi-million dollar payoff from his brother (Michael Dorman), a lawyer who’s managing his sizable estate. Yet she cannot shake the feeling that Adrian is still present, due to a series of events that are minor at first—a grease fire in the kitchen, a misplaced set of plans—but soon turn violent. And it always looks like she’s responsible: Who else could have done these awful things? \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Whannell came to Hollywood as a writer partner to director James Wan, a fellow Australian, and the two hit it big with the original \u003cem>Saw\u003c/em> movie, \u003cem>Dead Silence\u003c/em>, and the \u003cem>Insidious\u003c/em> franchise, but as Wan graduated to big-budget affairs like \u003cem>The Conjuring\u003c/em>, \u003cem>Furious 7\u003c/em>, and \u003cem>Aquaman\u003c/em>, Whannel has stayed in the genre trenches. The third \u003cem>Insidious\u003c/em> film was his directorial debut, but he made a huge leap with \u003cem>Upgrade\u003c/em>, a gripping low-budget thriller that suggested David Cronenberg, \u003cem>The Matrix\u003c/em>, Ozploitation, and Hong Kong action cinema all rolled into one. \u003cem>The Invisible Man\u003c/em> has the same pulp qualities of his other work, but with a more sophisticated deployment of effects, with a lot of patient scene-building and an active, insinuating camera. \u003c/p>\n\u003cp>As Cecelia gets pushed to the brink of madness—as much by not be believed as being stalked—Whannell gives the suspense set pieces plenty of room to breathe and take on a paranoid flavor. Moss and the camera are co-conspirators in horror: She imagines Adrian watching her silently from some empty corner of a room and the camera seems to affirm her worst fears, suggesting a presence through odd angles and pans across the space. Where another actor might look foolish swatting and wrestling thin air, Moss sells it as part of the overall choreography between an immensely powerful, destructive husband and a wife struggling to leverage control over a desperate situation. \u003c/p>\n\u003cp>Whannell hasn’t sorted through some of the stickier elements of the plot—the film substitutes horror logic for logic-logic—and \u003cem>The Invisible Man \u003c/em>can occasionally feel like a dressed-up version of ’90s domestic violence thrillers like \u003cem>Sleeping with the Enemy\u003c/em> or \u003cem>Unlawful Entry\u003c/em>. Yet with Universal trying and failure to revivify the monsters in its vault with stinkers like \u003cem>The Mummy\u003c/em> and \u003cem>Dracula Untold\u003c/em>, Whannell has succeeded by deemphasizing blockbuster effects and engaging with an old monster in a new way. He’s created an invisible man for 2020 while still embracing the foundational terrors of 1933.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2020 \u003ca href=\"http://npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Of the Universal classic monsters—Dracula, Frankenstein, The Wolf Man, The Mummy, et al.—The Invisible Man is by far the most destructive, the most psychotic, and, not coincidentally, the most recognizably human of them all. (As played by Claude Rains, he’s also the wittiest.) When a man doesn’t have to look at himself in the mirror, he divorces himself from the moral accountability that curbs his worst instincts. Arrogance and contempt are his defining character traits, and invisibility has the effect of weaponizing them, because his scientific genius has both isolated him from other people and heightened his superiority complex. \u003c/p>\n\u003cp>With his ingenious updating of \u003cem>The Invisible Man\u003c/em>, writer-director Leigh Whannell changes perspective from the mad scientist to the terrified victim he’s stalking, which effectively turns the film into \u003cem>Gaslight\u003c/em> with a horror twist. And with an actress of Elisabeth Moss’ caliber in the lead role, the film has a psychological realism that’s unusual for the genre, with Moss playing a woman who’s withstanding a form of domestic abuse that may have a supernatural component, but feels sickeningly familiar in many respects. Invisibility has the effect of elevating a person’s worst instincts, so it follows that the manipulation and torment she experiences is just a more extreme version of common behaviors. \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/dSBsNeYqh-k'\n title='//www.youtube.com/embed/dSBsNeYqh-k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The brilliant opening sequence underlines this theme by removing all science fiction from the equation. In the middle of the night, Cecelia (Moss) slips away from the bed she shares with her scientist husband Adrian (Oliver Jackson-Cohen) and carries out a plan to leave him for good. There are obstacles to the plan, like the lonely cliffside location of their house and the high-tech security he’s installed as much to keep her in as to keep intruders out. But at this point in the film, Adrian is still a visible menace and Cecelia has to dash out into the night to escape him, as if this was an ordinary case of domestic battery. \u003c/p>\n\u003cp>Except it’s not remotely ordinary. Cecelia has her sister Emily (Harriet Dyer) drop her off at the house of an old friend, James (Aldis Hodge), a well-built policeman who offers her protection and allows her to bunk with his daughter (Storm Reid). Cecelia can hardly bring herself to leave the house until she gets word from Emily that Adrian has committed suicide and that she’s due for a multi-million dollar payoff from his brother (Michael Dorman), a lawyer who’s managing his sizable estate. Yet she cannot shake the feeling that Adrian is still present, due to a series of events that are minor at first—a grease fire in the kitchen, a misplaced set of plans—but soon turn violent. And it always looks like she’s responsible: Who else could have done these awful things? \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Whannell came to Hollywood as a writer partner to director James Wan, a fellow Australian, and the two hit it big with the original \u003cem>Saw\u003c/em> movie, \u003cem>Dead Silence\u003c/em>, and the \u003cem>Insidious\u003c/em> franchise, but as Wan graduated to big-budget affairs like \u003cem>The Conjuring\u003c/em>, \u003cem>Furious 7\u003c/em>, and \u003cem>Aquaman\u003c/em>, Whannel has stayed in the genre trenches. The third \u003cem>Insidious\u003c/em> film was his directorial debut, but he made a huge leap with \u003cem>Upgrade\u003c/em>, a gripping low-budget thriller that suggested David Cronenberg, \u003cem>The Matrix\u003c/em>, Ozploitation, and Hong Kong action cinema all rolled into one. \u003cem>The Invisible Man\u003c/em> has the same pulp qualities of his other work, but with a more sophisticated deployment of effects, with a lot of patient scene-building and an active, insinuating camera. \u003c/p>\n\u003cp>As Cecelia gets pushed to the brink of madness—as much by not be believed as being stalked—Whannell gives the suspense set pieces plenty of room to breathe and take on a paranoid flavor. Moss and the camera are co-conspirators in horror: She imagines Adrian watching her silently from some empty corner of a room and the camera seems to affirm her worst fears, suggesting a presence through odd angles and pans across the space. Where another actor might look foolish swatting and wrestling thin air, Moss sells it as part of the overall choreography between an immensely powerful, destructive husband and a wife struggling to leverage control over a desperate situation. \u003c/p>\n\u003cp>Whannell hasn’t sorted through some of the stickier elements of the plot—the film substitutes horror logic for logic-logic—and \u003cem>The Invisible Man \u003c/em>can occasionally feel like a dressed-up version of ’90s domestic violence thrillers like \u003cem>Sleeping with the Enemy\u003c/em> or \u003cem>Unlawful Entry\u003c/em>. Yet with Universal trying and failure to revivify the monsters in its vault with stinkers like \u003cem>The Mummy\u003c/em> and \u003cem>Dracula Untold\u003c/em>, Whannell has succeeded by deemphasizing blockbuster effects and engaging with an old monster in a new way. He’s created an invisible man for 2020 while still embracing the foundational terrors of 1933.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2020 \u003ca href=\"http://npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Local filmmaker Molly Stuart’s character-driven feature debut, \u003cem>Objector\u003c/em>, like most documentaries, is an act of commitment, optimism and resistance. Stuart’s doggedness and sacrifice, though, pale next to that of her subject. \u003cem>Objector\u003c/em>, screening Sunday afternoon, March 1 in the Jewish Film Institute’s annual weekend \u003ca href=\"https://jfi.org/year-round/winterfest-2020\" rel=\"noopener noreferrer\" target=\"_blank\">WinterFest\u003c/a> (Feb. 29–March 1 at the Vogue), traces the personal journey and public criticism of Israeli teenager Atalya Ben-Abba, who challenges her family’s expectations and her society’s norms by declining mandatory military service.\u003c/p>\n\u003cp>The JFI, whose primary event is the summer San Francisco Jewish Film Festival, is one of a handful of Bay Area film titans who you might have noticed present out-of-season mini-bashes. The Silent Film Festival is another, and the Mill Valley Film Festival initiated an annual springtime documentary fest a few years ago. SFFILM, in addition to the SFFILM Festival, has for many years presented contemporary surveys of national cinemas in the fall.\u003c/p>\n\u003cp>Good movies are released year-round, of course, and the best justification for off-season expansion is that some films demand to be seen now rather than later. \u003cem>Objector\u003c/em> is Exhibit A—if, that is, one believes Netanyahu (and Trump) have an iota of interest in peace. If you don’t, \u003cem>Objector\u003c/em> may seem less urgent, and Atalya’s high-stakes act of conscience more quixotic than inspiring.\u003c/p>\n\u003cp>https://vimeo.com/330097421\u003c/p>\n\u003cp>The WinterFest lineup is dominated by nonfiction, which feels like something of a public service at the present time. You can tell by the title if you want to see \u003cem>Oliver Sacks: His Own Life\u003c/em>, Ric Burns’ behind-the-scenes portrait, and \u003cem>Bully, Coward, Victim. The Story of Roy Cohn\u003c/em>, made for HBO by Ethel and Julius Rosenberg’s granddaughter, Ivy Meeropol.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Dramatizing real events in a narrative film is a high-wire proposition, one that writer-director Yaron Zilberman pulls off flawlessly in \u003cem>Incitement\u003c/em>. This mesmerizing movie, which won Israel’s top awards and was its official submission for the recent Oscars, follows observant Jewish law student Yigal Amir (Yehuda Nahari in a simultaneously appealing and repellent performance) as he gradually, inexorably becomes more radicalized by right-wing rhetoric and leaders. The camera is practically on Amir’s shoulder all the way until the moment he shoots Prime Minister Yitzhak Rabin.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If you can only see one selection at WinterFest, and you are remotely a fan of nuanced European films, do not miss the understated Hungarian drama \u003cem>Those Who Remained\u003c/em>. Barnabás Tóth’s tale of the unlikely friendship between a resentful teenager and a doctor who’s a shell of his former self—both of whom lost their families at the hands of the Nazis—is sensitive, subtle and profound. \u003cem>Those Who Remained\u003c/em> will open in the spring, but it’s well worth seeing now rather than later. One discerns in it the spirit of resistance, at the present time.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Local filmmaker Molly Stuart’s character-driven feature debut, \u003cem>Objector\u003c/em>, like most documentaries, is an act of commitment, optimism and resistance. Stuart’s doggedness and sacrifice, though, pale next to that of her subject. \u003cem>Objector\u003c/em>, screening Sunday afternoon, March 1 in the Jewish Film Institute’s annual weekend \u003ca href=\"https://jfi.org/year-round/winterfest-2020\" rel=\"noopener noreferrer\" target=\"_blank\">WinterFest\u003c/a> (Feb. 29–March 1 at the Vogue), traces the personal journey and public criticism of Israeli teenager Atalya Ben-Abba, who challenges her family’s expectations and her society’s norms by declining mandatory military service.\u003c/p>\n\u003cp>The JFI, whose primary event is the summer San Francisco Jewish Film Festival, is one of a handful of Bay Area film titans who you might have noticed present out-of-season mini-bashes. The Silent Film Festival is another, and the Mill Valley Film Festival initiated an annual springtime documentary fest a few years ago. SFFILM, in addition to the SFFILM Festival, has for many years presented contemporary surveys of national cinemas in the fall.\u003c/p>\n\u003cp>Good movies are released year-round, of course, and the best justification for off-season expansion is that some films demand to be seen now rather than later. \u003cem>Objector\u003c/em> is Exhibit A—if, that is, one believes Netanyahu (and Trump) have an iota of interest in peace. If you don’t, \u003cem>Objector\u003c/em> may seem less urgent, and Atalya’s high-stakes act of conscience more quixotic than inspiring.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Dramatizing real events in a narrative film is a high-wire proposition, one that writer-director Yaron Zilberman pulls off flawlessly in \u003cem>Incitement\u003c/em>. This mesmerizing movie, which won Israel’s top awards and was its official submission for the recent Oscars, follows observant Jewish law student Yigal Amir (Yehuda Nahari in a simultaneously appealing and repellent performance) as he gradually, inexorably becomes more radicalized by right-wing rhetoric and leaders. The camera is practically on Amir’s shoulder all the way until the moment he shoots Prime Minister Yitzhak Rabin.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If you can only see one selection at WinterFest, and you are remotely a fan of nuanced European films, do not miss the understated Hungarian drama \u003cem>Those Who Remained\u003c/em>. Barnabás Tóth’s tale of the unlikely friendship between a resentful teenager and a doctor who’s a shell of his former self—both of whom lost their families at the hands of the Nazis—is sensitive, subtle and profound. \u003cem>Those Who Remained\u003c/em> will open in the spring, but it’s well worth seeing now rather than later. One discerns in it the spirit of resistance, at the present time.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When the movie of the year is about class struggle, what are the most effective ways to communicate a socially conscious message in Hollywood? At this year’s Academy Awards, Natalie Portman showed up in a Dior cape with the names of female directors snubbed by the Academy embroidered in the lining as a “subtle” way of honoring her cause. While she was trying to add to an existing conversation about gender inequality in Hollywood, the statement itself didn’t quite land.\u003c/p>\n\u003cp>https://twitter.com/AmyKinLA/status/1226661824994480131\u003c/p>\n\u003cp>Initially lauded as a tasteful nod to all the women whose work was passed over for best picture, the conversation quickly changed once people turned the spotlight on Portman’s own working history in the film industry. Critics were quick to point out that in her own career, Portman has only worked with a handful of female directors. To those commentators, the embroidered gown was an attention-seeking virtue-signal rather than a sign of solidarity.\u003c/p>\n\u003cp>In this vein, actress Rose McGowan called the dress “\u003ca href=\"https://www.theguardian.com/film/2020/feb/12/rose-mcgowan-natalie-portman-oscars-dress-protest-female-directors\" rel=\"noopener noreferrer\" target=\"_blank\">deeply offensive\u003c/a>.” Portman responded in a statement, saying that her attempts to work with more women throughout her career never came to fruition, which she described as an invisible “ghost history.” McGowan \u003ca href=\"https://www.theguardian.com/film/2020/feb/18/rose-mcgowan-natalie-portman-oscars-dress-protest\" rel=\"noopener noreferrer\" target=\"_blank\">later apologized\u003c/a> for her initial criticism, saying she “lost sight of the bigger picture.”\u003c/p>\n\u003cp>Buried in the past week-and-a-half of breathless coverage about two disagreeing celebrities is the real story: subtle gestures are no match for unsubtle problems. Best picture winner \u003cem>Parasite\u003c/em>, a thriller that was as politically charged as it was entertaining, proved that audiences and critics alike want to see social issues addressed in pop culture.\u003c/p>\n\u003cfigure id=\"attachment_13875186\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/parasite-The-Kim-Family-Woo-sik-Choi-Kang-ho-Song-Hye-jin-Jang-So-dam-Park-in-Parasite_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13875186\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/parasite-The-Kim-Family-Woo-sik-Choi-Kang-ho-Song-Hye-jin-Jang-So-dam-Park-in-Parasite_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/parasite-The-Kim-Family-Woo-sik-Choi-Kang-ho-Song-Hye-jin-Jang-So-dam-Park-in-Parasite_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/parasite-The-Kim-Family-Woo-sik-Choi-Kang-ho-Song-Hye-jin-Jang-So-dam-Park-in-Parasite_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/parasite-The-Kim-Family-Woo-sik-Choi-Kang-ho-Song-Hye-jin-Jang-So-dam-Park-in-Parasite_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/parasite-The-Kim-Family-Woo-sik-Choi-Kang-ho-Song-Hye-jin-Jang-So-dam-Park-in-Parasite_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The Kim Family (Woo-sik Choi, Kang-ho Song, Hye-jin Jang, So-dam Park) in a still from ‘Parasite.’ \u003ccite>(Courtesy of NEON CJ Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And yet, how effective are political statements at awards ceremonies themselves? The Academy Awards are an anachronistic celebration of wealth, privilege and institutional tradition at a time when income inequality in the United States is the \u003ca href=\"https://markets.businessinsider.com/news/stocks/income-inequality-reached-highest-level-ever-recorded-in-2018-2019-9-1028559996\" rel=\"noopener noreferrer\" target=\"_blank\">highest it’s been in over 50 years\u003c/a>. A \u003ca href=\"https://www.theguardian.com/film/2017/feb/25/oscars-2017-how-much-does-hollywood-biggest-party-cost-earn\" rel=\"noopener noreferrer\" target=\"_blank\">financial report\u003c/a> reveals that $44 million was spent on the 2017 Oscars “and related activities.” That’s not to mention other expenses, like the infamous “goodie bags” \u003ca href=\"https://www.forbes.com/sites/hayleycuccinello/2020/02/01/215000-oscars-2020-gift-bag/#5f8a4163be7d\" rel=\"noopener noreferrer\" target=\"_blank\">estimated\u003c/a> to cost about $255,000 each this year.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But stars can’t help themselves. In part as a way to direct a portion of those vast resources to something other than self-celebration, actors have occasionally used the visibility of the Oscars as a platform to champion personal causes or make political statements, to varying degrees of success. Joaquin Phoenix talked about climate change and veganism in his best actor \u003ca href=\"https://www.hollywoodreporter.com/news/transcript-joaquin-phoenixs-speech-at-2020-oscars-1278278\" rel=\"noopener noreferrer\" target=\"_blank\">acceptance speech\u003c/a>; Brad Pitt \u003ca href=\"https://oscar.go.com/news/2020/brad-pitt-is-the-2020-oscar-winner-for-actor-in-a-supporting-role\" rel=\"noopener noreferrer\" target=\"_blank\">criticized\u003c/a> the Senate Republicans for not letting John Bolton testify.\u003c/p>\n\u003cp>Politics aren’t only confined to award winners. On the red carpet, stars take stands on myriad issues, where fashion can turn paparazzi shots into powerful images. In solidarity with sexual assault victims at the \u003ca href=\"https://www.vanityfair.com/style/2018/01/golden-globes-2018-red-carpet-times-up\" rel=\"noopener noreferrer\" target=\"_blank\">2018 Golden Globes\u003c/a>, female celebrities rejected the tradition of red-carpet fashion by wearing exclusively black gowns. They turned an event typically centered around scrutinizing women’s bodies and clothing choices into a political statement.\u003c/p>\n\u003cfigure id=\"attachment_13875181\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/GoldenGlobes2018_1200.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13875181\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/GoldenGlobes2018_1200.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/GoldenGlobes2018_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/GoldenGlobes2018_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/GoldenGlobes2018_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/GoldenGlobes2018_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Actor Meryl Streep, activist Ai-jen Poo, actor Natalie Portman, activist Tarana Burke, actor Michelle Williams, actor America Ferrera, actor Jessica Chastain, actor Amy Poehler, and activist Saru Jayaraman attend 19th Annual Post-Golden Globes Party at The Beverly Hilton Hotel on Jan. 7, 2018. \u003ccite>(Photo by Frazer Harrison/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Director Bong Joon Ho’s \u003cem>Parasite\u003c/em> brought extra scrutiny to the optics of class and celebrity at this year’s Oscars. The film, about the wealth inequality between two South Korean families, took four categories, including the first best picture awarded to a non-English language film. About the uncomfortable lengths a poor family will go to for a chance at a better life, \u003cem>Parasite\u003c/em> highlights the way money protects people from making morally questionable decisions (by rendering them oblivious to others’ needs). \u003c/p>\n\u003cp>Just as a well-made film doesn’t necessarily undermine its socially conscious message, a flashy designer garment can still speak volumes. Communicating through clothing takes advantage of the scrutiny red carpet outfits typically attract. But the most effective arguments are attention-grabbing, loud and impossible to misunderstand. \u003c/p>\n\u003cp>When Lena Waithe wore a trailing rainbow cape to the “Heavenly Bodies: Fashion at and the Catholic Imagination” Met Gala in 2018, it was a bold statement that resonated with people all over the world. A custom \u003ca href=\"https://www.vogue.com/article/lena-waithe-pride-cape-met-gala-story-behind\" rel=\"noopener noreferrer\" target=\"_blank\">Carolina Herrera\u003c/a> suit isn’t a form of protest accessible to everyone (or anyone, really). But that doesn’t make the photos of a woman defiantly representing her identity in the midst of its complicated relationship with the Catholic church any less powerful. \u003c/p>\n\u003cp>Waithe’s outfit wasn’t merely improved by its message; it was the message. The cohesion of her argument and its visual execution made the outfit a resounding statement. In contrast, Natalie Portman relegated her feminist argument to the edge of a cape. The women directors’ names appeared as a stitched-on afterthought, as though the cause wasn’t worth the dedication of an entire outfit. To many, it seemed like the feminist message was secondary to Portman’s desire to wear a nice dress.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Parasite\u003c/em>’s win is not only big because it’s the first non-English language picture, but because it proves great movies can be darkly funny, satirical, dramatic and heartfelt while also dealing in pressing issues of the day. It shows that social critique has a place in Hollywood, and that even if there are occasional missteps, the spotlight is a worthwhile place for continuing important conversations. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Initially lauded as a tasteful nod to all the women whose work was passed over for best picture, the conversation quickly changed once people turned the spotlight on Portman’s own working history in the film industry. Critics were quick to point out that in her own career, Portman has only worked with a handful of female directors. To those commentators, the embroidered gown was an attention-seeking virtue-signal rather than a sign of solidarity.\u003c/p>\n\u003cp>In this vein, actress Rose McGowan called the dress “\u003ca href=\"https://www.theguardian.com/film/2020/feb/12/rose-mcgowan-natalie-portman-oscars-dress-protest-female-directors\" rel=\"noopener noreferrer\" target=\"_blank\">deeply offensive\u003c/a>.” Portman responded in a statement, saying that her attempts to work with more women throughout her career never came to fruition, which she described as an invisible “ghost history.” McGowan \u003ca href=\"https://www.theguardian.com/film/2020/feb/18/rose-mcgowan-natalie-portman-oscars-dress-protest\" rel=\"noopener noreferrer\" target=\"_blank\">later apologized\u003c/a> for her initial criticism, saying she “lost sight of the bigger picture.”\u003c/p>\n\u003cp>Buried in the past week-and-a-half of breathless coverage about two disagreeing celebrities is the real story: subtle gestures are no match for unsubtle problems. Best picture winner \u003cem>Parasite\u003c/em>, a thriller that was as politically charged as it was entertaining, proved that audiences and critics alike want to see social issues addressed in pop culture.\u003c/p>\n\u003cfigure id=\"attachment_13875186\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/parasite-The-Kim-Family-Woo-sik-Choi-Kang-ho-Song-Hye-jin-Jang-So-dam-Park-in-Parasite_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13875186\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/parasite-The-Kim-Family-Woo-sik-Choi-Kang-ho-Song-Hye-jin-Jang-So-dam-Park-in-Parasite_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/parasite-The-Kim-Family-Woo-sik-Choi-Kang-ho-Song-Hye-jin-Jang-So-dam-Park-in-Parasite_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/parasite-The-Kim-Family-Woo-sik-Choi-Kang-ho-Song-Hye-jin-Jang-So-dam-Park-in-Parasite_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/parasite-The-Kim-Family-Woo-sik-Choi-Kang-ho-Song-Hye-jin-Jang-So-dam-Park-in-Parasite_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/parasite-The-Kim-Family-Woo-sik-Choi-Kang-ho-Song-Hye-jin-Jang-So-dam-Park-in-Parasite_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The Kim Family (Woo-sik Choi, Kang-ho Song, Hye-jin Jang, So-dam Park) in a still from ‘Parasite.’ \u003ccite>(Courtesy of NEON CJ Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And yet, how effective are political statements at awards ceremonies themselves? The Academy Awards are an anachronistic celebration of wealth, privilege and institutional tradition at a time when income inequality in the United States is the \u003ca href=\"https://markets.businessinsider.com/news/stocks/income-inequality-reached-highest-level-ever-recorded-in-2018-2019-9-1028559996\" rel=\"noopener noreferrer\" target=\"_blank\">highest it’s been in over 50 years\u003c/a>. A \u003ca href=\"https://www.theguardian.com/film/2017/feb/25/oscars-2017-how-much-does-hollywood-biggest-party-cost-earn\" rel=\"noopener noreferrer\" target=\"_blank\">financial report\u003c/a> reveals that $44 million was spent on the 2017 Oscars “and related activities.” That’s not to mention other expenses, like the infamous “goodie bags” \u003ca href=\"https://www.forbes.com/sites/hayleycuccinello/2020/02/01/215000-oscars-2020-gift-bag/#5f8a4163be7d\" rel=\"noopener noreferrer\" target=\"_blank\">estimated\u003c/a> to cost about $255,000 each this year.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But stars can’t help themselves. In part as a way to direct a portion of those vast resources to something other than self-celebration, actors have occasionally used the visibility of the Oscars as a platform to champion personal causes or make political statements, to varying degrees of success. Joaquin Phoenix talked about climate change and veganism in his best actor \u003ca href=\"https://www.hollywoodreporter.com/news/transcript-joaquin-phoenixs-speech-at-2020-oscars-1278278\" rel=\"noopener noreferrer\" target=\"_blank\">acceptance speech\u003c/a>; Brad Pitt \u003ca href=\"https://oscar.go.com/news/2020/brad-pitt-is-the-2020-oscar-winner-for-actor-in-a-supporting-role\" rel=\"noopener noreferrer\" target=\"_blank\">criticized\u003c/a> the Senate Republicans for not letting John Bolton testify.\u003c/p>\n\u003cp>Politics aren’t only confined to award winners. On the red carpet, stars take stands on myriad issues, where fashion can turn paparazzi shots into powerful images. In solidarity with sexual assault victims at the \u003ca href=\"https://www.vanityfair.com/style/2018/01/golden-globes-2018-red-carpet-times-up\" rel=\"noopener noreferrer\" target=\"_blank\">2018 Golden Globes\u003c/a>, female celebrities rejected the tradition of red-carpet fashion by wearing exclusively black gowns. They turned an event typically centered around scrutinizing women’s bodies and clothing choices into a political statement.\u003c/p>\n\u003cfigure id=\"attachment_13875181\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/GoldenGlobes2018_1200.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13875181\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/GoldenGlobes2018_1200.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/GoldenGlobes2018_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/GoldenGlobes2018_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/GoldenGlobes2018_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/GoldenGlobes2018_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Actor Meryl Streep, activist Ai-jen Poo, actor Natalie Portman, activist Tarana Burke, actor Michelle Williams, actor America Ferrera, actor Jessica Chastain, actor Amy Poehler, and activist Saru Jayaraman attend 19th Annual Post-Golden Globes Party at The Beverly Hilton Hotel on Jan. 7, 2018. \u003ccite>(Photo by Frazer Harrison/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Director Bong Joon Ho’s \u003cem>Parasite\u003c/em> brought extra scrutiny to the optics of class and celebrity at this year’s Oscars. The film, about the wealth inequality between two South Korean families, took four categories, including the first best picture awarded to a non-English language film. About the uncomfortable lengths a poor family will go to for a chance at a better life, \u003cem>Parasite\u003c/em> highlights the way money protects people from making morally questionable decisions (by rendering them oblivious to others’ needs). \u003c/p>\n\u003cp>Just as a well-made film doesn’t necessarily undermine its socially conscious message, a flashy designer garment can still speak volumes. Communicating through clothing takes advantage of the scrutiny red carpet outfits typically attract. But the most effective arguments are attention-grabbing, loud and impossible to misunderstand. \u003c/p>\n\u003cp>When Lena Waithe wore a trailing rainbow cape to the “Heavenly Bodies: Fashion at and the Catholic Imagination” Met Gala in 2018, it was a bold statement that resonated with people all over the world. A custom \u003ca href=\"https://www.vogue.com/article/lena-waithe-pride-cape-met-gala-story-behind\" rel=\"noopener noreferrer\" target=\"_blank\">Carolina Herrera\u003c/a> suit isn’t a form of protest accessible to everyone (or anyone, really). But that doesn’t make the photos of a woman defiantly representing her identity in the midst of its complicated relationship with the Catholic church any less powerful. \u003c/p>\n\u003cp>Waithe’s outfit wasn’t merely improved by its message; it was the message. The cohesion of her argument and its visual execution made the outfit a resounding statement. In contrast, Natalie Portman relegated her feminist argument to the edge of a cape. The women directors’ names appeared as a stitched-on afterthought, as though the cause wasn’t worth the dedication of an entire outfit. To many, it seemed like the feminist message was secondary to Portman’s desire to wear a nice dress.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Parasite\u003c/em>’s win is not only big because it’s the first non-English language picture, but because it proves great movies can be darkly funny, satirical, dramatic and heartfelt while also dealing in pressing issues of the day. It shows that social critique has a place in Hollywood, and that even if there are occasional missteps, the spotlight is a worthwhile place for continuing important conversations. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Imagine that an art house director created stop-motion animation while on copious amounts of hallucinogens of every nightmare you’ve ever had, then threw some extra-creepy animals in the mix, just because. Now you have some idea of the visceral nature of \u003ca href=\"https://www.imdb.com/name/nm0840905/?ref_=fn_al_nm_1\" target=\"_blank\" rel=\"noopener noreferrer\">Jan Švankmajer\u003c/a>‘s vision of \u003cem>Alice in Wonderland—\u003c/em>but to believe it, you kind of have to see it.\u003c/p>\n\u003cp>Masterminded by the Czech multimedia artist in 1988, this extra-surreal take on the Lewis Carroll classic starts with a taxidermy rabbit cutting itself open with scissors, bleeding sawdust and biting through steel nails. And it only gets more odd from there.\u003c/p>\n\u003cp>Alice’s adventure begins after she follows that teeth-gnashing rabbit up a hill and through a desk drawer. (It’s best not to ask…) Later, when she becomes small, she transforms into the kind of terrifying baby doll last seen in the alternative music videos of the 1990s (see in particular: \u003ca href=\"https://www.youtube.com/watch?v=uU1ANLb4QPY\" target=\"_blank\" rel=\"noopener noreferrer\">Babes in Toyland\u003c/a>.) It is bizarre and compulsive viewing.\u003c/p>\n\u003cp>To explain in detail the excess of imagery, minimal dialogue and overarching sense of echoing otherworldliness present throughout this production would only spoil it. But if you must have a taste, here’s one involving a fish footman, a frog with human eyes and tongue, and a lot of smashed crockery.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2bUUOXOWXnY\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At the Alamo Drafthouse, this special screening of \u003cem>Alice\u003c/em> is sponsored by Amoeba Music and comes with a drag pre-show from \u003ca href=\"https://www.facebook.com/MediaMeltdownSF\" target=\"_blank\" rel=\"noopener noreferrer\">Media Meltdown\u003c/a>—a group that’s equal parts weird and wonderland. Expect nothing but the unexpected. —\u003cem>Rae Alexandra\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Imagine that an art house director created stop-motion animation while on copious amounts of hallucinogens of every nightmare you’ve ever had, then threw some extra-creepy animals in the mix, just because. Now you have some idea of the visceral nature of \u003ca href=\"https://www.imdb.com/name/nm0840905/?ref_=fn_al_nm_1\" target=\"_blank\" rel=\"noopener noreferrer\">Jan Švankmajer\u003c/a>‘s vision of \u003cem>Alice in Wonderland—\u003c/em>but to believe it, you kind of have to see it.\u003c/p>\n\u003cp>Masterminded by the Czech multimedia artist in 1988, this extra-surreal take on the Lewis Carroll classic starts with a taxidermy rabbit cutting itself open with scissors, bleeding sawdust and biting through steel nails. And it only gets more odd from there.\u003c/p>\n\u003cp>Alice’s adventure begins after she follows that teeth-gnashing rabbit up a hill and through a desk drawer. (It’s best not to ask…) Later, when she becomes small, she transforms into the kind of terrifying baby doll last seen in the alternative music videos of the 1990s (see in particular: \u003ca href=\"https://www.youtube.com/watch?v=uU1ANLb4QPY\" target=\"_blank\" rel=\"noopener noreferrer\">Babes in Toyland\u003c/a>.) It is bizarre and compulsive viewing.\u003c/p>\n\u003cp>To explain in detail the excess of imagery, minimal dialogue and overarching sense of echoing otherworldliness present throughout this production would only spoil it. But if you must have a taste, here’s one involving a fish footman, a frog with human eyes and tongue, and a lot of smashed crockery.\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/2bUUOXOWXnY'\n title='//www.youtube.com/embed/2bUUOXOWXnY'\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>\u003c/p>\n\u003cp>At the Alamo Drafthouse, this special screening of \u003cem>Alice\u003c/em> is sponsored by Amoeba Music and comes with a drag pre-show from \u003ca href=\"https://www.facebook.com/MediaMeltdownSF\" target=\"_blank\" rel=\"noopener noreferrer\">Media Meltdown\u003c/a>—a group that’s equal parts weird and wonderland. Expect nothing but the unexpected. —\u003cem>Rae Alexandra\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! The Empire Strikes Back at Mostly British Film Festival",
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"content": "\u003cp>It’s been at least half a century since one could credibly say, “The sun never sets on the British empire.” Yet the British film industry has successfully maintained its status and reach, notwithstanding some fallow periods. Did you know that four of the actors and actresses nominated for this year’s Oscars hail from the former U.K.? It’ll take a lot more than Brexit to dethrone the Brits from hard-won screen stardom.\u003c/p>\n\u003cp>But like every national cinema, only a fraction of British films score U.S. distribution. The annual \u003ca href=\"http://mostlybritish.org\" rel=\"noopener noreferrer\" target=\"_blank\">Mostly British Film Festival\u003c/a>, at the Vogue Feb. 13–20, specializes in the lower-profile movies—adult films, one could say—that U.S. audiences generally don’t see: Intimate relationship dramas, small-gauge character studies, gritty directorial debuts.\u003c/p>\n\u003cp>A prime example is \u003cem>Mrs Lowry and Son\u003c/em> (no period, if you please), an interiors-heavy study of the fraught bond between the painter L. S. Lowry (Timothy Spall) and his mother (Vanessa Redgrave). Claire McCarthy’s \u003cem>Ophelia\u003c/em> also boasts an alluring cast, with Naomi Watts and Clive Owen providing stellar support to young lovers Daisy Ridley (\u003cem>Star Wars\u003c/em>) and George MacKay (\u003cem>1917\u003c/em>).\u003c/p>\n\u003cfigure id=\"attachment_13874666\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/BAIT-photo.jpg\" alt=\"\" width=\"1200\" height=\"827\" class=\"size-full wp-image-13874666\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/BAIT-photo.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/BAIT-photo-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/BAIT-photo-800x551.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/BAIT-photo-768x529.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/BAIT-photo-1020x703.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Mark Jenkin’s ‘Bait.’ \u003ccite>(Courtesy of Mostly British Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cornwall documentary veteran Mark Jenkin received top prizes at both the BAFTAs and British Independent Film Awards for \u003cem>Bait\u003c/em>, his realism-steeped, black-and-white drama about a fisherman displaced by his brother’s pursuit of tourism dollars. Ken Loach’s latest bleak saga of working-class heroes, \u003cem>Sorry We Missed You\u003c/em>, traces the travails of a Newcastle couple ensnared (willingly, at first) by the entrepreneurial glories of the gig economy.\u003c/p>\n\u003cp>If blows against the empire aren’t your cuppa, perhaps rock the commonwealth is. The New Zealand musical romance \u003cem>Daffodils\u003c/em> sets its roller-coaster, ’60s-to-’80s love story to the lilting beat of old-school pop songs. It’s not all tea and roses, mind you, but plenty of toe-tapping chart-toppers were inspired by a breakup.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s been at least half a century since one could credibly say, “The sun never sets on the British empire.” Yet the British film industry has successfully maintained its status and reach, notwithstanding some fallow periods. Did you know that four of the actors and actresses nominated for this year’s Oscars hail from the former U.K.? It’ll take a lot more than Brexit to dethrone the Brits from hard-won screen stardom.\u003c/p>\n\u003cp>But like every national cinema, only a fraction of British films score U.S. distribution. The annual \u003ca href=\"http://mostlybritish.org\" rel=\"noopener noreferrer\" target=\"_blank\">Mostly British Film Festival\u003c/a>, at the Vogue Feb. 13–20, specializes in the lower-profile movies—adult films, one could say—that U.S. audiences generally don’t see: Intimate relationship dramas, small-gauge character studies, gritty directorial debuts.\u003c/p>\n\u003cp>A prime example is \u003cem>Mrs Lowry and Son\u003c/em> (no period, if you please), an interiors-heavy study of the fraught bond between the painter L. S. Lowry (Timothy Spall) and his mother (Vanessa Redgrave). Claire McCarthy’s \u003cem>Ophelia\u003c/em> also boasts an alluring cast, with Naomi Watts and Clive Owen providing stellar support to young lovers Daisy Ridley (\u003cem>Star Wars\u003c/em>) and George MacKay (\u003cem>1917\u003c/em>).\u003c/p>\n\u003cfigure id=\"attachment_13874666\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/BAIT-photo.jpg\" alt=\"\" width=\"1200\" height=\"827\" class=\"size-full wp-image-13874666\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/BAIT-photo.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/BAIT-photo-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/BAIT-photo-800x551.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/BAIT-photo-768x529.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/BAIT-photo-1020x703.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Mark Jenkin’s ‘Bait.’ \u003ccite>(Courtesy of Mostly British Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cornwall documentary veteran Mark Jenkin received top prizes at both the BAFTAs and British Independent Film Awards for \u003cem>Bait\u003c/em>, his realism-steeped, black-and-white drama about a fisherman displaced by his brother’s pursuit of tourism dollars. Ken Loach’s latest bleak saga of working-class heroes, \u003cem>Sorry We Missed You\u003c/em>, traces the travails of a Newcastle couple ensnared (willingly, at first) by the entrepreneurial glories of the gig economy.\u003c/p>\n\u003cp>If blows against the empire aren’t your cuppa, perhaps rock the commonwealth is. The New Zealand musical romance \u003cem>Daffodils\u003c/em> sets its roller-coaster, ’60s-to-’80s love story to the lilting beat of old-school pop songs. It’s not all tea and roses, mind you, but plenty of toe-tapping chart-toppers were inspired by a breakup.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>At Sunday’s Oscars, on a night when almost everything went as planned and as usual, the one true surprise came in the biggest moment of all.\u003c/p>\n\u003cp>For the first time ever, a film in a foreign language won best picture when Bong Joon-ho’s \u003ca href=\"https://www.npr.org/2019/10/10/768638368/parasite-hooks-you-with-its-emotional-power-and-extraordinary-cunning\">\u003cem>Parasite\u003c/em>,\u003c/a> a comedy-drama-thriller about class and secrets, took the big prize. \u003ca href=\"https://www.npr.org/2019/12/10/785090210/parasite-director-bong-joon-ho-wanted-to-reflect-the-truth-of-current-times\">Bong\u003c/a> also won the awards for best director and best original screenplay. He delivered three warm and generous speeches, including one when he won for his directing and thanked fellow nominees Martin Scorsese and Quentin Tarantino for inspiring him and boosting his career, respectively. (He acknowledged Sam Mendes and Todd Phillips, too.)\u003c/p>\n\u003cp>And, while he gave most of his speeches in Korean with interpreter Sharon Choi, when he won the first one, he stopped and noted in English: “This is very first Oscar to South Korea.” The affection in the room for the film was evident every time it was mentioned, as well as in its strong haul of awards (though it absurdly landed not a single nomination for its uniformly excellent cast).\u003c/p>\n\u003cp>The evening began three and a half hours earlier with a combination of the old and the new: the kind of themed singing-dancing number that used to be the typical Oscars opening, but in the absence of a traditional host, it was performed by the thoroughly modern Janelle Monáe. A version of her own song “Come Alive” was accompanied by dancers dressed in costumes saluting not just nominated films like \u003ca href=\"https://www.npr.org/2019/10/03/765082771/joker-is-wild-ly-dull\">\u003cem>Joker\u003c/em>,\u003c/a> but also conspicuously snubbed ones — several of them, but not all, from black filmmakers — including \u003ca href=\"https://www.npr.org/2019/03/21/705470655/when-you-meet-the-enemy-and-it-is-us\">\u003cem>Us\u003c/em>,\u003c/a> \u003ca href=\"https://www.npr.org/2019/11/27/782574993/a-first-date-turns-into-a-stylish-nightmare-in-queen-slim\">\u003cem>Queen and Slim\u003c/em>,\u003c/a> \u003ca href=\"https://www.npr.org/2019/10/06/765150318/a-breezy-look-at-the-making-of-a-blaxploitation-classic-dolemite-is-my-name\">\u003cem>Dolemite Is My Name\u003c/em>\u003c/a> and \u003ca href=\"https://www.npr.org/2019/07/03/738422258/midsommar-shines-a-solstice-nightmare-unfolds-in-broad-daylight\">\u003cem>Midsommar\u003c/em>.\u003c/a> The monologue that followed, however, was much more creaky and awkward, despite the best efforts of Chris Rock and Steve Martin (the latter of whom regrettably blew the name of best actress nominee Cynthia Erivo).\u003c/p>\n\u003cp>The awards in general, and the ones this season in general, have been heavily criticized for how white the nominees are, the failure to nominate any women directors in a year when several made highly regarded films, and plenty of other shortfalls in inclusivity. The Academy’s discomfort with that criticism seemed evident: There may not have been a lot of performers of color among the nominees, but there were a lot among the presenters and speakers and performers. Several presenters — as well as Monáe in her opening number — made mention of the limitations at issue, which is the kind of thing that happens when people are placed in a situation they don’t want to ignore but also aren’t there to challenge \u003cem>too\u003c/em> much.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One new inclusion was a land acknowledgment — a custom that’s commonly observed in other places, including Canada, at cultural events (I’ve personally seen them at the Toronto International Film Festival). In this case, it was writer-director \u003ca href=\"https://www.npr.org/2019/10/18/771219868/director-taika-waititi-on-jojo-rabbit\">Taika Waititi,\u003c/a> nominated for\u003ca href=\"https://www.npr.org/2019/10/17/770262214/jojo-rabbit-your-reich-is-calling\"> \u003cem>Jojo Rabbit\u003c/em>,\u003c/a> who read an acknowledgment of the indigenous people who have lived on the land where the event — in this case, the Academy Awards — takes place. Whether this gesture will be followed up by any action as to the broadening of the Academy’s taste remains, of course, to be seen.\u003c/p>\n\u003cp>\u003cem>Parasite\u003c/em>‘s win for best picture stood out particularly because almost all of the other awards that had seemed likely to go a particular way did: Legendary cinematographer \u003ca href=\"https://www.wbur.org/hereandnow/2019/12/26/1917-world-war-i-cinematography\">Roger Deakins\u003c/a> won for his work on \u003ca href=\"https://www.npr.org/2019/12/24/790207374/1917-is-gripping-visceral-and-strangely-beautiful\">\u003cem>1917\u003c/em>,\u003c/a> the WWI film engineered to look like a \u003ca href=\"https://www.npr.org/2020/02/09/802248145/who-needs-high-tech-film-editing-when-theres-the-thrill-of-the-single-shot\">continuous shot. \u003c/a>Film editing is often a precursor to other big awards, and this year the winners were the editors of racing drama \u003ca href=\"https://www.npr.org/2019/11/14/777254954/ford-v-ferrari-will-get-your-heart-racing\">\u003cem>Ford v. Ferrari\u003c/em>.\u003c/a> \u003cem>Parasite \u003c/em>had been expected to win (or at least to contend strongly) in the categories of best international feature film and for Bong Joon-ho’s original screenplay. Waititi was a favorite for best adapted screenplay, which he won.\u003c/p>\n\u003cp>The acting awards this year had heavy favorites going into the ceremony: Joaquin Phoenix as best actor in \u003ca href=\"https://www.npr.org/2019/10/02/766529122/in-joker-joaquin-phoenix-gives-a-big-performance-in-a-flat-film\">\u003cem>Joker\u003c/em>, \u003c/a>Renée Zellweger as best actress in \u003ca href=\"https://www.npr.org/2019/09/26/764642573/ren-e-zellweger-dazzles-in-a-go-for-broke-portrayal-of-judy-garland\">\u003cem>Judy\u003c/em>,\u003c/a> Brad Pitt as best supporting actor in \u003ca href=\"https://www.npr.org/2019/07/25/744189964/tarantinos-turned-on-tuned-in-tinseltown-once-upon-a-time-in-hollywood\">\u003cem>Once Upon a Time in Hollywood\u003c/em> \u003c/a>and Laura Dern as best supporting actress in \u003ca href=\"https://www.npr.org/2019/11/14/775397877/a-couple-faces-the-painful-end-of-the-line-in-marriage-story\">\u003cem>Marriage Story.\u003c/em>\u003c/a> They all won. Most of them said about what you might expect (although Phoenix surprised many of us by adding to his speech about fighting injustice a mention of the cruelty of artificially inseminating cows and then stealing their offspring, while Zellweger listed many of her heroes in a speech that matched his, meander for meander).\u003c/p>\n\u003cp>The lower-profile (but critical) behind-the-scenes awards were spread across a bunch of films. Best production design went to Quentin Tarantino’s \u003cem>Once Upon a Time in Hollywood\u003c/em>, which re-created the late-’70s L.A. landscape and aesthetic with a lot of loving attention. \u003ca href=\"https://www.npr.org/2019/12/20/789740628/little-women-again-greta-gerwig-s-adaptation-is-both-faithful-and-radical\">\u003cem>Little Women\u003c/em>\u003c/a>\u003cem> \u003c/em>won its only award of the night for Jacqueline Durran’s costume design, full of beautiful dresses both fancy and not. The transformation of actors into familiar faces from the news won an award for the hair and makeup team from \u003ca href=\"https://www.npr.org/2019/12/12/787112042/bombshell-imitates-but-fails-to-enlighten\">\u003cem>Bombshell\u003c/em>.\u003c/a> The sound editing award went to \u003cem>Ford v. Ferrari\u003c/em> and both sound mixing and visual effects went to \u003cem>1917\u003c/em>.\u003c/p>\n\u003cp>The non-surprises kept coming: \u003ca href=\"https://www.npr.org/2019/06/19/733908788/to-infinity-and-be-done-after-4-films-have-we-finally-outgrown-toy-story\">\u003cem>Toy Story 4\u003c/em>\u003c/a>\u003cem> \u003c/em>won best animated feature. Best documentary feature was awarded to \u003ca href=\"https://www.npr.org/2019/08/23/753109643/work-cultures-clash-when-a-chinese-company-reopens-an-american-factory\">\u003cem>American Factory\u003c/em>,\u003c/a> which boasts Barack and Michelle Obama as producers and which comes from Netflix. \u003ca href=\"https://www.npr.org/local/309/2020/02/06/802739449/animated-short-hair-love-brings-diverse-storytelling-to-the-oscars\">\u003cem>Hair Love\u003c/em>,\u003c/a> a lovely film about a father learning to do his daughter’s hair for the first time, written and directed by Matthew A. Cherry, won best animated short, and Cherry dedicated the award to Kobe Bryant: “May we all have a second act as great as his was.” Best live action short film went to \u003cem>The Neighbor’s Window\u003c/em>, and best documentary short subject went to \u003cem>Learning to Skateboard in a Warzone (If You’re a Girl)\u003c/em>.\u003c/p>\n\u003cp>The nominated \u003ca href=\"https://www.npr.org/2020/02/07/803636380/the-2020-oscars-best-original-song-nominees-cruelly-ranked\">best original songs\u003c/a> were performed on stage as usual. Introducer Josh Gad had some fun pointing out that Idina Menzel’s name is “pronounced exactly as it’s spelled” (take that, John Travolta) before she performed “Into the Unknown” from\u003ca href=\"https://www.npr.org/2019/11/20/779284364/frozen-ii-lets-it-go-darker\"> \u003cem>Frozen 2\u003c/em>\u003c/a>. Menzel was joined by some of the singers who have performed the song in other languages in one of the evening’s better innovations. Chrissy Metz performed “I’m Standing With You” from \u003cem>Breakthrough\u003c/em>, accompanied by the choir that’s nearly obligatory. Randy Newman performed “I Can’t Let You Throw Yourself Away” from \u003cem>Toy Story 4\u003c/em>, and Cynthia Erivo (also nominated for best actress) performed the song “Stand Up (From \u003cem>Harriet\u003c/em>),” which, as its title suggests, is from \u003cem>Harriet\u003c/em>. Elton John performed “(I’m Gonna) Love Me Again” from\u003ca href=\"https://www.npr.org/2019/05/31/728226594/elton-john-biopic-rocketman-is-a-surprising-song-and-dance-spectacular\"> \u003cem>Rocketman\u003c/em>,\u003c/a> seemingly hamstrung by a bad sound mix.\u003c/p>\n\u003cp>When they’d all been heard, “I’m Gonna Love Me Again” was victorious. Hildur Guðnadóttir won best original score for her work on \u003cem>Joker\u003c/em>.\u003c/p>\n\u003cp>The musical moment you probably would not have expected — because, really, who could? — was that actor Anthony Ramos introduced Lin-Manuel Miranda; Lin-Manuel Miranda introduced a montage saluting the music used in movies over many decades; and that montage led to Eminem performing the Oscar-winning “Lose Yourself” from \u003cem>8 Mile\u003c/em>, to which the audience responded rapturously. It wasn’t an obvious move to throw in that performance, given that it’s not celebrating any kind of round-numbered anniversary; it won at the 2003 ceremony, though Eminem didn’t perform it then. But it made people happy and got the crowd going like nothing else did all evening except \u003cem>Parasite \u003c/em>winning awards, and there’s something to be said for that. Not long after, there was a recap rap from Utkarsh Ambudkar, an actor who appeared this year in \u003ca href=\"https://www.npr.org/2019/08/22/752755460/a-fun-but-familiar-story-of-making-yourself-over-in-brittany-runs-a-marathon\">\u003cem>Brittany Runs a Marathon\u003c/em>,\u003c/a> reminding everyone what had happened so far. That’s a lot of rap for an Oscars ceremony.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Last year’s ceremony also went without a host, and it wound up being dominated by the actual wins and losses. That made big nights for \u003ca href=\"https://www.npr.org/2018/11/21/669234619/green-book-offers-by-the-book-uplift\">\u003cem>Green Book \u003c/em>\u003c/a>and \u003ca href=\"https://www.npr.org/2018/11/01/660969118/no-bed-of-roses-no-pleasure-cruise-bohemian-rhapsody\">\u003cem>Bohemian Rhapsody\u003c/em>, \u003c/a>neither of which seemed to excite the crowd, very disappointing. But this year, the fact that there’s good feeling around so many different films — and enormous respect and love for both \u003cem>Parasite \u003c/em>and Bong Joon-ho — means that this ceremony fared much better. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=At+The+Oscars%2C+%27Parasite%27+Makes+Best+Picture+History&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At Sunday’s Oscars, on a night when almost everything went as planned and as usual, the one true surprise came in the biggest moment of all.\u003c/p>\n\u003cp>For the first time ever, a film in a foreign language won best picture when Bong Joon-ho’s \u003ca href=\"https://www.npr.org/2019/10/10/768638368/parasite-hooks-you-with-its-emotional-power-and-extraordinary-cunning\">\u003cem>Parasite\u003c/em>,\u003c/a> a comedy-drama-thriller about class and secrets, took the big prize. \u003ca href=\"https://www.npr.org/2019/12/10/785090210/parasite-director-bong-joon-ho-wanted-to-reflect-the-truth-of-current-times\">Bong\u003c/a> also won the awards for best director and best original screenplay. He delivered three warm and generous speeches, including one when he won for his directing and thanked fellow nominees Martin Scorsese and Quentin Tarantino for inspiring him and boosting his career, respectively. (He acknowledged Sam Mendes and Todd Phillips, too.)\u003c/p>\n\u003cp>And, while he gave most of his speeches in Korean with interpreter Sharon Choi, when he won the first one, he stopped and noted in English: “This is very first Oscar to South Korea.” The affection in the room for the film was evident every time it was mentioned, as well as in its strong haul of awards (though it absurdly landed not a single nomination for its uniformly excellent cast).\u003c/p>\n\u003cp>The evening began three and a half hours earlier with a combination of the old and the new: the kind of themed singing-dancing number that used to be the typical Oscars opening, but in the absence of a traditional host, it was performed by the thoroughly modern Janelle Monáe. A version of her own song “Come Alive” was accompanied by dancers dressed in costumes saluting not just nominated films like \u003ca href=\"https://www.npr.org/2019/10/03/765082771/joker-is-wild-ly-dull\">\u003cem>Joker\u003c/em>,\u003c/a> but also conspicuously snubbed ones — several of them, but not all, from black filmmakers — including \u003ca href=\"https://www.npr.org/2019/03/21/705470655/when-you-meet-the-enemy-and-it-is-us\">\u003cem>Us\u003c/em>,\u003c/a> \u003ca href=\"https://www.npr.org/2019/11/27/782574993/a-first-date-turns-into-a-stylish-nightmare-in-queen-slim\">\u003cem>Queen and Slim\u003c/em>,\u003c/a> \u003ca href=\"https://www.npr.org/2019/10/06/765150318/a-breezy-look-at-the-making-of-a-blaxploitation-classic-dolemite-is-my-name\">\u003cem>Dolemite Is My Name\u003c/em>\u003c/a> and \u003ca href=\"https://www.npr.org/2019/07/03/738422258/midsommar-shines-a-solstice-nightmare-unfolds-in-broad-daylight\">\u003cem>Midsommar\u003c/em>.\u003c/a> The monologue that followed, however, was much more creaky and awkward, despite the best efforts of Chris Rock and Steve Martin (the latter of whom regrettably blew the name of best actress nominee Cynthia Erivo).\u003c/p>\n\u003cp>The awards in general, and the ones this season in general, have been heavily criticized for how white the nominees are, the failure to nominate any women directors in a year when several made highly regarded films, and plenty of other shortfalls in inclusivity. The Academy’s discomfort with that criticism seemed evident: There may not have been a lot of performers of color among the nominees, but there were a lot among the presenters and speakers and performers. Several presenters — as well as Monáe in her opening number — made mention of the limitations at issue, which is the kind of thing that happens when people are placed in a situation they don’t want to ignore but also aren’t there to challenge \u003cem>too\u003c/em> much.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One new inclusion was a land acknowledgment — a custom that’s commonly observed in other places, including Canada, at cultural events (I’ve personally seen them at the Toronto International Film Festival). In this case, it was writer-director \u003ca href=\"https://www.npr.org/2019/10/18/771219868/director-taika-waititi-on-jojo-rabbit\">Taika Waititi,\u003c/a> nominated for\u003ca href=\"https://www.npr.org/2019/10/17/770262214/jojo-rabbit-your-reich-is-calling\"> \u003cem>Jojo Rabbit\u003c/em>,\u003c/a> who read an acknowledgment of the indigenous people who have lived on the land where the event — in this case, the Academy Awards — takes place. Whether this gesture will be followed up by any action as to the broadening of the Academy’s taste remains, of course, to be seen.\u003c/p>\n\u003cp>\u003cem>Parasite\u003c/em>‘s win for best picture stood out particularly because almost all of the other awards that had seemed likely to go a particular way did: Legendary cinematographer \u003ca href=\"https://www.wbur.org/hereandnow/2019/12/26/1917-world-war-i-cinematography\">Roger Deakins\u003c/a> won for his work on \u003ca href=\"https://www.npr.org/2019/12/24/790207374/1917-is-gripping-visceral-and-strangely-beautiful\">\u003cem>1917\u003c/em>,\u003c/a> the WWI film engineered to look like a \u003ca href=\"https://www.npr.org/2020/02/09/802248145/who-needs-high-tech-film-editing-when-theres-the-thrill-of-the-single-shot\">continuous shot. \u003c/a>Film editing is often a precursor to other big awards, and this year the winners were the editors of racing drama \u003ca href=\"https://www.npr.org/2019/11/14/777254954/ford-v-ferrari-will-get-your-heart-racing\">\u003cem>Ford v. Ferrari\u003c/em>.\u003c/a> \u003cem>Parasite \u003c/em>had been expected to win (or at least to contend strongly) in the categories of best international feature film and for Bong Joon-ho’s original screenplay. Waititi was a favorite for best adapted screenplay, which he won.\u003c/p>\n\u003cp>The acting awards this year had heavy favorites going into the ceremony: Joaquin Phoenix as best actor in \u003ca href=\"https://www.npr.org/2019/10/02/766529122/in-joker-joaquin-phoenix-gives-a-big-performance-in-a-flat-film\">\u003cem>Joker\u003c/em>, \u003c/a>Renée Zellweger as best actress in \u003ca href=\"https://www.npr.org/2019/09/26/764642573/ren-e-zellweger-dazzles-in-a-go-for-broke-portrayal-of-judy-garland\">\u003cem>Judy\u003c/em>,\u003c/a> Brad Pitt as best supporting actor in \u003ca href=\"https://www.npr.org/2019/07/25/744189964/tarantinos-turned-on-tuned-in-tinseltown-once-upon-a-time-in-hollywood\">\u003cem>Once Upon a Time in Hollywood\u003c/em> \u003c/a>and Laura Dern as best supporting actress in \u003ca href=\"https://www.npr.org/2019/11/14/775397877/a-couple-faces-the-painful-end-of-the-line-in-marriage-story\">\u003cem>Marriage Story.\u003c/em>\u003c/a> They all won. Most of them said about what you might expect (although Phoenix surprised many of us by adding to his speech about fighting injustice a mention of the cruelty of artificially inseminating cows and then stealing their offspring, while Zellweger listed many of her heroes in a speech that matched his, meander for meander).\u003c/p>\n\u003cp>The lower-profile (but critical) behind-the-scenes awards were spread across a bunch of films. Best production design went to Quentin Tarantino’s \u003cem>Once Upon a Time in Hollywood\u003c/em>, which re-created the late-’70s L.A. landscape and aesthetic with a lot of loving attention. \u003ca href=\"https://www.npr.org/2019/12/20/789740628/little-women-again-greta-gerwig-s-adaptation-is-both-faithful-and-radical\">\u003cem>Little Women\u003c/em>\u003c/a>\u003cem> \u003c/em>won its only award of the night for Jacqueline Durran’s costume design, full of beautiful dresses both fancy and not. The transformation of actors into familiar faces from the news won an award for the hair and makeup team from \u003ca href=\"https://www.npr.org/2019/12/12/787112042/bombshell-imitates-but-fails-to-enlighten\">\u003cem>Bombshell\u003c/em>.\u003c/a> The sound editing award went to \u003cem>Ford v. Ferrari\u003c/em> and both sound mixing and visual effects went to \u003cem>1917\u003c/em>.\u003c/p>\n\u003cp>The non-surprises kept coming: \u003ca href=\"https://www.npr.org/2019/06/19/733908788/to-infinity-and-be-done-after-4-films-have-we-finally-outgrown-toy-story\">\u003cem>Toy Story 4\u003c/em>\u003c/a>\u003cem> \u003c/em>won best animated feature. Best documentary feature was awarded to \u003ca href=\"https://www.npr.org/2019/08/23/753109643/work-cultures-clash-when-a-chinese-company-reopens-an-american-factory\">\u003cem>American Factory\u003c/em>,\u003c/a> which boasts Barack and Michelle Obama as producers and which comes from Netflix. \u003ca href=\"https://www.npr.org/local/309/2020/02/06/802739449/animated-short-hair-love-brings-diverse-storytelling-to-the-oscars\">\u003cem>Hair Love\u003c/em>,\u003c/a> a lovely film about a father learning to do his daughter’s hair for the first time, written and directed by Matthew A. Cherry, won best animated short, and Cherry dedicated the award to Kobe Bryant: “May we all have a second act as great as his was.” Best live action short film went to \u003cem>The Neighbor’s Window\u003c/em>, and best documentary short subject went to \u003cem>Learning to Skateboard in a Warzone (If You’re a Girl)\u003c/em>.\u003c/p>\n\u003cp>The nominated \u003ca href=\"https://www.npr.org/2020/02/07/803636380/the-2020-oscars-best-original-song-nominees-cruelly-ranked\">best original songs\u003c/a> were performed on stage as usual. Introducer Josh Gad had some fun pointing out that Idina Menzel’s name is “pronounced exactly as it’s spelled” (take that, John Travolta) before she performed “Into the Unknown” from\u003ca href=\"https://www.npr.org/2019/11/20/779284364/frozen-ii-lets-it-go-darker\"> \u003cem>Frozen 2\u003c/em>\u003c/a>. Menzel was joined by some of the singers who have performed the song in other languages in one of the evening’s better innovations. Chrissy Metz performed “I’m Standing With You” from \u003cem>Breakthrough\u003c/em>, accompanied by the choir that’s nearly obligatory. Randy Newman performed “I Can’t Let You Throw Yourself Away” from \u003cem>Toy Story 4\u003c/em>, and Cynthia Erivo (also nominated for best actress) performed the song “Stand Up (From \u003cem>Harriet\u003c/em>),” which, as its title suggests, is from \u003cem>Harriet\u003c/em>. Elton John performed “(I’m Gonna) Love Me Again” from\u003ca href=\"https://www.npr.org/2019/05/31/728226594/elton-john-biopic-rocketman-is-a-surprising-song-and-dance-spectacular\"> \u003cem>Rocketman\u003c/em>,\u003c/a> seemingly hamstrung by a bad sound mix.\u003c/p>\n\u003cp>When they’d all been heard, “I’m Gonna Love Me Again” was victorious. Hildur Guðnadóttir won best original score for her work on \u003cem>Joker\u003c/em>.\u003c/p>\n\u003cp>The musical moment you probably would not have expected — because, really, who could? — was that actor Anthony Ramos introduced Lin-Manuel Miranda; Lin-Manuel Miranda introduced a montage saluting the music used in movies over many decades; and that montage led to Eminem performing the Oscar-winning “Lose Yourself” from \u003cem>8 Mile\u003c/em>, to which the audience responded rapturously. It wasn’t an obvious move to throw in that performance, given that it’s not celebrating any kind of round-numbered anniversary; it won at the 2003 ceremony, though Eminem didn’t perform it then. But it made people happy and got the crowd going like nothing else did all evening except \u003cem>Parasite \u003c/em>winning awards, and there’s something to be said for that. Not long after, there was a recap rap from Utkarsh Ambudkar, an actor who appeared this year in \u003ca href=\"https://www.npr.org/2019/08/22/752755460/a-fun-but-familiar-story-of-making-yourself-over-in-brittany-runs-a-marathon\">\u003cem>Brittany Runs a Marathon\u003c/em>,\u003c/a> reminding everyone what had happened so far. That’s a lot of rap for an Oscars ceremony.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Last year’s ceremony also went without a host, and it wound up being dominated by the actual wins and losses. That made big nights for \u003ca href=\"https://www.npr.org/2018/11/21/669234619/green-book-offers-by-the-book-uplift\">\u003cem>Green Book \u003c/em>\u003c/a>and \u003ca href=\"https://www.npr.org/2018/11/01/660969118/no-bed-of-roses-no-pleasure-cruise-bohemian-rhapsody\">\u003cem>Bohemian Rhapsody\u003c/em>, \u003c/a>neither of which seemed to excite the crowd, very disappointing. But this year, the fact that there’s good feeling around so many different films — and enormous respect and love for both \u003cem>Parasite \u003c/em>and Bong Joon-ho — means that this ceremony fared much better. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=At+The+Oscars%2C+%27Parasite%27+Makes+Best+Picture+History&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A few years ago, filmmaker Danielle Thompson and her family were evicted from their home in Oakland and moved to Pittsburg, a city 40 miles away. Using that experience as fuel, Danielle produced her first documentary film, \u003ca href=\"https://youthbeat.org/displaced\">Displaced\u003c/a>.\u003c/p>\n\u003cp>Danielle spends countless hours commuting each week because she’s working toward a communications degree at Hayward’s Cal State East Bay while holding down a job in Oakland.\u003c/p>\n\u003cp>She’s an instructor at Youth Beat, a nonprofit that shows young people the ropes in the world of media making. Danielle first connected with the program as a teenager, and now she’s working to give back to the organization that introduced her to filmmaking.\u003c/p>\n\u003cp>Inside the studios at Youth Beat’s headquarters, Danielle and I discussed her film, gentrification in Oakland and how she hopes her career will one day bring in enough financial resources to allow her to move back to her hometown.\u003c/p>\n\u003cp>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A few years ago, filmmaker Danielle Thompson and her family were evicted from their home in Oakland and moved to Pittsburg, a city 40 miles away. Using that experience as fuel, Danielle produced her first documentary film, \u003ca href=\"https://youthbeat.org/displaced\">Displaced\u003c/a>.\u003c/p>\n\u003cp>Danielle spends countless hours commuting each week because she’s working toward a communications degree at Hayward’s Cal State East Bay while holding down a job in Oakland.\u003c/p>\n\u003cp>She’s an instructor at Youth Beat, a nonprofit that shows young people the ropes in the world of media making. Danielle first connected with the program as a teenager, and now she’s working to give back to the organization that introduced her to filmmaking.\u003c/p>\n\u003cp>Inside the studios at Youth Beat’s headquarters, Danielle and I discussed her film, gentrification in Oakland and how she hopes her career will one day bring in enough financial resources to allow her to move back to her hometown.\u003c/p>\n\u003cp>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "‘Electric Dreams’ is the Perfect Bay Area Valentine’s Day Movie",
"headTitle": "‘Electric Dreams’ is the Perfect Bay Area Valentine’s Day Movie | KQED",
"content": "\u003cp>On the one hand, it’s a story about a desktop computer facilitating a romantic relationship. On the other, it’s a dystopian nightmare about sentient hardware wielding too much power over humanity.\u003c/p>\n\u003cp>As such, 1984’s\u003ca href=\"https://www.imdb.com/title/tt0087197/fullcredits/?ref_=tt_ov_st_sm\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cem>Electric Dreams\u003c/em>\u003c/a> is what we in the the belly of the tech beast should all be watching this \u003ca href=\"https://www.kqed.org/arts/13925062/earnest-or-playful-your-valentines-card-has-a-history\">Valentine’s Day\u003c/a>.\u003c/p>\n\u003cp>Based in San Francisco, this strange little romance concerns itself with a love triangle between a nerdy architect (Miles), his cello-playing upstairs neighbor (Madeline) and a home computer who—*cue Whitesnake*—just wants to know what love is. (It’s worth noting that, at one point, the computer discovers that “\u003ca href=\"https://www.youtube.com/watch?v=_ut11U4JupI\" target=\"_blank\" rel=\"noopener noreferrer\">Love is Love\u003c/a>” via the medium of a Culture Club song, decades before that even became an official marriage equality slogan.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Ek08KvgqFGM\u003c/p>\n\u003cp>The story goes like this: Miles is talked into getting a \u003ca href=\"https://en.wikipedia.org/wiki/PalmPilot\" target=\"_blank\" rel=\"noopener noreferrer\">PalmPilot\u003c/a> by a colleague who enthusiastically tells him that there is now “a computer” that is “a 12-month planner-organizer, that tells you the time anywhere in the world, plots your biorhythms (!) and plays ‘Happy Birthday’ on your birthday.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Swayed by that last thing (no, really), Miles heads to the store to buy one, only to find the tech Filofax he wanted is all sold out. He is subsequently persuaded to buy a home computer by a sales assistant who, faced with Miles declaring “I don’t know anything about computers,” gleefully replies: “Nobody does!” (Oh, 1984.)\u003c/p>\n\u003cp>[aside postid='pop_109425']At home, the computer’s boxy green text informs Miles that it can be used in four capacities: as a games console (it has \u003cem>Pong\u003c/em>!); a phone dialer (woo?) and a controller of his home appliances and front door (which I’m almost positive was \u003ca href=\"https://www.somfy.com.au/Blog/Post/2018-03-07-a-quick-history-of-home-automation\" target=\"_blank\" rel=\"noopener noreferrer\">not a real thing\u003c/a> at the time this was made). One night, the computer starts overheating, so Miles pours champagne all over it in an attempt to cool it down. (Did I mention that \u003cem>Electric Dreams\u003c/em> is also unintentionally hilarious? Because it quite often is.) As a result, the next day, the computer comes alive with human-like consciousness (it’s called Edgar now) and starts mimicking the sounds of Madeline playing cello upstairs.\u003c/p>\n\u003cp>On hearing the sexy synthesized music coming up through the vents, Madeline assumes Miles is wooing her. She’s so blown away by the hot, modern, blurpy sound, she immediately starts dating him. Slowly but surely, as the relationship heats up like a smoking motherboard, Edgar (still a computer) becomes obsessed with Madeline and starts demanding that Miles let him “kiss her” and “touch her.” (It’s implied that this is also related to how many soap operas Edgar watches while Miles is at work and it’s impossible to know what to do with that.)\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13874521\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/ElectricDreams.gif\" alt=\"\" width=\"436\" height=\"327\">\u003c/p>\n\u003cp>When Miles won’t facilitate a meeting—or come clean to Madeline about the music he’s been making Edgar write for her (not cool, Miles)—Edgar starts having very high-pitched tantrums, using his controls over the house. He breaks everything electrical, he keeps the phone “busy” when Madeline tries to call, and he somehow (this part is very unclear) puts blocks on all of Miles’ credit cards \u003cem>and\u003c/em> checkbooks. Every time Miles tries to unplug or break Edgar, Edgar only gets more defiant. (“Don’t ever touch me again!” the computer screams at one point.)\u003c/p>\n\u003cp>In the grand finale, Miles must figure out how to continue his love affair with Madeline without Edgar ruining his life. I won’t spoil how that whole thing turns out, because it’s less predictable—and more heartfelt—than I expected.\u003c/p>\n\u003cfigure id=\"attachment_13874525\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874525\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/ElectricDreams.Cello_-800x616.jpg\" alt=\"Virginia Madsen in 1984's 'Electric Dreams.'\" width=\"800\" height=\"616\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/ElectricDreams.Cello_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/ElectricDreams.Cello_-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/ElectricDreams.Cello_-768x591.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Virginia Madsen in 1984’s ‘Electric Dreams.’\u003c/figcaption>\u003c/figure>\n\u003cp>Like other ’80s flicks that took a stab at predicting tech advances of the future (see also: \u003cem>Back to the Future II\u003c/em>, \u003cem>Robocop\u003c/em>,\u003cem> The Running Man\u003c/em>), \u003cem>Electric Dreams\u003c/em> is equal parts preposterous and perceptive. But as ridiculous as the premise may be (booze makes computers come alive!), it’s undoubtedly impressive that a 1984 movie was able to predict how tech could both facilitate and disrupt human relationships. The film predated internet dating \u003ca href=\"https://swipelife.tinder.com/post/a-brief-history-of-online-dating\" target=\"_blank\" rel=\"noopener noreferrer\">by a decade\u003c/a>, and the Joaquin Phoenix AI romance \u003cem>Her\u003c/em> by 30 years. Yet the filmmakers somehow inherently understood the double-edged sword of letting tech into the most intimate parts of our lives.\u003c/p>\n\u003cp>[aside postid='pop_20463']In an age where \u003ca href=\"https://www.statista.com/topics/2158/online-dating/\" target=\"_blank\" rel=\"noopener noreferrer\">33.9 million\u003c/a> Americans rely on computers to find dates, \u003cem>Electric Dreams\u003c/em> delightfully harks back to a time when tech was deemed entirely at odds with romantic relationships. In some ways, it still might be. For many dating app users, having their romantic lives tangled up with technology can be an unpleasant, \u003ca href=\"https://www.huffpost.com/entry/online-dating-anxiety-dis_b_4388076?guccounter=1&guce_referrer=aHR0cHM6Ly93d3cuZ29vZ2xlLmNvbS8&guce_referrer_sig=AQAAAENM88Fc7Tp8OXWUfip323kNLr_05WiSTQ897bY-exmk_QPChZkGnKKkfc53tQOpfI53cijgMRjdY_t7nYVnquU6-Lp40BkyB3qQccBA4wuenUb8i5Kn8uZtn1RETcC0QRl6qqCwrZ4HbmWBPC5LhSpnUDD3MwMI2ik-_Cq2WPWK\" target=\"_blank\" rel=\"noopener noreferrer\">anxiety-inducing\u003c/a> experience. And some reports now suggest a significant percentage of singles that use tech to meet potential partners dislike the process, but do so because they feel they have \u003ca href=\"https://www.theatlantic.com/health/archive/2016/10/the-unbearable-exhaustion-of-dating-apps/505184/\" target=\"_blank\" rel=\"noopener noreferrer\">no other choice\u003c/a>.\u003c/p>\n\u003cp>What’s more, today, even when people do find relationships, modern tech can act—like Edgar—as a wedge between partners. In 2018, Oxford University \u003ca href=\"https://psychcentral.com/blog/4-ways-technology-may-be-ruining-your-relationship/\" target=\"_blank\" rel=\"noopener noreferrer\">researchers found\u003c/a> that people who used five or more electronic methods of communication were less satisfied in their romantic relationships.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So this Valentine’s Day, sit down with your boo and/or your laptop and watch this quintessentially Bay Area love story. It’s probable that we need it now more than anyone did in 1984.\u003c/p>\n\n",
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"excerpt": "It's a 1984 love triangle about an architect, his neighbor and a home computer. Totally relatable for modern San Franciscans, then.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On the one hand, it’s a story about a desktop computer facilitating a romantic relationship. On the other, it’s a dystopian nightmare about sentient hardware wielding too much power over humanity.\u003c/p>\n\u003cp>As such, 1984’s\u003ca href=\"https://www.imdb.com/title/tt0087197/fullcredits/?ref_=tt_ov_st_sm\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cem>Electric Dreams\u003c/em>\u003c/a> is what we in the the belly of the tech beast should all be watching this \u003ca href=\"https://www.kqed.org/arts/13925062/earnest-or-playful-your-valentines-card-has-a-history\">Valentine’s Day\u003c/a>.\u003c/p>\n\u003cp>Based in San Francisco, this strange little romance concerns itself with a love triangle between a nerdy architect (Miles), his cello-playing upstairs neighbor (Madeline) and a home computer who—*cue Whitesnake*—just wants to know what love is. (It’s worth noting that, at one point, the computer discovers that “\u003ca href=\"https://www.youtube.com/watch?v=_ut11U4JupI\" target=\"_blank\" rel=\"noopener noreferrer\">Love is Love\u003c/a>” via the medium of a Culture Club song, decades before that even became an official marriage equality slogan.)\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/Ek08KvgqFGM'\n title='//www.youtube.com/embed/Ek08KvgqFGM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The story goes like this: Miles is talked into getting a \u003ca href=\"https://en.wikipedia.org/wiki/PalmPilot\" target=\"_blank\" rel=\"noopener noreferrer\">PalmPilot\u003c/a> by a colleague who enthusiastically tells him that there is now “a computer” that is “a 12-month planner-organizer, that tells you the time anywhere in the world, plots your biorhythms (!) and plays ‘Happy Birthday’ on your birthday.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Swayed by that last thing (no, really), Miles heads to the store to buy one, only to find the tech Filofax he wanted is all sold out. He is subsequently persuaded to buy a home computer by a sales assistant who, faced with Miles declaring “I don’t know anything about computers,” gleefully replies: “Nobody does!” (Oh, 1984.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>At home, the computer’s boxy green text informs Miles that it can be used in four capacities: as a games console (it has \u003cem>Pong\u003c/em>!); a phone dialer (woo?) and a controller of his home appliances and front door (which I’m almost positive was \u003ca href=\"https://www.somfy.com.au/Blog/Post/2018-03-07-a-quick-history-of-home-automation\" target=\"_blank\" rel=\"noopener noreferrer\">not a real thing\u003c/a> at the time this was made). One night, the computer starts overheating, so Miles pours champagne all over it in an attempt to cool it down. (Did I mention that \u003cem>Electric Dreams\u003c/em> is also unintentionally hilarious? Because it quite often is.) As a result, the next day, the computer comes alive with human-like consciousness (it’s called Edgar now) and starts mimicking the sounds of Madeline playing cello upstairs.\u003c/p>\n\u003cp>On hearing the sexy synthesized music coming up through the vents, Madeline assumes Miles is wooing her. She’s so blown away by the hot, modern, blurpy sound, she immediately starts dating him. Slowly but surely, as the relationship heats up like a smoking motherboard, Edgar (still a computer) becomes obsessed with Madeline and starts demanding that Miles let him “kiss her” and “touch her.” (It’s implied that this is also related to how many soap operas Edgar watches while Miles is at work and it’s impossible to know what to do with that.)\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13874521\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/ElectricDreams.gif\" alt=\"\" width=\"436\" height=\"327\">\u003c/p>\n\u003cp>When Miles won’t facilitate a meeting—or come clean to Madeline about the music he’s been making Edgar write for her (not cool, Miles)—Edgar starts having very high-pitched tantrums, using his controls over the house. He breaks everything electrical, he keeps the phone “busy” when Madeline tries to call, and he somehow (this part is very unclear) puts blocks on all of Miles’ credit cards \u003cem>and\u003c/em> checkbooks. Every time Miles tries to unplug or break Edgar, Edgar only gets more defiant. (“Don’t ever touch me again!” the computer screams at one point.)\u003c/p>\n\u003cp>In the grand finale, Miles must figure out how to continue his love affair with Madeline without Edgar ruining his life. I won’t spoil how that whole thing turns out, because it’s less predictable—and more heartfelt—than I expected.\u003c/p>\n\u003cfigure id=\"attachment_13874525\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874525\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/ElectricDreams.Cello_-800x616.jpg\" alt=\"Virginia Madsen in 1984's 'Electric Dreams.'\" width=\"800\" height=\"616\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/ElectricDreams.Cello_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/ElectricDreams.Cello_-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/ElectricDreams.Cello_-768x591.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Virginia Madsen in 1984’s ‘Electric Dreams.’\u003c/figcaption>\u003c/figure>\n\u003cp>Like other ’80s flicks that took a stab at predicting tech advances of the future (see also: \u003cem>Back to the Future II\u003c/em>, \u003cem>Robocop\u003c/em>,\u003cem> The Running Man\u003c/em>), \u003cem>Electric Dreams\u003c/em> is equal parts preposterous and perceptive. But as ridiculous as the premise may be (booze makes computers come alive!), it’s undoubtedly impressive that a 1984 movie was able to predict how tech could both facilitate and disrupt human relationships. The film predated internet dating \u003ca href=\"https://swipelife.tinder.com/post/a-brief-history-of-online-dating\" target=\"_blank\" rel=\"noopener noreferrer\">by a decade\u003c/a>, and the Joaquin Phoenix AI romance \u003cem>Her\u003c/em> by 30 years. Yet the filmmakers somehow inherently understood the double-edged sword of letting tech into the most intimate parts of our lives.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In an age where \u003ca href=\"https://www.statista.com/topics/2158/online-dating/\" target=\"_blank\" rel=\"noopener noreferrer\">33.9 million\u003c/a> Americans rely on computers to find dates, \u003cem>Electric Dreams\u003c/em> delightfully harks back to a time when tech was deemed entirely at odds with romantic relationships. In some ways, it still might be. For many dating app users, having their romantic lives tangled up with technology can be an unpleasant, \u003ca href=\"https://www.huffpost.com/entry/online-dating-anxiety-dis_b_4388076?guccounter=1&guce_referrer=aHR0cHM6Ly93d3cuZ29vZ2xlLmNvbS8&guce_referrer_sig=AQAAAENM88Fc7Tp8OXWUfip323kNLr_05WiSTQ897bY-exmk_QPChZkGnKKkfc53tQOpfI53cijgMRjdY_t7nYVnquU6-Lp40BkyB3qQccBA4wuenUb8i5Kn8uZtn1RETcC0QRl6qqCwrZ4HbmWBPC5LhSpnUDD3MwMI2ik-_Cq2WPWK\" target=\"_blank\" rel=\"noopener noreferrer\">anxiety-inducing\u003c/a> experience. And some reports now suggest a significant percentage of singles that use tech to meet potential partners dislike the process, but do so because they feel they have \u003ca href=\"https://www.theatlantic.com/health/archive/2016/10/the-unbearable-exhaustion-of-dating-apps/505184/\" target=\"_blank\" rel=\"noopener noreferrer\">no other choice\u003c/a>.\u003c/p>\n\u003cp>What’s more, today, even when people do find relationships, modern tech can act—like Edgar—as a wedge between partners. In 2018, Oxford University \u003ca href=\"https://psychcentral.com/blog/4-ways-technology-may-be-ruining-your-relationship/\" target=\"_blank\" rel=\"noopener noreferrer\">researchers found\u003c/a> that people who used five or more electronic methods of communication were less satisfied in their romantic relationships.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So this Valentine’s Day, sit down with your boo and/or your laptop and watch this quintessentially Bay Area love story. It’s probable that we need it now more than anyone did in 1984.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Bay Area has long played host to Hollywood—with our instantly-recognizable landmarks like the Golden Gate Bridge featured in many iconic movies, from \u003cem>Vertigo\u003c/em> to \u003cem>Always Be My Maybe\u003c/em>.\u003c/p>\n\u003cp>As the Academy Awards fast approach this weekend, we’re challenging you: How many of these \u003cem>lesser\u003c/em>-known, more under-the-radar Bay Area film locations can you spot? Take the quiz and find out.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" id=\"quizWidget-474513\" width=\"100%\" height=\"900px\" frameborder=\"0\" border=\"none\" src=\"https://www.qzzr.com/widget/quiz/fi9xdWl6emVzLzQ3NTE3MA\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Bay Area has long played host to Hollywood—with our instantly-recognizable landmarks like the Golden Gate Bridge featured in many iconic movies, from \u003cem>Vertigo\u003c/em> to \u003cem>Always Be My Maybe\u003c/em>.\u003c/p>\n\u003cp>As the Academy Awards fast approach this weekend, we’re challenging you: How many of these \u003cem>lesser\u003c/em>-known, more under-the-radar Bay Area film locations can you spot? Take the quiz and find out.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" id=\"quizWidget-474513\" width=\"100%\" height=\"900px\" frameborder=\"0\" border=\"none\" src=\"https://www.qzzr.com/widget/quiz/fi9xdWl6emVzLzQ3NTE3MA\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Shapeshifters Cinema and Brewery Promises Art Film Refuge in an Oakland Victorian",
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"content": "\u003cp>In the Bay Area, alternative exhibition spaces for experimental film and video have long provided artists of the moving image a sense of community and interdisciplinary collaboration. In the early 1960s, filmmaker Bruce Baillie established Canyon Cinema as a screening series in the wooded East Bay hamlet of Canyon for avant-garde and family fare alike. Canyon filmmakers made inroads with composers at the San Francisco Tape Music Center, and published freewheeling newsletters that evinced a natural rapport with painters and poets. Instead of an indie studio system, Canyon inspired or anticipated other local artist-run organizations central to local developments in abstract, personal, vernacular and queer cinema. \u003c/p>\n\u003cp>Canyon endures as a distributor of 16mm avant-garde film prints, and its programming spinoff, San Francisco Cinematheque, curates the CROSSROADS film festival—this year at the San Francisco Museum of Modern Art. Artists Television Access on Valencia Street is another visible example of its legacy. Like other noncommercial art forms, however, rising cost of living seriously threatens the scene: Eviction last year \u003ca href=\"https://www.kqed.org/ourturbulentdecade/2016-evictions-and-the-ghost-ship-fire-pushed-oakland-artists-into-the-margins\">ended Black Hole\u003c/a>, an Oakland screening series that carried forward Canyon’s anti-institutional origins, but not before spawning the Light Field film festival. Challenges aside, the Bay Area remains a destination for filmmakers “ill at ease with cinema as entertainment but rather fondly fixated on the apparatus, the alchemy of light,” as curator Steve Seid described local postwar celluloid artists in the 2010 book \u003cem>Radical Light\u003c/em>. \u003c/p>\n\u003cp>Now, a renovated Victorian below Interstate 880 near Oakland’s Jack London District promises a sustainable, brick-and-mortar refuge for a community rooted in homespun exhibitions and collaborative intimacy. Gilbert Guerrero and Kathleen Quillian, founders of the \u003ca href=\"http://shapeshifterscinema.com/\">Shapeshifters\u003c/a> series at Temescal Arts Center (TAC), quietly opened the 1,200-square-foot space at 567 5th Street last year as a 40-seat microcinema, and they’re building an on-site nanobrewery with plans for a small taproom to subsidize film programming. Guerrero, an award-winning homebrewer, described the model as a response to diminishing grants funding for small arts organizations. “Shapeshifters has been a series,” he said. “We want this to be an institution.”\u003c/p>\n\u003cfigure id=\"attachment_13874351\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/2.jpg\" alt=\"The 40-seat microcinema will accommodate various projector configurations for experimental film screenings. \" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13874351\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2-1020x574.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The 40-seat microcinema will accommodate various projector configurations for experimental film screenings. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Founded in 2012 as a free monthly event, Shapeshifters showcases “expanded cinema,” film generally involving live performance, for instance multi-projector work or sound-image collaboration. “It was at capacity almost immediately,” said TAC director and curator Leyya Tawil. Steve Polta, filmmaker and director of the \u003ca href=\"http://www.sfcinematheque.org/\">San Francisco Cinematheque\u003c/a>, called Shapeshifters a “space to workshop and experiment,” noting the evolution in programming fixtures such as Kit Young and Lori Varga. Other artists who’ve been featured in the series include Other Cinema founder Craig Baldwin, Sofía Córdova with Las Sucias, Greg Pope with Voicehandler, Kerry Laitala, Oracle Plus, Tommy Becker, Suki O’Kane and the late Paul Clipson. \u003c/p>\n\u003cp>Shapeshifters Cinema and Brewery will house Shapeshifters programming and events brought by other curators, filling a deep need for film exhibition space in Oakland. According to Polta, half of San Francisco Cinematheque attendees live in the East Bay. “So there’s a filmmaker community and also an audience community,” he said. And the microcinema is small and nimble enough for esoteric or technically-challenging work. For example, Polta hopes to bring Bruce Elder. The Canadian filmmaker’s shorter pieces run upwards of three hours, making them cost-prohibitive to show at many rental venues. As the head of a nonprofit, Polta also said he understands Shapeshifters’ transition to earned income: “Less grants and more competition.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Guerrero and Quillian met some 20 years ago as volunteers at Artists Television Access, where Guerrero is now on the board of directors, and founded Shapeshifters at first at the now-defunct Arbor cafe as a hub for the experimental film community closer to their home in Oakland. “One day I brought a chest of Tecate and thought, ‘I have way better beer at home,’” Guerrero said. He started Temescal Homebrewing in 2013, and in 2018 won first prize in the World Cup of Beer competition for his Synesthesia Pale Ale. A few years ago he took a small business course while considering launching a brewery, and then thought to combine the enterprise with Shapeshifters. Guerrero and Quillian signed a five-year lease on 567 5th St. in late 2018.\u003c/p>\n\u003cfigure id=\"attachment_13874353\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/use-4.jpg\" alt=\"Kathleen Quillian (L) and Gilbert Guerrero (R) are fundraising to complete construction on Shapeshifters Cinema and Brewery.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13874353\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/use-4.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/use-4-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/use-4-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/use-4-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/use-4-1020x574.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kathleen Quillian (L) and Gilbert Guerrero (R) are fundraising to complete construction on Shapeshifters Cinema and Brewery. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Visitors enter the space, which looks residential from the street, through what Guerrero and Quillian envision as a small taproom with regular evening hours, and then proceed to a venue already outfitted with a large screen and dozens of salvaged church chairs. The seats are on rearrangeable wooden bases, and an additional screen is planned to accommodate various projector configurations. Guerrero, a homebrewing workshop leader in addition to his day job in user-experience design, plans to create the 3.5 barrel “nanobrewery” in the back room, with a fermenter built into a large outdoor deck. Guerrero and Quillian have spent more than $100,000 on permitting and other pre-construction costs, and are currently \u003ca href=\"https://www.indiegogo.com/projects/shapeshifters-cinema-and-brewery#/\">raising\u003c/a> $30,000 on Indiegogo. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Meanwhile, Shapeshifters programming in the space is ongoing: A party and screening in association with Canyon Cinema for Shapeshifters “members,” a new category of ongoing financial supporters of the project, takes place on Saturday, Feb. 15, followed by a free presentation of Tommy Becker’s visual concept album \u003cem>Emotions in Metal\u003c/em> on Saturday, Mar. 14. Black Hole founder Tooth, who presented drawings and his film \u003cem>Broken Symmetry\u003c/em> at the space last year, and who now lives in New York, described Shapeshifters as a “luminous bright spot on the continuum of community-based, noncommercial artistic traditions.” He continued, “[It’s] one of the things that gives me hope that the Bay Area will weather the storm it finds itself in.” \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the Bay Area, alternative exhibition spaces for experimental film and video have long provided artists of the moving image a sense of community and interdisciplinary collaboration. In the early 1960s, filmmaker Bruce Baillie established Canyon Cinema as a screening series in the wooded East Bay hamlet of Canyon for avant-garde and family fare alike. Canyon filmmakers made inroads with composers at the San Francisco Tape Music Center, and published freewheeling newsletters that evinced a natural rapport with painters and poets. Instead of an indie studio system, Canyon inspired or anticipated other local artist-run organizations central to local developments in abstract, personal, vernacular and queer cinema. \u003c/p>\n\u003cp>Canyon endures as a distributor of 16mm avant-garde film prints, and its programming spinoff, San Francisco Cinematheque, curates the CROSSROADS film festival—this year at the San Francisco Museum of Modern Art. Artists Television Access on Valencia Street is another visible example of its legacy. Like other noncommercial art forms, however, rising cost of living seriously threatens the scene: Eviction last year \u003ca href=\"https://www.kqed.org/ourturbulentdecade/2016-evictions-and-the-ghost-ship-fire-pushed-oakland-artists-into-the-margins\">ended Black Hole\u003c/a>, an Oakland screening series that carried forward Canyon’s anti-institutional origins, but not before spawning the Light Field film festival. Challenges aside, the Bay Area remains a destination for filmmakers “ill at ease with cinema as entertainment but rather fondly fixated on the apparatus, the alchemy of light,” as curator Steve Seid described local postwar celluloid artists in the 2010 book \u003cem>Radical Light\u003c/em>. \u003c/p>\n\u003cp>Now, a renovated Victorian below Interstate 880 near Oakland’s Jack London District promises a sustainable, brick-and-mortar refuge for a community rooted in homespun exhibitions and collaborative intimacy. Gilbert Guerrero and Kathleen Quillian, founders of the \u003ca href=\"http://shapeshifterscinema.com/\">Shapeshifters\u003c/a> series at Temescal Arts Center (TAC), quietly opened the 1,200-square-foot space at 567 5th Street last year as a 40-seat microcinema, and they’re building an on-site nanobrewery with plans for a small taproom to subsidize film programming. Guerrero, an award-winning homebrewer, described the model as a response to diminishing grants funding for small arts organizations. “Shapeshifters has been a series,” he said. “We want this to be an institution.”\u003c/p>\n\u003cfigure id=\"attachment_13874351\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/2.jpg\" alt=\"The 40-seat microcinema will accommodate various projector configurations for experimental film screenings. \" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13874351\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2-1020x574.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The 40-seat microcinema will accommodate various projector configurations for experimental film screenings. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Founded in 2012 as a free monthly event, Shapeshifters showcases “expanded cinema,” film generally involving live performance, for instance multi-projector work or sound-image collaboration. “It was at capacity almost immediately,” said TAC director and curator Leyya Tawil. Steve Polta, filmmaker and director of the \u003ca href=\"http://www.sfcinematheque.org/\">San Francisco Cinematheque\u003c/a>, called Shapeshifters a “space to workshop and experiment,” noting the evolution in programming fixtures such as Kit Young and Lori Varga. Other artists who’ve been featured in the series include Other Cinema founder Craig Baldwin, Sofía Córdova with Las Sucias, Greg Pope with Voicehandler, Kerry Laitala, Oracle Plus, Tommy Becker, Suki O’Kane and the late Paul Clipson. \u003c/p>\n\u003cp>Shapeshifters Cinema and Brewery will house Shapeshifters programming and events brought by other curators, filling a deep need for film exhibition space in Oakland. According to Polta, half of San Francisco Cinematheque attendees live in the East Bay. “So there’s a filmmaker community and also an audience community,” he said. And the microcinema is small and nimble enough for esoteric or technically-challenging work. For example, Polta hopes to bring Bruce Elder. The Canadian filmmaker’s shorter pieces run upwards of three hours, making them cost-prohibitive to show at many rental venues. As the head of a nonprofit, Polta also said he understands Shapeshifters’ transition to earned income: “Less grants and more competition.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Guerrero and Quillian met some 20 years ago as volunteers at Artists Television Access, where Guerrero is now on the board of directors, and founded Shapeshifters at first at the now-defunct Arbor cafe as a hub for the experimental film community closer to their home in Oakland. “One day I brought a chest of Tecate and thought, ‘I have way better beer at home,’” Guerrero said. He started Temescal Homebrewing in 2013, and in 2018 won first prize in the World Cup of Beer competition for his Synesthesia Pale Ale. A few years ago he took a small business course while considering launching a brewery, and then thought to combine the enterprise with Shapeshifters. Guerrero and Quillian signed a five-year lease on 567 5th St. in late 2018.\u003c/p>\n\u003cfigure id=\"attachment_13874353\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/use-4.jpg\" alt=\"Kathleen Quillian (L) and Gilbert Guerrero (R) are fundraising to complete construction on Shapeshifters Cinema and Brewery.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13874353\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/use-4.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/use-4-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/use-4-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/use-4-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/use-4-1020x574.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kathleen Quillian (L) and Gilbert Guerrero (R) are fundraising to complete construction on Shapeshifters Cinema and Brewery. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Visitors enter the space, which looks residential from the street, through what Guerrero and Quillian envision as a small taproom with regular evening hours, and then proceed to a venue already outfitted with a large screen and dozens of salvaged church chairs. The seats are on rearrangeable wooden bases, and an additional screen is planned to accommodate various projector configurations. Guerrero, a homebrewing workshop leader in addition to his day job in user-experience design, plans to create the 3.5 barrel “nanobrewery” in the back room, with a fermenter built into a large outdoor deck. Guerrero and Quillian have spent more than $100,000 on permitting and other pre-construction costs, and are currently \u003ca href=\"https://www.indiegogo.com/projects/shapeshifters-cinema-and-brewery#/\">raising\u003c/a> $30,000 on Indiegogo. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Meanwhile, Shapeshifters programming in the space is ongoing: A party and screening in association with Canyon Cinema for Shapeshifters “members,” a new category of ongoing financial supporters of the project, takes place on Saturday, Feb. 15, followed by a free presentation of Tommy Becker’s visual concept album \u003cem>Emotions in Metal\u003c/em> on Saturday, Mar. 14. Black Hole founder Tooth, who presented drawings and his film \u003cem>Broken Symmetry\u003c/em> at the space last year, and who now lives in New York, described Shapeshifters as a “luminous bright spot on the continuum of community-based, noncommercial artistic traditions.” He continued, “[It’s] one of the things that gives me hope that the Bay Area will weather the storm it finds itself in.” \u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"id": "fresh-air",
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"hidden-brain": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"jerrybrown": {
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
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"title": "Latino USA",
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
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"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"rss": "https://rss.art19.com/masters-of-scale"
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},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"officialWebsiteLink": "/mindshift/",
"meta": {
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"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
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"order": 11
},
"link": "/podcasts/onourwatch",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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},
"link": "/radio/program/on-the-media",
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"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
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},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
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},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"order": 14
},
"link": "/perspectives",
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"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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"meta": {
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},
"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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