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"content": "\u003cp>In Rainer Werner Fassbinder’s shocking \u003cem>Chinese Roulette\u003c/em> (1976), an awkward family get-together devolves into a harrowing “game” of “What did you do in the war, mommy?” All these years later, German filmmakers continue to grapple with Hitler and his legacy, though the passage of time has allowed for the introduction of humor. \u003c/p>\n\u003cp>\u003cem>How About Adolf?\u003c/em>, a sparkling comedic high point in the Goethe-Institut’s \u003ca href=\"http://www.goethe.de/ins/us/saf/prj/bby/enindex.htm\" rel=\"noopener noreferrer\" target=\"_blank\">Berlin & Beyond Film Festival\u003c/a>, imagines another casual bourgeois dinner spinning off its axis—in this case, when a father-to-be announces that he and his wife are going to name the child Adolf. Based on a sharply written play, \u003cem>How About Adolf?\u003c/em> waltzes this absurd yet plausible notion from the realms of history, semantics and politics into the dark heart of personal secrets and bottled-up resentments.\u003c/p>\n\u003cfigure id=\"attachment_13874269\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/The-Reformer_Still_c_Aliocha-Merker-36.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13874269\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/The-Reformer_Still_c_Aliocha-Merker-36.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/The-Reformer_Still_c_Aliocha-Merker-36-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/The-Reformer_Still_c_Aliocha-Merker-36-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/The-Reformer_Still_c_Aliocha-Merker-36-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/The-Reformer_Still_c_Aliocha-Merker-36-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Reformer.’ \u003ccite>(Courtesy of Berlin & Beyond)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The 24th edition of the festival, which runs Feb. 7–9 at the Castro followed by the Shattuck in Berkeley (Feb. 10), the Vogue (Feb. 11) and the Goethe-Institut (Feb. 12–13), also reprises Swiss director Stefan Haupt’s \u003cem>The Reformer. Zwingli: A Life’s Portrait\u003c/em>, an under-the-radar inclusion in last fall’s Mill Valley Film Festival. The film pays thoughtful homage to the revolutionary young priest (and less-remembered contemporary of Martin Luther) who challenged Catholic orthodoxy and power in Zurich.\u003c/p>\n\u003cp>Another Swiss filmmaker, Barbara Miller, will be on hand for \u003cem>#Female Pleasure\u003c/em>, a documentary portrait of five gutsy global crusaders for expanded female rights. Earnest and inspiring, the doc is not without smiles and chuckles, thanks to the taboo-trampling Japanese artist and provocateur Rokudenashiko. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In Rainer Werner Fassbinder’s shocking \u003cem>Chinese Roulette\u003c/em> (1976), an awkward family get-together devolves into a harrowing “game” of “What did you do in the war, mommy?” All these years later, German filmmakers continue to grapple with Hitler and his legacy, though the passage of time has allowed for the introduction of humor. \u003c/p>\n\u003cp>\u003cem>How About Adolf?\u003c/em>, a sparkling comedic high point in the Goethe-Institut’s \u003ca href=\"http://www.goethe.de/ins/us/saf/prj/bby/enindex.htm\" rel=\"noopener noreferrer\" target=\"_blank\">Berlin & Beyond Film Festival\u003c/a>, imagines another casual bourgeois dinner spinning off its axis—in this case, when a father-to-be announces that he and his wife are going to name the child Adolf. Based on a sharply written play, \u003cem>How About Adolf?\u003c/em> waltzes this absurd yet plausible notion from the realms of history, semantics and politics into the dark heart of personal secrets and bottled-up resentments.\u003c/p>\n\u003cfigure id=\"attachment_13874269\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/The-Reformer_Still_c_Aliocha-Merker-36.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13874269\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/The-Reformer_Still_c_Aliocha-Merker-36.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/The-Reformer_Still_c_Aliocha-Merker-36-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/The-Reformer_Still_c_Aliocha-Merker-36-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/The-Reformer_Still_c_Aliocha-Merker-36-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/The-Reformer_Still_c_Aliocha-Merker-36-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Reformer.’ \u003ccite>(Courtesy of Berlin & Beyond)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The 24th edition of the festival, which runs Feb. 7–9 at the Castro followed by the Shattuck in Berkeley (Feb. 10), the Vogue (Feb. 11) and the Goethe-Institut (Feb. 12–13), also reprises Swiss director Stefan Haupt’s \u003cem>The Reformer. Zwingli: A Life’s Portrait\u003c/em>, an under-the-radar inclusion in last fall’s Mill Valley Film Festival. The film pays thoughtful homage to the revolutionary young priest (and less-remembered contemporary of Martin Luther) who challenged Catholic orthodoxy and power in Zurich.\u003c/p>\n\u003cp>Another Swiss filmmaker, Barbara Miller, will be on hand for \u003cem>#Female Pleasure\u003c/em>, a documentary portrait of five gutsy global crusaders for expanded female rights. Earnest and inspiring, the doc is not without smiles and chuckles, thanks to the taboo-trampling Japanese artist and provocateur Rokudenashiko. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "The Harvey Weinstein Trial: A Brief Timeline of How We Got Here",
"headTitle": "The Harvey Weinstein Trial: A Brief Timeline of How We Got Here | KQED",
"content": "\u003cp>\u003cstrong>Updated at 1:45 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Editor’s note: \u003c/strong>\u003c/em>\u003cem>This report includes descriptions of sexual assault.\u003c/em>\u003c/p>\n\u003cp>This was never inevitable.\u003c/p>\n\u003cp>For much of Harvey Weinstein’s career, dark rumors of sexual assault and harassment tailed the Hollywood mega-producer. But they were rarely spoken with much volume. Only in recent years did the allegations gather the heft and momentum that culminated in this: a teeming courtroom in Manhattan where, in a matter of weeks, a judge might send Weinstein to prison for the rest of his life.\u003c/p>\n\u003cp>Opening statements start Wednesday in Weinstein’s \u003ca href=\"https://www.npr.org/2020/01/06/793613868/harvey-weinstein-heads-to-trial-for-sex-crimes-in-a-metoo-landmark\" target=\"_blank\" rel=\"noopener noreferrer\">criminal trial\u003c/a>. Weinstein has pleaded not guilty to the multiple sexual assault and rape charges he faces in New York state, and he has repeatedly denied wrongdoing, casting these encounters as entirely consensual.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So what led to this?\u003c/p>\n\u003cp>While scores of women have accused Weinstein of crimes dating back decades—ranging from intimidation to rape—this timeline focuses on the incidents cited in criminal cases against him in Manhattan and, more recently, in Los Angeles, and the swell of popular momentum that helped drive prosecutors to press charges.\u003c/p>\n\u003ch3>\u003cstrong>Timeline\u003c/strong>\u003c/h3>\n\u003cp>\u003ca id=\"annabella\" class=\"anchor\">\u003c/a> \u003cstrong>Winter 1993-94: Weinstein allegedly rapes Annabella Sciorra\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13873663\" class=\"wp-caption alignright\" style=\"max-width: 248px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13873663\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Screen-Shot-2020-01-22-at-11.50.39-AM.png\" alt=\"Annabella Sciorra attends the Vanity Fair Oscar Party, March 2018. \" width=\"248\" height=\"334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Screen-Shot-2020-01-22-at-11.50.39-AM.png 248w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Screen-Shot-2020-01-22-at-11.50.39-AM-160x215.png 160w\" sizes=\"(max-width: 248px) 100vw, 248px\">\u003cfigcaption class=\"wp-caption-text\">Annabella Sciorra attends the Vanity Fair Oscar Party, March 2018. \u003ccite>(Dia Dipasupil/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The actress, perhaps best known for her Emmy-nominated work on \u003cem>The Sopranos\u003c/em>, says Weinstein raped her at her Manhattan apartment after an industry dinner. She says the producer dropped her off, only to reappear at her door and force his way inside.\u003c/p>\n\u003cp>Sciorra’s allegation went on to become the subject of pretrial arguments in Manhattan. While the alleged incident is too old to be prosecuted under state law, and while the defense team objected to its inclusion in the trial, her testimony will be \u003ca href=\"https://www.nytimes.com/2019/08/26/nyregion/harvey-weinstein-annabella-sciorra-trial-rape.html\" target=\"_blank\" rel=\"noopener noreferrer\">heard anyway\u003c/a>, in support of the charge of \u003ca href=\"https://www.nysenate.gov/legislation/laws/PEN/130.95\" target=\"_blank\" rel=\"noopener noreferrer\">predatory sexual assault\u003c/a>.\u003c/p>\n\u003cp>\u003ca id=\"lucia\" class=\"anchor\">\u003c/a> \u003cstrong>June 1, 2004: Weinstein allegedly forces Lucia Evans to perform oral sex\u003c/strong>\u003c/p>\n\u003cp>The former aspiring actress told \u003cem>The New Yorker—\u003c/em>in one of \u003ca href=\"#nyer\" target=\"_blank\" rel=\"noopener noreferrer\">a pair of major stories\u003c/a> that trained a national spotlight on the allegations—that Weinstein raped her in his office in Manhattan’s Tribeca neighborhood.\u003c/p>\n\u003cp>“He forced me to perform oral sex on him,” Evans said, adding: “I said, over and over, ‘I don’t want to do this, stop, don’t.’ I tried to get away, but maybe I didn’t try hard enough. I didn’t want to kick him or fight him.”\u003c/p>\n\u003cp>Her account led prosecutors to pursue a criminal sexual act charge against Weinstein, although it was dismissed in 2018. (More explanation on that \u003ca href=\"#dismissed\" target=\"_blank\" rel=\"noopener noreferrer\">later\u003c/a>.)\u003c/p>\n\u003cp>\u003ca id=\"mimi\" class=\"anchor\">\u003c/a> \u003cstrong>July 10, 2006: Weinstein allegedly forces himself on Mimi Haleyi\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13873664\" class=\"wp-caption aligncenter\" style=\"max-width: 594px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13873664\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/GettyImages-865953512.jpg\" alt=\"Mimi Haleyi (L) and Attorney Gloria Allred speak during a press conference, October 2017, New York City. \" width=\"594\" height=\"396\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-865953512.jpg 594w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-865953512-160x107.jpg 160w\" sizes=\"(max-width: 594px) 100vw, 594px\">\u003cfigcaption class=\"wp-caption-text\">Mimi Haleyi (L) and Attorney Gloria Allred speak during a press conference, October 2017, New York City. \u003ccite>(Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Haleyi, a former production assistant at Weinstein’s now-bankrupt production company, says that after inviting her to his New York City home, the producer ignored her objections, pulled out her tampon and forcibly performed oral sex on her.\u003c/p>\n\u003cp>“No woman should have to be subjected to this type of unacceptable abuse,” she \u003ca href=\"https://www.youtube.com/watch?v=VFX-wWVOyjc\" target=\"_blank\" rel=\"noopener noreferrer\">said in 2017\u003c/a>. “Women have the right to say no. A ‘no’ is a ‘no,’ regardless of the circumstances—and I told Harvey no.”\u003c/p>\n\u003cp>Haleyi’s claim was included in a \u003ca href=\"#second\" target=\"_blank\" rel=\"noopener noreferrer\">second round of charges\u003c/a> against Weinstein.\u003c/p>\n\u003cp>\u003ca id=\"LAincidents\" class=\"anchor\">\u003c/a> \u003cstrong>Feb. 18-19, 2013: A pair of incidents in Los Angeles\u003c/strong>\u003c/p>\n\u003cp>Few details have been formally released as yet about these alleged incidents, which recently prompted Los Angeles prosecutors to \u003ca href=\"#LA\" target=\"_blank\" rel=\"noopener noreferrer\">file four charges\u003c/a> against Weinstein: one felony count each of forcible rape, forcible oral copulation, sexual penetration by use of force and sexual battery by restraint.\u003c/p>\n\u003cp>“On Feb. 18, 2013, Weinstein allegedly went to a hotel and raped a woman after pushing his way inside her room,” the office of Los Angeles County District Attorney Jackie Lacey \u003ca href=\"http://da.co.la.ca.us/media/news/hollywood-producer-harvey-weinstein-charged-sexually-assaulting-two-women-2013\" target=\"_blank\" rel=\"noopener noreferrer\">explained in early January\u003c/a>. “The next evening, the defendant is accused of sexually assaulting a woman at a hotel suite in Beverly Hills.”\u003c/p>\n\u003cp>\u003cstrong>March 18, 2013: Alleged rape in New York City\u003c/strong>\u003c/p>\n\u003cp>For a long time, even fewer details had been released about this allegation, which prompted two of the charges against Weinstein: first- and third-degree rape. Indeed, it was not until the trial’s opening statements that prosecutors released the name of the alleged victim, Jessica Mann, and the details of her story.\u003c/p>\n\u003cp>Prosecutors said Mann, an aspiring actress, had attended several industry events with Weinstein and endured increasingly aggressive sexual advances—including one incident in which, similar to Haleyi, Mann says Weinstein forcibly performed oral sex on her.\u003c/p>\n\u003cp>But it was later, on March 18—one month after the alleged incidents in LA—that Mann says she tried to confront Weinstein at a hotel in Midtown Manhattan. There, he allegedly coaxed her up to his room, forced her to disrobe and ordered her onto the bed.\u003c/p>\n\u003cp>“He got on top of her and he raped her, forcing his penis into her vagina,” Assistant District Attorney Meghan Hast told jurors on Wednesday. “Jessica just laid there. When he finished, he got off of her.”\u003c/p>\n\u003cp>\u003cstrong>March 2015: New York DA decides not to prosecute allegation\u003c/strong>\u003c/p>\n\u003cp>Ambra Battilana Gutierrez, a Filipina-Italian model, reported Weinstein to the New York Police Department for allegedly groping her during a meeting at his Tribeca office. She \u003ca href=\"https://podcasts.apple.com/us/podcast/episode-3-the-wire/id1487730212?i=1000459181175\" target=\"_blank\" rel=\"noopener noreferrer\">says that\u003c/a> later, at the urging of police, she wore a recording device for an arranged meetup at a Manhattan hotel and that Weinstein admitted that he groped her and sought unsuccessfully to get her to come to his room.\u003c/p>\n\u003cp>Ultimately, however, the office of Manhattan District Attorney Cyrus Vance decided not to pursue the case, saying \u003ca href=\"https://abcnews.go.com/Entertainment/charges-filed-harvey-weinstein/story?id=30232552\" target=\"_blank\" rel=\"noopener noreferrer\">at the time\u003c/a> that “a criminal charge is not supported.”\u003c/p>\n\u003cp>Years later, after the publication of a \u003cem>New Yorker\u003c/em> piece \u003ca href=\"#nyer\" target=\"_blank\" rel=\"noopener noreferrer\">detailing Gutierrez’s allegations\u003c/a>, her story would become a \u003ca href=\"https://www.thecut.com/2018/03/times-up-sexual-assault-cuomo-weinstein-cyrus-vance.html\" target=\"_blank\" rel=\"noopener noreferrer\">focus of intense criticism\u003c/a> leveled at Vance, whose office is now responsible for prosecuting the criminal trial. New York Attorney General Andrew Cuomo \u003ca href=\"https://www.governor.ny.gov/news/statement-governor-andrew-m-cuomo-181\" target=\"_blank\" rel=\"noopener noreferrer\">requested a review\u003c/a> of the DA’s decision in 2015, though it’s not clear whether that was ever completed.\u003c/p>\n\u003cp>\u003cstrong>Oct. 5, 2017: \u003c/strong>\u003cem>\u003cstrong>The New York Times\u003c/strong>\u003c/em>\u003cstrong> publishes allegations\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13873668\" class=\"wp-caption aligncenter\" style=\"max-width: 594px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13873668\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/GettyImages-1192172436.jpg\" alt=\"Rose McGowan speaks to the media outside court on January 6, 2020, New York City. \" width=\"594\" height=\"395\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1192172436.jpg 594w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1192172436-160x106.jpg 160w\" sizes=\"(max-width: 594px) 100vw, 594px\">\u003cfigcaption class=\"wp-caption-text\">Rose McGowan speaks to the media outside court on January 6, 2020, New York City. \u003ccite>(Kena Betancur/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While rumors of sexual harassment and assault had long dogged Weinstein—even supplying \u003ca href=\"https://www.latimes.com/entertainment/la-et-entertainment-news-updates-seth-macfarlane-reveals-truth-about-his-1507755303-htmlstory.html\" target=\"_blank\" rel=\"noopener noreferrer\">punchlines at the Oscars\u003c/a>—but it wasn’t until the \u003cem>Times\u003c/em> and \u003cem>The New Yorker\u003c/em> published exposés that the allegations found serious traction.\u003c/p>\n\u003cp>\u003ca href=\"https://www.nytimes.com/2017/10/05/us/harvey-weinstein-harassment-allegations.html\" target=\"_blank\" rel=\"noopener noreferrer\">The Times’ story\u003c/a>, written by Jodi Kantor and Megan Twohey, focused on allegations by a series of assistants and actresses, such as Ashley Judd and Rose McGowan.\u003c/p>\n\u003cp>Weinstein, in a statement released \u003ca href=\"https://www.nytimes.com/interactive/2017/10/05/us/statement-from-harvey-weinstein.html\" target=\"_blank\" rel=\"noopener noreferrer\">that same day\u003c/a>, pledged to take a leave of absence and acknowledged that “I have a long way to go.”\u003c/p>\n\u003cp>“I so respect all women and regret what happened,” he said, without admitting wrongdoing.\u003c/p>\n\u003cp>\u003ca id=\"nyer\" class=\"anchor\">\u003c/a> \u003cstrong>Oct. 10, 2017: The \u003c/strong>\u003cem>\u003cstrong>New Yorker\u003c/strong>\u003c/em>\u003cstrong> publishes more allegations\u003c/strong>\u003c/p>\n\u003cp>Published just days after the \u003cem>Times\u003c/em> article, \u003ca href=\"https://www.newyorker.com/news/news-desk/from-aggressive-overtures-to-sexual-assault-harvey-weinsteins-accusers-tell-their-stories\" target=\"_blank\" rel=\"noopener noreferrer\">journalist Ronan Farrow’s piece\u003c/a> in the \u003cem>New Yorker\u003c/em> focused on a slew of other accusations—including the allegation by Lucia Evans that had been included in and but was later dropped from the list of criminal charges Weinstein faces in New York.\u003c/p>\n\u003cp>\u003cstrong>Oct. 14, 2017: Weinstein \u003c/strong>\u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/14/557790894/weinstein-expelled-from-the-academy-of-motion-pictures-arts-and-sciences\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>is expelled\u003c/strong>\u003c/a>\u003cstrong> from the Academy\u003c/strong>\u003c/p>\n\u003cp>In one of the first signs that the reaction to the \u003cem>Times\u003c/em> and \u003cem>New Yorker\u003c/em> reports represented a sea change, complete with real-world implications for Weinstein, the Hollywood producer is expelled from the Academy of Motion Picture Arts and Sciences, the influential organization responsible for the Oscars.\u003c/p>\n\u003cp>“We do so not simply to separate ourselves from someone who does not merit the respect of his colleagues,” the academy’s 54-member Board of Governors explained in a statement after an emergency meeting, “but also to send a message that the era of willful ignorance and shameful complicity in sexually predatory behavior and workplace harassment in our industry is over.”\u003c/p>\n\u003cp>\u003cstrong>March 19, 2018: The Weinstein Company \u003c/strong>\u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/19/595089301/the-weinstein-co-files-for-bankruptcy-cancels-non-disclosure-agreements\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>files for bankruptcy\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>Buffeted by months of negative press, the production company that Weinstein founded with his brother, Bob, goes belly up. The company declares bankruptcy and sells “substantially all” of its assets to Lantern Capital Partners, and it also voids the nondisclosure agreements it had reached with Weinstein’s accusers.\u003c/p>\n\u003cp>\u003ca id=\"original\" class=\"anchor\">\u003c/a> \u003cstrong>May 25, 2018: Weinstein \u003c/strong>\u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/25/614339339/harvey-weinstein-surrenders-to-authorities-on-sexual-assault-charges\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>surrenders to police\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>The former producer arrives at the New York Police Department’s 1st Precinct in Lower Manhattan, where he submits to arrest with droves of journalists looking on. It is Weinstein’s first arrest in connection with the sexual assault allegations.\u003c/p>\n\u003cp>The same day, Manhattan District Attorney Cyrus Vance Jr. submits Weinstein’s \u003ca href=\"https://www.manhattanda.org/district-attorney-vance-announces-criminal-charges-against-harvey-weinstein/\" target=\"_blank\" rel=\"noopener noreferrer\">initial slate of charges\u003c/a>: “The defendant is charged with Rape in the First and Third Degrees, as well as Criminal Sexual Act in the First Degree, for forcible sexual acts against two women in 2013 and 2004, respectively.”\u003c/p>\n\u003cp>About a week and a half later, Weinstein \u003ca href=\"https://www.npr.org/617095337\" target=\"_blank\" rel=\"noopener noreferrer\">pleads not guilty\u003c/a> to the charges, which will later change significantly as new information comes to light.\u003c/p>\n\u003cp>\u003ca id=\"second\" class=\"anchor\">\u003c/a> \u003cstrong>July 2, 2018: \u003c/strong>\u003ca href=\"https://www.npr.org/625330563\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Additional charges\u003c/strong>\u003c/a>\u003cstrong> against Weinstein announced\u003c/strong>\u003c/p>\n\u003cp>Manhattan DA Vance \u003ca href=\"https://www.manhattanda.org/district-attorney-vance-announces-additional-charges-against-harvey-weinstein-including-predatory-sexual-assault/\">announces the filing\u003c/a> of a superseding grand jury indictment, which adds charges connected with a third incident in 2006. The new slate includes one count of criminal sexual act in the first degree and two counts of predatory sexual assault, the most serious charge levied against Weinstein by New York City prosecutors.\u003c/p>\n\u003cp>\u003ca href=\"#mimi\" target=\"_blank\" rel=\"noopener noreferrer\">Mimi Haleyi\u003c/a>, who was involved in the alleged 2006 incident, \u003ca href=\"https://youtu.be/VFX-wWVOyjc\" target=\"_blank\" rel=\"noopener noreferrer\">had come forward\u003c/a> with her story more than half a year earlier, saying that during her time working at The Weinstein Company, Weinstein orally forced himself on her in his New York City home.\u003c/p>\n\u003cp>Weinstein pleads not guilty to the new charges a week after they are announced.\u003c/p>\n\u003cp>\u003ca id=\"dismissed\" class=\"anchor\">\u003c/a> \u003cstrong>Oct. 11, 2018: One charge against Weinstein is dismissed\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13873670\" class=\"wp-caption alignnone\" style=\"max-width: 594px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13873670\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/GettyImages-860971312.jpg\" alt=\"Members of the National Organization for Women (NOW) hold a news conference and demonstration outside of Manhattan Criminal Court, October 13.\" width=\"594\" height=\"396\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-860971312.jpg 594w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-860971312-160x107.jpg 160w\" sizes=\"(max-width: 594px) 100vw, 594px\">\u003cfigcaption class=\"wp-caption-text\">Members of the National Organization for Women (NOW) hold a news conference and demonstration outside of Manhattan Criminal Court, October 13. \u003ccite>(Spencer Platt/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Justice James Burke, the judge overseeing the Manhattan trial, dismissed one of the charges against the producer after it came to light that investigators didn’t properly present certain information to the grand jury.\u003c/p>\n\u003cp>Lucia Evans told the grand jury—and the \u003cem>New Yorker\u003c/em>—that Weinstein forced her to perform oral sex on him. But an unidentified friend of hers had contradicted that account in an interview with a detective, saying Evans called it a consensual act in exchange for the promise of acting work.\u003c/p>\n\u003cp>Prosecutors acknowledged later that the detective “failed to inform” them of “important details” of the interview prior to Evans’ grand jury testimony. Weinstein’s legal team pushed to have the criminal sexual act charge dismissed as a result, and prosecutors did not object.\u003c/p>\n\u003cp>\u003cstrong>Dec. 11, 2019: The Weinstein Company strikes \u003c/strong>\u003ca href=\"https://www.npr.org/787306873\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>tentative deal\u003c/strong>\u003c/a>\u003cstrong> with alleged victims\u003c/strong>\u003c/p>\n\u003cp>Weinstein and his now-bankrupt production company reach a tentative $47 million settlement to discharge their financial obligations. The deal contains $25 million earmarked for Weinstein’s alleged victims, including more than 30 actresses and former employees. It does not, however, require an admission of wrongdoing or any personal payments from Weinstein.\u003c/p>\n\u003cp>It is not a done deal, though: A judge still needs to sign off on the agreement for it to become final. And \u003ca href=\"https://www.npr.org/2019/05/24/726499228/wsj-harvey-weinstein-reaches-44-million-deal-over-sexual-misconduct\" target=\"_blank\" rel=\"noopener noreferrer\">previous attempts\u003c/a> have fallen through.\u003c/p>\n\u003cp>\u003cstrong>Jan. 6, 2020: Trial in New York City begins\u003c/strong>\u003c/p>\n\u003cp>Weinstein’s trial formally opens in Manhattan, with more than two weeks devoted to selecting a jury. After roughly a year and a half of pretrial wrangling, the charges Weinstein faces are as follows:\u003c/p>\n\u003cul>\n\u003cli>Two counts of predatory sexual assault\u003c/li>\n\u003cli>One count of rape in the first degree (connected to the 2013 incident)\u003c/li>\n\u003cli>One count of rape in the third degree (2013 incident)\u003c/li>\n\u003cli>One count of criminal sexual act in the first degree (2006 incident)\u003c/li>\n\u003c/ul>\n\u003cp>If convicted of the most serious crime on that list, \u003ca href=\"https://www.nysenate.gov/legislation/laws/PEN/130.95\" target=\"_blank\" rel=\"noopener noreferrer\">predatory sexual assault\u003c/a>, Weinstein faces the possibility of spending the rest of his \u003ca href=\"https://www.nysenate.gov/legislation/laws/PEN/70.00\" target=\"_blank\" rel=\"noopener noreferrer\">life in prison\u003c/a>.\u003c/p>\n\u003cp>\u003ca id=\"LA\" class=\"anchor\">\u003c/a> \u003cstrong>Jan. 6, 2020: Los Angeles prosecutors announce \u003c/strong>\u003ca href=\"https://www.npr.org/2020/01/06/794012813/harvey-weinstein-is-charged-with-sexual-assault-in-los-angeles-as-n-y-trial-begi\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>charges of their own\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>The same day that his trial opens in Manhattan, Weinstein is hit with new legal woes from the other side of the U.S.: \u003ca href=\"http://da.co.la.ca.us/sites/default/files/press/010620_Hollywood_Producer_Harvey_Weinstein_Charged_With_Sexually_Assaulting_Two_Women_in_2013.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">four felony counts of sexual assault\u003c/a>, filed by Los Angeles County District Attorney Lacey. The charges are connected with incidents that allegedly happened at local hotels over \u003ca href=\"#laincidents\" target=\"_blank\" rel=\"noopener noreferrer\">two nights in February 2013\u003c/a>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“We believe the evidence will show that the defendant used his power and influence to gain access to his victims,” Lacey says, “and then commit violent crimes against them.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Harvey+Weinstein+Trial%3A+A+Brief+Timeline+Of+How+We+Got+Here&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "For years, dark rumors swirled around the movie producer. So how did those whispered allegations result in a full-fledged criminal trial? Here's an abridged history.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 1:45 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Editor’s note: \u003c/strong>\u003c/em>\u003cem>This report includes descriptions of sexual assault.\u003c/em>\u003c/p>\n\u003cp>This was never inevitable.\u003c/p>\n\u003cp>For much of Harvey Weinstein’s career, dark rumors of sexual assault and harassment tailed the Hollywood mega-producer. But they were rarely spoken with much volume. Only in recent years did the allegations gather the heft and momentum that culminated in this: a teeming courtroom in Manhattan where, in a matter of weeks, a judge might send Weinstein to prison for the rest of his life.\u003c/p>\n\u003cp>Opening statements start Wednesday in Weinstein’s \u003ca href=\"https://www.npr.org/2020/01/06/793613868/harvey-weinstein-heads-to-trial-for-sex-crimes-in-a-metoo-landmark\" target=\"_blank\" rel=\"noopener noreferrer\">criminal trial\u003c/a>. Weinstein has pleaded not guilty to the multiple sexual assault and rape charges he faces in New York state, and he has repeatedly denied wrongdoing, casting these encounters as entirely consensual.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So what led to this?\u003c/p>\n\u003cp>While scores of women have accused Weinstein of crimes dating back decades—ranging from intimidation to rape—this timeline focuses on the incidents cited in criminal cases against him in Manhattan and, more recently, in Los Angeles, and the swell of popular momentum that helped drive prosecutors to press charges.\u003c/p>\n\u003ch3>\u003cstrong>Timeline\u003c/strong>\u003c/h3>\n\u003cp>\u003ca id=\"annabella\" class=\"anchor\">\u003c/a> \u003cstrong>Winter 1993-94: Weinstein allegedly rapes Annabella Sciorra\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13873663\" class=\"wp-caption alignright\" style=\"max-width: 248px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13873663\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Screen-Shot-2020-01-22-at-11.50.39-AM.png\" alt=\"Annabella Sciorra attends the Vanity Fair Oscar Party, March 2018. \" width=\"248\" height=\"334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Screen-Shot-2020-01-22-at-11.50.39-AM.png 248w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Screen-Shot-2020-01-22-at-11.50.39-AM-160x215.png 160w\" sizes=\"(max-width: 248px) 100vw, 248px\">\u003cfigcaption class=\"wp-caption-text\">Annabella Sciorra attends the Vanity Fair Oscar Party, March 2018. \u003ccite>(Dia Dipasupil/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The actress, perhaps best known for her Emmy-nominated work on \u003cem>The Sopranos\u003c/em>, says Weinstein raped her at her Manhattan apartment after an industry dinner. She says the producer dropped her off, only to reappear at her door and force his way inside.\u003c/p>\n\u003cp>Sciorra’s allegation went on to become the subject of pretrial arguments in Manhattan. While the alleged incident is too old to be prosecuted under state law, and while the defense team objected to its inclusion in the trial, her testimony will be \u003ca href=\"https://www.nytimes.com/2019/08/26/nyregion/harvey-weinstein-annabella-sciorra-trial-rape.html\" target=\"_blank\" rel=\"noopener noreferrer\">heard anyway\u003c/a>, in support of the charge of \u003ca href=\"https://www.nysenate.gov/legislation/laws/PEN/130.95\" target=\"_blank\" rel=\"noopener noreferrer\">predatory sexual assault\u003c/a>.\u003c/p>\n\u003cp>\u003ca id=\"lucia\" class=\"anchor\">\u003c/a> \u003cstrong>June 1, 2004: Weinstein allegedly forces Lucia Evans to perform oral sex\u003c/strong>\u003c/p>\n\u003cp>The former aspiring actress told \u003cem>The New Yorker—\u003c/em>in one of \u003ca href=\"#nyer\" target=\"_blank\" rel=\"noopener noreferrer\">a pair of major stories\u003c/a> that trained a national spotlight on the allegations—that Weinstein raped her in his office in Manhattan’s Tribeca neighborhood.\u003c/p>\n\u003cp>“He forced me to perform oral sex on him,” Evans said, adding: “I said, over and over, ‘I don’t want to do this, stop, don’t.’ I tried to get away, but maybe I didn’t try hard enough. I didn’t want to kick him or fight him.”\u003c/p>\n\u003cp>Her account led prosecutors to pursue a criminal sexual act charge against Weinstein, although it was dismissed in 2018. (More explanation on that \u003ca href=\"#dismissed\" target=\"_blank\" rel=\"noopener noreferrer\">later\u003c/a>.)\u003c/p>\n\u003cp>\u003ca id=\"mimi\" class=\"anchor\">\u003c/a> \u003cstrong>July 10, 2006: Weinstein allegedly forces himself on Mimi Haleyi\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13873664\" class=\"wp-caption aligncenter\" style=\"max-width: 594px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13873664\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/GettyImages-865953512.jpg\" alt=\"Mimi Haleyi (L) and Attorney Gloria Allred speak during a press conference, October 2017, New York City. \" width=\"594\" height=\"396\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-865953512.jpg 594w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-865953512-160x107.jpg 160w\" sizes=\"(max-width: 594px) 100vw, 594px\">\u003cfigcaption class=\"wp-caption-text\">Mimi Haleyi (L) and Attorney Gloria Allred speak during a press conference, October 2017, New York City. \u003ccite>(Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Haleyi, a former production assistant at Weinstein’s now-bankrupt production company, says that after inviting her to his New York City home, the producer ignored her objections, pulled out her tampon and forcibly performed oral sex on her.\u003c/p>\n\u003cp>“No woman should have to be subjected to this type of unacceptable abuse,” she \u003ca href=\"https://www.youtube.com/watch?v=VFX-wWVOyjc\" target=\"_blank\" rel=\"noopener noreferrer\">said in 2017\u003c/a>. “Women have the right to say no. A ‘no’ is a ‘no,’ regardless of the circumstances—and I told Harvey no.”\u003c/p>\n\u003cp>Haleyi’s claim was included in a \u003ca href=\"#second\" target=\"_blank\" rel=\"noopener noreferrer\">second round of charges\u003c/a> against Weinstein.\u003c/p>\n\u003cp>\u003ca id=\"LAincidents\" class=\"anchor\">\u003c/a> \u003cstrong>Feb. 18-19, 2013: A pair of incidents in Los Angeles\u003c/strong>\u003c/p>\n\u003cp>Few details have been formally released as yet about these alleged incidents, which recently prompted Los Angeles prosecutors to \u003ca href=\"#LA\" target=\"_blank\" rel=\"noopener noreferrer\">file four charges\u003c/a> against Weinstein: one felony count each of forcible rape, forcible oral copulation, sexual penetration by use of force and sexual battery by restraint.\u003c/p>\n\u003cp>“On Feb. 18, 2013, Weinstein allegedly went to a hotel and raped a woman after pushing his way inside her room,” the office of Los Angeles County District Attorney Jackie Lacey \u003ca href=\"http://da.co.la.ca.us/media/news/hollywood-producer-harvey-weinstein-charged-sexually-assaulting-two-women-2013\" target=\"_blank\" rel=\"noopener noreferrer\">explained in early January\u003c/a>. “The next evening, the defendant is accused of sexually assaulting a woman at a hotel suite in Beverly Hills.”\u003c/p>\n\u003cp>\u003cstrong>March 18, 2013: Alleged rape in New York City\u003c/strong>\u003c/p>\n\u003cp>For a long time, even fewer details had been released about this allegation, which prompted two of the charges against Weinstein: first- and third-degree rape. Indeed, it was not until the trial’s opening statements that prosecutors released the name of the alleged victim, Jessica Mann, and the details of her story.\u003c/p>\n\u003cp>Prosecutors said Mann, an aspiring actress, had attended several industry events with Weinstein and endured increasingly aggressive sexual advances—including one incident in which, similar to Haleyi, Mann says Weinstein forcibly performed oral sex on her.\u003c/p>\n\u003cp>But it was later, on March 18—one month after the alleged incidents in LA—that Mann says she tried to confront Weinstein at a hotel in Midtown Manhattan. There, he allegedly coaxed her up to his room, forced her to disrobe and ordered her onto the bed.\u003c/p>\n\u003cp>“He got on top of her and he raped her, forcing his penis into her vagina,” Assistant District Attorney Meghan Hast told jurors on Wednesday. “Jessica just laid there. When he finished, he got off of her.”\u003c/p>\n\u003cp>\u003cstrong>March 2015: New York DA decides not to prosecute allegation\u003c/strong>\u003c/p>\n\u003cp>Ambra Battilana Gutierrez, a Filipina-Italian model, reported Weinstein to the New York Police Department for allegedly groping her during a meeting at his Tribeca office. She \u003ca href=\"https://podcasts.apple.com/us/podcast/episode-3-the-wire/id1487730212?i=1000459181175\" target=\"_blank\" rel=\"noopener noreferrer\">says that\u003c/a> later, at the urging of police, she wore a recording device for an arranged meetup at a Manhattan hotel and that Weinstein admitted that he groped her and sought unsuccessfully to get her to come to his room.\u003c/p>\n\u003cp>Ultimately, however, the office of Manhattan District Attorney Cyrus Vance decided not to pursue the case, saying \u003ca href=\"https://abcnews.go.com/Entertainment/charges-filed-harvey-weinstein/story?id=30232552\" target=\"_blank\" rel=\"noopener noreferrer\">at the time\u003c/a> that “a criminal charge is not supported.”\u003c/p>\n\u003cp>Years later, after the publication of a \u003cem>New Yorker\u003c/em> piece \u003ca href=\"#nyer\" target=\"_blank\" rel=\"noopener noreferrer\">detailing Gutierrez’s allegations\u003c/a>, her story would become a \u003ca href=\"https://www.thecut.com/2018/03/times-up-sexual-assault-cuomo-weinstein-cyrus-vance.html\" target=\"_blank\" rel=\"noopener noreferrer\">focus of intense criticism\u003c/a> leveled at Vance, whose office is now responsible for prosecuting the criminal trial. New York Attorney General Andrew Cuomo \u003ca href=\"https://www.governor.ny.gov/news/statement-governor-andrew-m-cuomo-181\" target=\"_blank\" rel=\"noopener noreferrer\">requested a review\u003c/a> of the DA’s decision in 2015, though it’s not clear whether that was ever completed.\u003c/p>\n\u003cp>\u003cstrong>Oct. 5, 2017: \u003c/strong>\u003cem>\u003cstrong>The New York Times\u003c/strong>\u003c/em>\u003cstrong> publishes allegations\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13873668\" class=\"wp-caption aligncenter\" style=\"max-width: 594px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13873668\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/GettyImages-1192172436.jpg\" alt=\"Rose McGowan speaks to the media outside court on January 6, 2020, New York City. \" width=\"594\" height=\"395\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1192172436.jpg 594w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1192172436-160x106.jpg 160w\" sizes=\"(max-width: 594px) 100vw, 594px\">\u003cfigcaption class=\"wp-caption-text\">Rose McGowan speaks to the media outside court on January 6, 2020, New York City. \u003ccite>(Kena Betancur/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While rumors of sexual harassment and assault had long dogged Weinstein—even supplying \u003ca href=\"https://www.latimes.com/entertainment/la-et-entertainment-news-updates-seth-macfarlane-reveals-truth-about-his-1507755303-htmlstory.html\" target=\"_blank\" rel=\"noopener noreferrer\">punchlines at the Oscars\u003c/a>—but it wasn’t until the \u003cem>Times\u003c/em> and \u003cem>The New Yorker\u003c/em> published exposés that the allegations found serious traction.\u003c/p>\n\u003cp>\u003ca href=\"https://www.nytimes.com/2017/10/05/us/harvey-weinstein-harassment-allegations.html\" target=\"_blank\" rel=\"noopener noreferrer\">The Times’ story\u003c/a>, written by Jodi Kantor and Megan Twohey, focused on allegations by a series of assistants and actresses, such as Ashley Judd and Rose McGowan.\u003c/p>\n\u003cp>Weinstein, in a statement released \u003ca href=\"https://www.nytimes.com/interactive/2017/10/05/us/statement-from-harvey-weinstein.html\" target=\"_blank\" rel=\"noopener noreferrer\">that same day\u003c/a>, pledged to take a leave of absence and acknowledged that “I have a long way to go.”\u003c/p>\n\u003cp>“I so respect all women and regret what happened,” he said, without admitting wrongdoing.\u003c/p>\n\u003cp>\u003ca id=\"nyer\" class=\"anchor\">\u003c/a> \u003cstrong>Oct. 10, 2017: The \u003c/strong>\u003cem>\u003cstrong>New Yorker\u003c/strong>\u003c/em>\u003cstrong> publishes more allegations\u003c/strong>\u003c/p>\n\u003cp>Published just days after the \u003cem>Times\u003c/em> article, \u003ca href=\"https://www.newyorker.com/news/news-desk/from-aggressive-overtures-to-sexual-assault-harvey-weinsteins-accusers-tell-their-stories\" target=\"_blank\" rel=\"noopener noreferrer\">journalist Ronan Farrow’s piece\u003c/a> in the \u003cem>New Yorker\u003c/em> focused on a slew of other accusations—including the allegation by Lucia Evans that had been included in and but was later dropped from the list of criminal charges Weinstein faces in New York.\u003c/p>\n\u003cp>\u003cstrong>Oct. 14, 2017: Weinstein \u003c/strong>\u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/14/557790894/weinstein-expelled-from-the-academy-of-motion-pictures-arts-and-sciences\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>is expelled\u003c/strong>\u003c/a>\u003cstrong> from the Academy\u003c/strong>\u003c/p>\n\u003cp>In one of the first signs that the reaction to the \u003cem>Times\u003c/em> and \u003cem>New Yorker\u003c/em> reports represented a sea change, complete with real-world implications for Weinstein, the Hollywood producer is expelled from the Academy of Motion Picture Arts and Sciences, the influential organization responsible for the Oscars.\u003c/p>\n\u003cp>“We do so not simply to separate ourselves from someone who does not merit the respect of his colleagues,” the academy’s 54-member Board of Governors explained in a statement after an emergency meeting, “but also to send a message that the era of willful ignorance and shameful complicity in sexually predatory behavior and workplace harassment in our industry is over.”\u003c/p>\n\u003cp>\u003cstrong>March 19, 2018: The Weinstein Company \u003c/strong>\u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/19/595089301/the-weinstein-co-files-for-bankruptcy-cancels-non-disclosure-agreements\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>files for bankruptcy\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>Buffeted by months of negative press, the production company that Weinstein founded with his brother, Bob, goes belly up. The company declares bankruptcy and sells “substantially all” of its assets to Lantern Capital Partners, and it also voids the nondisclosure agreements it had reached with Weinstein’s accusers.\u003c/p>\n\u003cp>\u003ca id=\"original\" class=\"anchor\">\u003c/a> \u003cstrong>May 25, 2018: Weinstein \u003c/strong>\u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/25/614339339/harvey-weinstein-surrenders-to-authorities-on-sexual-assault-charges\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>surrenders to police\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>The former producer arrives at the New York Police Department’s 1st Precinct in Lower Manhattan, where he submits to arrest with droves of journalists looking on. It is Weinstein’s first arrest in connection with the sexual assault allegations.\u003c/p>\n\u003cp>The same day, Manhattan District Attorney Cyrus Vance Jr. submits Weinstein’s \u003ca href=\"https://www.manhattanda.org/district-attorney-vance-announces-criminal-charges-against-harvey-weinstein/\" target=\"_blank\" rel=\"noopener noreferrer\">initial slate of charges\u003c/a>: “The defendant is charged with Rape in the First and Third Degrees, as well as Criminal Sexual Act in the First Degree, for forcible sexual acts against two women in 2013 and 2004, respectively.”\u003c/p>\n\u003cp>About a week and a half later, Weinstein \u003ca href=\"https://www.npr.org/617095337\" target=\"_blank\" rel=\"noopener noreferrer\">pleads not guilty\u003c/a> to the charges, which will later change significantly as new information comes to light.\u003c/p>\n\u003cp>\u003ca id=\"second\" class=\"anchor\">\u003c/a> \u003cstrong>July 2, 2018: \u003c/strong>\u003ca href=\"https://www.npr.org/625330563\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Additional charges\u003c/strong>\u003c/a>\u003cstrong> against Weinstein announced\u003c/strong>\u003c/p>\n\u003cp>Manhattan DA Vance \u003ca href=\"https://www.manhattanda.org/district-attorney-vance-announces-additional-charges-against-harvey-weinstein-including-predatory-sexual-assault/\">announces the filing\u003c/a> of a superseding grand jury indictment, which adds charges connected with a third incident in 2006. The new slate includes one count of criminal sexual act in the first degree and two counts of predatory sexual assault, the most serious charge levied against Weinstein by New York City prosecutors.\u003c/p>\n\u003cp>\u003ca href=\"#mimi\" target=\"_blank\" rel=\"noopener noreferrer\">Mimi Haleyi\u003c/a>, who was involved in the alleged 2006 incident, \u003ca href=\"https://youtu.be/VFX-wWVOyjc\" target=\"_blank\" rel=\"noopener noreferrer\">had come forward\u003c/a> with her story more than half a year earlier, saying that during her time working at The Weinstein Company, Weinstein orally forced himself on her in his New York City home.\u003c/p>\n\u003cp>Weinstein pleads not guilty to the new charges a week after they are announced.\u003c/p>\n\u003cp>\u003ca id=\"dismissed\" class=\"anchor\">\u003c/a> \u003cstrong>Oct. 11, 2018: One charge against Weinstein is dismissed\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13873670\" class=\"wp-caption alignnone\" style=\"max-width: 594px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13873670\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/GettyImages-860971312.jpg\" alt=\"Members of the National Organization for Women (NOW) hold a news conference and demonstration outside of Manhattan Criminal Court, October 13.\" width=\"594\" height=\"396\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-860971312.jpg 594w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-860971312-160x107.jpg 160w\" sizes=\"(max-width: 594px) 100vw, 594px\">\u003cfigcaption class=\"wp-caption-text\">Members of the National Organization for Women (NOW) hold a news conference and demonstration outside of Manhattan Criminal Court, October 13. \u003ccite>(Spencer Platt/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Justice James Burke, the judge overseeing the Manhattan trial, dismissed one of the charges against the producer after it came to light that investigators didn’t properly present certain information to the grand jury.\u003c/p>\n\u003cp>Lucia Evans told the grand jury—and the \u003cem>New Yorker\u003c/em>—that Weinstein forced her to perform oral sex on him. But an unidentified friend of hers had contradicted that account in an interview with a detective, saying Evans called it a consensual act in exchange for the promise of acting work.\u003c/p>\n\u003cp>Prosecutors acknowledged later that the detective “failed to inform” them of “important details” of the interview prior to Evans’ grand jury testimony. Weinstein’s legal team pushed to have the criminal sexual act charge dismissed as a result, and prosecutors did not object.\u003c/p>\n\u003cp>\u003cstrong>Dec. 11, 2019: The Weinstein Company strikes \u003c/strong>\u003ca href=\"https://www.npr.org/787306873\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>tentative deal\u003c/strong>\u003c/a>\u003cstrong> with alleged victims\u003c/strong>\u003c/p>\n\u003cp>Weinstein and his now-bankrupt production company reach a tentative $47 million settlement to discharge their financial obligations. The deal contains $25 million earmarked for Weinstein’s alleged victims, including more than 30 actresses and former employees. It does not, however, require an admission of wrongdoing or any personal payments from Weinstein.\u003c/p>\n\u003cp>It is not a done deal, though: A judge still needs to sign off on the agreement for it to become final. And \u003ca href=\"https://www.npr.org/2019/05/24/726499228/wsj-harvey-weinstein-reaches-44-million-deal-over-sexual-misconduct\" target=\"_blank\" rel=\"noopener noreferrer\">previous attempts\u003c/a> have fallen through.\u003c/p>\n\u003cp>\u003cstrong>Jan. 6, 2020: Trial in New York City begins\u003c/strong>\u003c/p>\n\u003cp>Weinstein’s trial formally opens in Manhattan, with more than two weeks devoted to selecting a jury. After roughly a year and a half of pretrial wrangling, the charges Weinstein faces are as follows:\u003c/p>\n\u003cul>\n\u003cli>Two counts of predatory sexual assault\u003c/li>\n\u003cli>One count of rape in the first degree (connected to the 2013 incident)\u003c/li>\n\u003cli>One count of rape in the third degree (2013 incident)\u003c/li>\n\u003cli>One count of criminal sexual act in the first degree (2006 incident)\u003c/li>\n\u003c/ul>\n\u003cp>If convicted of the most serious crime on that list, \u003ca href=\"https://www.nysenate.gov/legislation/laws/PEN/130.95\" target=\"_blank\" rel=\"noopener noreferrer\">predatory sexual assault\u003c/a>, Weinstein faces the possibility of spending the rest of his \u003ca href=\"https://www.nysenate.gov/legislation/laws/PEN/70.00\" target=\"_blank\" rel=\"noopener noreferrer\">life in prison\u003c/a>.\u003c/p>\n\u003cp>\u003ca id=\"LA\" class=\"anchor\">\u003c/a> \u003cstrong>Jan. 6, 2020: Los Angeles prosecutors announce \u003c/strong>\u003ca href=\"https://www.npr.org/2020/01/06/794012813/harvey-weinstein-is-charged-with-sexual-assault-in-los-angeles-as-n-y-trial-begi\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>charges of their own\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>The same day that his trial opens in Manhattan, Weinstein is hit with new legal woes from the other side of the U.S.: \u003ca href=\"http://da.co.la.ca.us/sites/default/files/press/010620_Hollywood_Producer_Harvey_Weinstein_Charged_With_Sexually_Assaulting_Two_Women_in_2013.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">four felony counts of sexual assault\u003c/a>, filed by Los Angeles County District Attorney Lacey. The charges are connected with incidents that allegedly happened at local hotels over \u003ca href=\"#laincidents\" target=\"_blank\" rel=\"noopener noreferrer\">two nights in February 2013\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We believe the evidence will show that the defendant used his power and influence to gain access to his victims,” Lacey says, “and then commit violent crimes against them.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Harvey+Weinstein+Trial%3A+A+Brief+Timeline+Of+How+We+Got+Here&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! Noir City Visits Illicit Ports of Call at the Castro",
"headTitle": "Now Playing! Noir City Visits Illicit Ports of Call at the Castro | KQED",
"content": "\u003cp>Most film noirs involve a crime; in the best noirs, the crime was inspired, instigated or initiated by a woman. Who—it hardly needs to be said—takes a sap or two for a ride. See, as motives go, lust has a stronger gravitational pull than greed. How’s that for a topic for a master’s thesis, or a rye-soaked afternoon discussion-slash-tryst?\u003c/p>\n\u003cp>One thing we can agree on is that crimes borne of passion are universal. It follows, therefore, that film noir isn’t limited to the boundaries of the continental U.S. Not for the first time, Noir City’s Eddie Muller casts his jaundiced eye overseas for his annual festival of betrayal, amorality and ’50s fashion, unspooling Jan. 24 through Feb. 2 at the Castro.\u003c/p>\n\u003cp>Argentina is the point of departure for the globe-trotting travelogue of the depths of hell known hereabouts as \u003ca href=\"http://www.noircity.com/index.html\" rel=\"noopener noreferrer\" target=\"_blank\">Noir City: International II\u003c/a>. The opening night double feature pairs restored prints of \u003cem>The Beast Must Die\u003c/em>, an inexorably plotted revenge yarn, and \u003cem>The Black Vampire\u003c/em>, a baroquely stylized reimagining of Fritz Lang’s child-murderer drama \u003cem>M\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13873542\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/VAMPIRO-NEGRO_NC18_001_1200.jpg\" alt=\"\" width=\"1200\" height=\"873\" class=\"size-full wp-image-13873542\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/VAMPIRO-NEGRO_NC18_001_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/VAMPIRO-NEGRO_NC18_001_1200-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/VAMPIRO-NEGRO_NC18_001_1200-800x582.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/VAMPIRO-NEGRO_NC18_001_1200-768x559.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/VAMPIRO-NEGRO_NC18_001_1200-1020x742.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Black Vampire,’ 1953. \u003ccite>(Courtesy of Film Noir Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>France is often viewed as noir’s second home, thanks to a raft of deliciously bitter and smokily stylish movies. Jean Gabin, stoic, world weary and monumental, is a welcome presence in several of these soft-shelled, hardboiled dramas. The great Gabin graces the Castro screen in a Jan. 25 matinee of \u003cem>Razzia\u003c/em> (1955) and an evening screening of \u003cem>Any Number Can Win\u003c/em> (made eight years later).\u003c/p>\n\u003cp>South Korea has a dark side, too, don’t you know. Kim Ki-young’s astonishing \u003cem>The Housemaid\u003c/em> (1960) takes a solid, stable family of four and pushes it off the rails, down the stairs and into the wood chipper. (Figuratively speaking.) It plays Jan. 26 with \u003cem>Black Hair\u003c/em> (1964), showcasing the prolific Jeong-suk Moon (who married director Lee Man-hui) as a yakuza’s moll who embarks on a dizzying revenge tour of sleazy Seoul after she’s raped by an underling and discarded by her lover.\u003c/p>\n\u003cp>Come to think of it, perhaps there are more powerful drivers than sex and money, after all.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Most film noirs involve a crime; in the best noirs, the crime was inspired, instigated or initiated by a woman. Who—it hardly needs to be said—takes a sap or two for a ride. See, as motives go, lust has a stronger gravitational pull than greed. How’s that for a topic for a master’s thesis, or a rye-soaked afternoon discussion-slash-tryst?\u003c/p>\n\u003cp>One thing we can agree on is that crimes borne of passion are universal. It follows, therefore, that film noir isn’t limited to the boundaries of the continental U.S. Not for the first time, Noir City’s Eddie Muller casts his jaundiced eye overseas for his annual festival of betrayal, amorality and ’50s fashion, unspooling Jan. 24 through Feb. 2 at the Castro.\u003c/p>\n\u003cp>Argentina is the point of departure for the globe-trotting travelogue of the depths of hell known hereabouts as \u003ca href=\"http://www.noircity.com/index.html\" rel=\"noopener noreferrer\" target=\"_blank\">Noir City: International II\u003c/a>. The opening night double feature pairs restored prints of \u003cem>The Beast Must Die\u003c/em>, an inexorably plotted revenge yarn, and \u003cem>The Black Vampire\u003c/em>, a baroquely stylized reimagining of Fritz Lang’s child-murderer drama \u003cem>M\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13873542\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/VAMPIRO-NEGRO_NC18_001_1200.jpg\" alt=\"\" width=\"1200\" height=\"873\" class=\"size-full wp-image-13873542\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/VAMPIRO-NEGRO_NC18_001_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/VAMPIRO-NEGRO_NC18_001_1200-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/VAMPIRO-NEGRO_NC18_001_1200-800x582.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/VAMPIRO-NEGRO_NC18_001_1200-768x559.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/VAMPIRO-NEGRO_NC18_001_1200-1020x742.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Black Vampire,’ 1953. \u003ccite>(Courtesy of Film Noir Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>France is often viewed as noir’s second home, thanks to a raft of deliciously bitter and smokily stylish movies. Jean Gabin, stoic, world weary and monumental, is a welcome presence in several of these soft-shelled, hardboiled dramas. The great Gabin graces the Castro screen in a Jan. 25 matinee of \u003cem>Razzia\u003c/em> (1955) and an evening screening of \u003cem>Any Number Can Win\u003c/em> (made eight years later).\u003c/p>\n\u003cp>South Korea has a dark side, too, don’t you know. Kim Ki-young’s astonishing \u003cem>The Housemaid\u003c/em> (1960) takes a solid, stable family of four and pushes it off the rails, down the stairs and into the wood chipper. (Figuratively speaking.) It plays Jan. 26 with \u003cem>Black Hair\u003c/em> (1964), showcasing the prolific Jeong-suk Moon (who married director Lee Man-hui) as a yakuza’s moll who embarks on a dizzying revenge tour of sleazy Seoul after she’s raped by an underling and discarded by her lover.\u003c/p>\n\u003cp>Come to think of it, perhaps there are more powerful drivers than sex and money, after all.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ca href=\"https://creative-capital.org/\">Creative Capital\u003c/a>, the New York grant-making nonprofit, announced $100,000 awards for three Bay Area artists Wednesday as part of a $3.5 million funding round for projects nationwide.\u003c/p>\n\u003cp>Oakland filmmaker Rodrigo Reyes and Oakland dancer and social practice artist randy reyes (no relation) as well as San Francisco poet, essayist and editor Tonya Foster are among the 41 artists selected by a nine-member, multidisciplinary panel to receive $50,000 in career development services and $50,000 in project funding as 2020 Creative Capital Award winners.\u003c/p>\n\u003cp>Rodrigo Reyes, whose 2014 film \u003cem>Purgatorio\u003c/em> portrays life and death along the U.S.-Mexico border, won the award for an as-yet-untitled documentary about two Mexican migrants in rural California “told within the frame of the dramatic clash between systemic forces and personal choices that envelop young, incarcerated men of color in America,” according to the press release.\u003c/p>\n\u003cp>randy reyes, who’s been a fellow and resident at CounterPulse and Yerba Buena Center for the Arts, is launching \u003cem>Encuentro 33: LINE/AGE | Queer Neuro-Cognitive Architectures Hidden in Plain Site(s)\u003c/em>, a collaboration with a diverse, national cast of artists to develop performances “centering ecology, lineage and ritual through a choreographic lens,” the announcement reads.\u003c/p>\n\u003cp>Tonya Foster, meanwhile, is combining poetry, nonfiction prose and what the announcement calls “fictive FBI records” in \u003cem>Monkey Talk\u003c/em>, a multi-volume writing and multimedia project exploring surveillance and race. Foster, an assistant writing professor at California College of the Arts, is the author of two books and recipient of numerous fellowships and residencies.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Though these artists come to us from very different backgrounds, work in different fields, and explore a wide range of subjects, they share a dedication to pushing boundaries, both ours and their own,” Creative Capital president and executive director Suzy Delvalle said in a statement.\u003c/p>\n\u003cp>The 35 projects by 41 individual artists awarded this year were selected from a pool of more than 4,000 applicants. The announcement Wednesday details the demographics of the winners: 76 percent people of color, 54 percent women and 12 percent trans or gender nonbinary.\u003c/p>\n\u003cp>Creative Capital, formed 20 years ago in order to counter deep cuts to the National Endowment for the Arts, receives key funding from the Andy Warhol Foundation for the Visual Arts, the Doris Duke Charitable Foundation and the Surdna Foundation as well as individual donors.\u003c/p>\n\u003cp>The organization’s “venture philanthropy” approach stresses cash alongside professional development services, mentorship and gatherings in order to increase the money’s impact.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Applications for the next round of the now-annual Creative Capital Awards open Saturday, Feb. 1. \u003c/span>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://creative-capital.org/\">Creative Capital\u003c/a>, the New York grant-making nonprofit, announced $100,000 awards for three Bay Area artists Wednesday as part of a $3.5 million funding round for projects nationwide.\u003c/p>\n\u003cp>Oakland filmmaker Rodrigo Reyes and Oakland dancer and social practice artist randy reyes (no relation) as well as San Francisco poet, essayist and editor Tonya Foster are among the 41 artists selected by a nine-member, multidisciplinary panel to receive $50,000 in career development services and $50,000 in project funding as 2020 Creative Capital Award winners.\u003c/p>\n\u003cp>Rodrigo Reyes, whose 2014 film \u003cem>Purgatorio\u003c/em> portrays life and death along the U.S.-Mexico border, won the award for an as-yet-untitled documentary about two Mexican migrants in rural California “told within the frame of the dramatic clash between systemic forces and personal choices that envelop young, incarcerated men of color in America,” according to the press release.\u003c/p>\n\u003cp>randy reyes, who’s been a fellow and resident at CounterPulse and Yerba Buena Center for the Arts, is launching \u003cem>Encuentro 33: LINE/AGE | Queer Neuro-Cognitive Architectures Hidden in Plain Site(s)\u003c/em>, a collaboration with a diverse, national cast of artists to develop performances “centering ecology, lineage and ritual through a choreographic lens,” the announcement reads.\u003c/p>\n\u003cp>Tonya Foster, meanwhile, is combining poetry, nonfiction prose and what the announcement calls “fictive FBI records” in \u003cem>Monkey Talk\u003c/em>, a multi-volume writing and multimedia project exploring surveillance and race. Foster, an assistant writing professor at California College of the Arts, is the author of two books and recipient of numerous fellowships and residencies.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Though these artists come to us from very different backgrounds, work in different fields, and explore a wide range of subjects, they share a dedication to pushing boundaries, both ours and their own,” Creative Capital president and executive director Suzy Delvalle said in a statement.\u003c/p>\n\u003cp>The 35 projects by 41 individual artists awarded this year were selected from a pool of more than 4,000 applicants. The announcement Wednesday details the demographics of the winners: 76 percent people of color, 54 percent women and 12 percent trans or gender nonbinary.\u003c/p>\n\u003cp>Creative Capital, formed 20 years ago in order to counter deep cuts to the National Endowment for the Arts, receives key funding from the Andy Warhol Foundation for the Visual Arts, the Doris Duke Charitable Foundation and the Surdna Foundation as well as individual donors.\u003c/p>\n\u003cp>The organization’s “venture philanthropy” approach stresses cash alongside professional development services, mentorship and gatherings in order to increase the money’s impact.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Applications for the next round of the now-annual Creative Capital Awards open Saturday, Feb. 1. \u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The headline out of this morning’s Oscar nominations could have been newness. There was the arrival of Netflix’s two best picture contenders (\u003cem>Marriage Story \u003c/em>with six nominations\u003cem> \u003c/em>and \u003cem>The Irishman \u003c/em>with 10). There was the huge showing for Bong Joon-ho’s remarkable \u003cem>Parasite \u003c/em>(six nominations) out of South Korea, the extraordinarily rare foreign-language film to make the leap to best picture and the first from South Korea. These glimpses of the future, along with strong showings for genuinely oddball films like Taika Waititi’s World War II dark comedy \u003cem>Jojo Rabbit \u003c/em>(six nominations) and even for Sam Mendes’ inventively shot (if narratively familiar) \u003cem>1917 \u003c/em>could have made the thing feel a little fresher than usual. \u003c/p>\n\u003cp>But instead, the nominations outside of \u003cem>Parasite \u003c/em>are overwhelmingly familiar, as if you could have based them on the descriptions of movies on paper without seeing any of them. (This isn’t a comprehensive list of nominations, of course — for that, \u003ca href=\"https://www.oscars.org/oscars/ceremonies/2020\">read the full rundown\u003c/a>.)\u003c/p>\n\u003cp>Both Martin Scorsese (for \u003cem>The Irishman\u003c/em>) and Todd Phillips pretending to be Martin Scorsese (for \u003cem>Joker\u003c/em>) were nominated for best director, along with past winner Mendes (who won in 2000 for \u003cem>American Beauty\u003c/em>), past nominee Quentin Tarantino (nominated for both \u003cem>Pulp Fiction \u003c/em>in 1995 and \u003cem>Inglourious Basterds \u003c/em>in 2009) and Bong Joon-ho. Not a female director in the group, despite strong films this year from Lulu Wang (\u003cem>The Farewell\u003c/em>), Greta Gerwig (\u003cem>Little Women\u003c/em>), Lorene Scafaria (\u003cem>Hustlers\u003c/em>) and others. (Don’t shrug off \u003cem>Hustlers\u003c/em>, by the way. That film is crafted and perfected to within an inch of its life.)\u003c/p>\n\u003cp>Gerwig’s film landed nominations for acting, screenplay, costumes, music and best picture — but its direction was left out. Issa Rae, who announced the nominations with John Cho, paused at the end of the list of nominated directors and pointedly said, “Congratulations to those men.”\u003c/p>\n\u003cfigure id=\"attachment_13873131\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/onceuponatime-800x449.jpg\" alt=\"Cliff (Brad Pitt), Rick (Leonardo DiCaprio) and Marvin (Al Pacino) meet at Musso & Frank in 'Once Upon a Time in ... Hollywood.'\" width=\"800\" height=\"449\" class=\"size-medium wp-image-13873131\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/onceuponatime.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/onceuponatime-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/onceuponatime-768x431.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cliff (Brad Pitt), Rick (Leonardo DiCaprio) and Marvin (Al Pacino) meet at Musso & Frank in ‘Once Upon a Time in … Hollywood.’ \u003ccite>(Andrew Cooper/Columbia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The acting nominations were overwhelmingly white English speakers (\u003ca href=\"https://www.npr.org/2016/01/15/463224137/oscars-still-so-white-academy-nominates-nearly-all-white-actors-again\">again\u003c/a>), with only Cynthia Erivo (for \u003cem>Harriet\u003c/em>) and Antonio Banderas (\u003cem>Pain and Glory\u003c/em>) breaking that pattern. Not only that, but some of the most praised performances that were not nominated were prominent actors of color: Eddie Murphy in \u003cem>Dolemite Is My Name\u003c/em>, Jennifer Lopez in \u003cem>Hustlers\u003c/em>, Awkwafina in \u003cem>The Farewell\u003c/em>, Alfre Woodard in \u003cem>Clemency\u003c/em>, Lupita Nyong’o in \u003cem>Us. \u003c/em>Notably, Erivo was nominated for playing Harriet Tubman, precisely the kind of role the Academy seems most inclined to reward black actors (and especially black women) for playing: noble, in pain and comfortably set back in history. Multiple opportunities to recognize black actors and other actors of color in vivid, nuanced, contemporary stories were missed — including the entire cast of \u003cem>Parasite\u003c/em>, a film that was nominated for directing, screenplay, editing, international feature, production design and best picture — but for not one of its remarkable performances. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Lots of nods for the Tarantino movie. Lots of nods for the Scorsese movie and the quasi-Scorsese movie. A supporting actor category that’s perfectly defensible but seems unmoored in time (Al Pacino, Joe Pesci, Brad Pitt, Tom Hanks and Anthony Hopkins, all of whom got their first nominations between 1973 and 1996). A nomination for Charlize Theron playing Megyn Kelly in \u003cem>Bombshell\u003c/em>, more of an uncanny impersonation than the kind of interesting performance Theron has done in other films. \u003c/p>\n\u003cp>Nothing at all for \u003cem>The Farewell\u003c/em>, or for the divisive but electric \u003cem>Uncut Gems\u003c/em>. \u003c/p>\n\u003cp>There were, as always, some nominations that were broadly welcomed: The terrific short film \u003cem>Hair Love\u003c/em> from Matthew A. Cherry, Florence Pugh for playing a very different Amy March in \u003cem>Little Women\u003c/em>, Rian Johnson for his screenplay of the true comedy \u003cem>Knives Out. Jojo Rabbit\u003c/em>, arguably the most unconventional film to perform as well as it did, has plenty of enthusiasts, and Waititi is an exciting and offbeat voice. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But anyone who was expecting a bold step forward into the future of cinema, or a chance to salute the fresh and interesting talent that will take us all there, is likely to be disappointed. Once more through most of the same dances as always. Ah, well. We’ll always have \u003cem>Parasite\u003c/em>. \u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Oscar+Nominations%3A+In+With+The+Old%2C+And+%27Congratulations+To+Those+Men%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The headline out of this morning’s Oscar nominations could have been newness. There was the arrival of Netflix’s two best picture contenders (\u003cem>Marriage Story \u003c/em>with six nominations\u003cem> \u003c/em>and \u003cem>The Irishman \u003c/em>with 10). There was the huge showing for Bong Joon-ho’s remarkable \u003cem>Parasite \u003c/em>(six nominations) out of South Korea, the extraordinarily rare foreign-language film to make the leap to best picture and the first from South Korea. These glimpses of the future, along with strong showings for genuinely oddball films like Taika Waititi’s World War II dark comedy \u003cem>Jojo Rabbit \u003c/em>(six nominations) and even for Sam Mendes’ inventively shot (if narratively familiar) \u003cem>1917 \u003c/em>could have made the thing feel a little fresher than usual. \u003c/p>\n\u003cp>But instead, the nominations outside of \u003cem>Parasite \u003c/em>are overwhelmingly familiar, as if you could have based them on the descriptions of movies on paper without seeing any of them. (This isn’t a comprehensive list of nominations, of course — for that, \u003ca href=\"https://www.oscars.org/oscars/ceremonies/2020\">read the full rundown\u003c/a>.)\u003c/p>\n\u003cp>Both Martin Scorsese (for \u003cem>The Irishman\u003c/em>) and Todd Phillips pretending to be Martin Scorsese (for \u003cem>Joker\u003c/em>) were nominated for best director, along with past winner Mendes (who won in 2000 for \u003cem>American Beauty\u003c/em>), past nominee Quentin Tarantino (nominated for both \u003cem>Pulp Fiction \u003c/em>in 1995 and \u003cem>Inglourious Basterds \u003c/em>in 2009) and Bong Joon-ho. Not a female director in the group, despite strong films this year from Lulu Wang (\u003cem>The Farewell\u003c/em>), Greta Gerwig (\u003cem>Little Women\u003c/em>), Lorene Scafaria (\u003cem>Hustlers\u003c/em>) and others. (Don’t shrug off \u003cem>Hustlers\u003c/em>, by the way. That film is crafted and perfected to within an inch of its life.)\u003c/p>\n\u003cp>Gerwig’s film landed nominations for acting, screenplay, costumes, music and best picture — but its direction was left out. Issa Rae, who announced the nominations with John Cho, paused at the end of the list of nominated directors and pointedly said, “Congratulations to those men.”\u003c/p>\n\u003cfigure id=\"attachment_13873131\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/onceuponatime-800x449.jpg\" alt=\"Cliff (Brad Pitt), Rick (Leonardo DiCaprio) and Marvin (Al Pacino) meet at Musso & Frank in 'Once Upon a Time in ... Hollywood.'\" width=\"800\" height=\"449\" class=\"size-medium wp-image-13873131\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/onceuponatime.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/onceuponatime-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/onceuponatime-768x431.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cliff (Brad Pitt), Rick (Leonardo DiCaprio) and Marvin (Al Pacino) meet at Musso & Frank in ‘Once Upon a Time in … Hollywood.’ \u003ccite>(Andrew Cooper/Columbia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The acting nominations were overwhelmingly white English speakers (\u003ca href=\"https://www.npr.org/2016/01/15/463224137/oscars-still-so-white-academy-nominates-nearly-all-white-actors-again\">again\u003c/a>), with only Cynthia Erivo (for \u003cem>Harriet\u003c/em>) and Antonio Banderas (\u003cem>Pain and Glory\u003c/em>) breaking that pattern. Not only that, but some of the most praised performances that were not nominated were prominent actors of color: Eddie Murphy in \u003cem>Dolemite Is My Name\u003c/em>, Jennifer Lopez in \u003cem>Hustlers\u003c/em>, Awkwafina in \u003cem>The Farewell\u003c/em>, Alfre Woodard in \u003cem>Clemency\u003c/em>, Lupita Nyong’o in \u003cem>Us. \u003c/em>Notably, Erivo was nominated for playing Harriet Tubman, precisely the kind of role the Academy seems most inclined to reward black actors (and especially black women) for playing: noble, in pain and comfortably set back in history. Multiple opportunities to recognize black actors and other actors of color in vivid, nuanced, contemporary stories were missed — including the entire cast of \u003cem>Parasite\u003c/em>, a film that was nominated for directing, screenplay, editing, international feature, production design and best picture — but for not one of its remarkable performances. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Lots of nods for the Tarantino movie. Lots of nods for the Scorsese movie and the quasi-Scorsese movie. A supporting actor category that’s perfectly defensible but seems unmoored in time (Al Pacino, Joe Pesci, Brad Pitt, Tom Hanks and Anthony Hopkins, all of whom got their first nominations between 1973 and 1996). A nomination for Charlize Theron playing Megyn Kelly in \u003cem>Bombshell\u003c/em>, more of an uncanny impersonation than the kind of interesting performance Theron has done in other films. \u003c/p>\n\u003cp>Nothing at all for \u003cem>The Farewell\u003c/em>, or for the divisive but electric \u003cem>Uncut Gems\u003c/em>. \u003c/p>\n\u003cp>There were, as always, some nominations that were broadly welcomed: The terrific short film \u003cem>Hair Love\u003c/em> from Matthew A. Cherry, Florence Pugh for playing a very different Amy March in \u003cem>Little Women\u003c/em>, Rian Johnson for his screenplay of the true comedy \u003cem>Knives Out. Jojo Rabbit\u003c/em>, arguably the most unconventional film to perform as well as it did, has plenty of enthusiasts, and Waititi is an exciting and offbeat voice. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But anyone who was expecting a bold step forward into the future of cinema, or a chance to salute the fresh and interesting talent that will take us all there, is likely to be disappointed. Once more through most of the same dances as always. Ah, well. We’ll always have \u003cem>Parasite\u003c/em>. \u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Oscar+Nominations%3A+In+With+The+Old%2C+And+%27Congratulations+To+Those+Men%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“I know you want me to tear my clothes off so you can look your 50 cents worth,” the cabaret dancer says, scolding her audience from the edge of a stage. “Fifty cents for the privilege of staring at a girl the way your wives won’t let you. What do you suppose we think of you up here? With your silly smirks your mothers would be ashamed of. What’s it for? So’s you can go home when the show’s over and strut before your wives…? I am sure they see through you just like we do.”\u003c/p>\n\u003cp>It’s a scene so unerringly feminist, it’s hard to believe it was filmed in 1940. \u003cem>Dance, Girl, Dance\u003c/em>, a movie that presented dancers as smart and complex at a time when they were more commonly used on screen as little more than background color, was extremely bold. And its landmark scene was par for the course for rebel director Dorothy Arzner.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Fljry1HocUY\u003c/p>\n\u003cp>Born in San Francisco in 1897, Arzner spent most of her life in Southern California. What’s clear about the mark she left on the world, however, is that the rebellious spirit of San Francisco stayed with her long after she left. That fearlessness is visible in her film choices, as well as how she conducted her personal life—she was an out and unabashedly butch lesbian at a time when homosexuality was widely condemned. [aside postid='arts_13870056']\u003c/p>\n\u003cp>Unshakeable in her commitment to elevating female figures on screen, Arzner’s movies pulled no punches in presenting women as they’d never really been seen before. Both 1931’s \u003cem>Working Girls\u003c/em> and 1933’s \u003cem>Christopher Strong\u003c/em> featured plots in which unmarried women got pregnant—an extremely taboo subject at the time—and highlighted the damage wrought by stigmatizing women in trouble. In \u003cem>Christopher Strong\u003c/em>, even Katherine Hepburn’s go-getting pilot chooses to commit suicide rather than face the public shame of the world finding out.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Arzner never held back when it came to her views on marriage, either. Instead of the Hollywood romance usually associated with the institution, she presented it as a trap women were forced into for social and financial security. \u003cem>Working Girls\u003c/em>, \u003cem>Craig’s Wife\u003c/em> (1936) and \u003cem>Merrily We Go To A Hell\u003c/em> (1932) were all critical of the institution. The latter even featured a wife proposing an open marriage after finding out her husband has cheated.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QrD71wADp0w\u003c/p>\n\u003cp>While not the first female director in the world, Arzner was \u003ca href=\"https://en.wikipedia.org/wiki/Dorothy_Arzner\" target=\"_blank\" rel=\"noopener noreferrer\">the only one\u003c/a> working in Hollywood for the entirety of her movie directing career (1927-1943). She was also the first woman to be accepted into the Director’s Guild of America. Not for nothing. Her moviemaking knowledge was built on sturdy foundations of experience, starting in 1919 with her first job as a silent film stenographer. From there, she graduated onto scriptwriting, and then onto film editing. Her directorial debut came in the form of 1927’s \u003cem>Fashions for Women,\u003c/em> and three other silent films followed.\u003c/p>\n\u003cp>In 1929, Arzner was given the great distinction of directing Paramount’s first talkie, \u003cem>The Wild Party, \u003c/em>and she took the challenge on with great innovation and aplomb. When the star of the film, Clara Bow, began struggling to adjust to non-silent set conditions (she was awkwardly checking the positions of microphones mid-scene), Arzner solved the issue by dangling a mic from a fishing line above. Just like that, the boom mic was born. [aside postid='arts_13879147']\u003c/p>\n\u003cp>After directing her final movie (1943’s \u003ca href=\"https://en.wikipedia.org/wiki/First_Comes_Courage\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>First Comes Courage\u003c/em>\u003c/a>, about a female member of the WWII resistance), Arzner directed training videos for the wartime Women’s Army Corps and made dozens of Pepsi-Cola commercials before going on to teach. Arzner’s first classes were at the Pasadena Playhouse, and in 1961, she began teaching at UCLA’s film school. (Interestingly, Arzner’s partner of over 40 years, \u003ca href=\"https://en.wikipedia.org/wiki/Marion_Morgan_(choreographer)\" target=\"_blank\" rel=\"noopener noreferrer\">Marion Morgan\u003c/a>, made a similar transition, moving from life as a Hollywood choreographer to teaching dance at \u003ca href=\"https://books.google.com/books?id=nmQvAQAAMAAJ&pg=PR74&lpg=PR74&dq=marion+morgan+summer+school+berkeley&source=bl&ots=MtBlJXpBow&sig=ACfU3U3XeGZlAtJHqZUIPWz97MqC8jMAoQ&hl=en&sa=X&ved=2ahUKEwj5j8Wg4fnmAhX3CTQIHdHhA0gQ6AEwAXoECAoQAQ#v=onepage&q=marion%20morgan%20summer%20school%20berkeley&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">both UC Berkeley and UCLA\u003c/a>.)\u003c/p>\n\u003cp>Arzner’s time at UCLA left a lasting impression on a multitude of students, including Francis Ford Coppola, who moved to San Francisco shortly after graduating from her class. After lobbying Paramount to name a building on its Hollywood lot after Arzner in 2018, Coppola appeared before the new Dorothy Arzner office and talked fondly of his mentor, calling her “salty and sort of tough, but with a heart as big as the world.”\u003c/p>\n\u003cp>At the end of his \u003ca href=\"https://www.hollywoodreporter.com/news/francis-ford-coppola-joins-paramount-honoring-dorothy-arzner-1090127\" target=\"_blank\" rel=\"noopener noreferrer\">touching speech\u003c/a>, Coppola turned toward a large black-and-white photo of Arzner, showing her working diligently behind a camera, and said: “I can never thank you enough for what helped me for the next 58 years of my career.” In a \u003ca href=\"https://theluxurychannel.com/magazine/the-godfathers-godmother-francis-ford-coppola-on-female-film-makers/\" target=\"_blank\" rel=\"noopener noreferrer\">separate interview\u003c/a>, Coppola noted: “I think what meant so much, as I always had self-doubt, was that she would say: ‘You are going to do fine.’ She was very famous. I just had the good luck that I was her student.”\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>For stories on other Rebel Girls from Bay Area History, click \u003ca href=\"https://www.kqed.org/arts/program/rebel-girls-from-bay-area-history\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>A book celebrating women from the Rebel Girls series, \u003ca href=\"https://citylights.com/politics-current-events-history/unsung-heroines35-women-who-changed/\">‘Unsung Heroines: 35 Women Who Changed the Bay Area,’\u003c/a> is available now from City Lights.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“I know you want me to tear my clothes off so you can look your 50 cents worth,” the cabaret dancer says, scolding her audience from the edge of a stage. “Fifty cents for the privilege of staring at a girl the way your wives won’t let you. What do you suppose we think of you up here? With your silly smirks your mothers would be ashamed of. What’s it for? So’s you can go home when the show’s over and strut before your wives…? I am sure they see through you just like we do.”\u003c/p>\n\u003cp>It’s a scene so unerringly feminist, it’s hard to believe it was filmed in 1940. \u003cem>Dance, Girl, Dance\u003c/em>, a movie that presented dancers as smart and complex at a time when they were more commonly used on screen as little more than background color, was extremely bold. And its landmark scene was par for the course for rebel director Dorothy Arzner.\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/Fljry1HocUY'\n title='//www.youtube.com/embed/Fljry1HocUY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Born in San Francisco in 1897, Arzner spent most of her life in Southern California. What’s clear about the mark she left on the world, however, is that the rebellious spirit of San Francisco stayed with her long after she left. That fearlessness is visible in her film choices, as well as how she conducted her personal life—she was an out and unabashedly butch lesbian at a time when homosexuality was widely condemned. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Unshakeable in her commitment to elevating female figures on screen, Arzner’s movies pulled no punches in presenting women as they’d never really been seen before. Both 1931’s \u003cem>Working Girls\u003c/em> and 1933’s \u003cem>Christopher Strong\u003c/em> featured plots in which unmarried women got pregnant—an extremely taboo subject at the time—and highlighted the damage wrought by stigmatizing women in trouble. In \u003cem>Christopher Strong\u003c/em>, even Katherine Hepburn’s go-getting pilot chooses to commit suicide rather than face the public shame of the world finding out.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Arzner never held back when it came to her views on marriage, either. Instead of the Hollywood romance usually associated with the institution, she presented it as a trap women were forced into for social and financial security. \u003cem>Working Girls\u003c/em>, \u003cem>Craig’s Wife\u003c/em> (1936) and \u003cem>Merrily We Go To A Hell\u003c/em> (1932) were all critical of the institution. The latter even featured a wife proposing an open marriage after finding out her husband has cheated.\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/QrD71wADp0w'\n title='//www.youtube.com/embed/QrD71wADp0w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>While not the first female director in the world, Arzner was \u003ca href=\"https://en.wikipedia.org/wiki/Dorothy_Arzner\" target=\"_blank\" rel=\"noopener noreferrer\">the only one\u003c/a> working in Hollywood for the entirety of her movie directing career (1927-1943). She was also the first woman to be accepted into the Director’s Guild of America. Not for nothing. Her moviemaking knowledge was built on sturdy foundations of experience, starting in 1919 with her first job as a silent film stenographer. From there, she graduated onto scriptwriting, and then onto film editing. Her directorial debut came in the form of 1927’s \u003cem>Fashions for Women,\u003c/em> and three other silent films followed.\u003c/p>\n\u003cp>In 1929, Arzner was given the great distinction of directing Paramount’s first talkie, \u003cem>The Wild Party, \u003c/em>and she took the challenge on with great innovation and aplomb. When the star of the film, Clara Bow, began struggling to adjust to non-silent set conditions (she was awkwardly checking the positions of microphones mid-scene), Arzner solved the issue by dangling a mic from a fishing line above. Just like that, the boom mic was born. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After directing her final movie (1943’s \u003ca href=\"https://en.wikipedia.org/wiki/First_Comes_Courage\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>First Comes Courage\u003c/em>\u003c/a>, about a female member of the WWII resistance), Arzner directed training videos for the wartime Women’s Army Corps and made dozens of Pepsi-Cola commercials before going on to teach. Arzner’s first classes were at the Pasadena Playhouse, and in 1961, she began teaching at UCLA’s film school. (Interestingly, Arzner’s partner of over 40 years, \u003ca href=\"https://en.wikipedia.org/wiki/Marion_Morgan_(choreographer)\" target=\"_blank\" rel=\"noopener noreferrer\">Marion Morgan\u003c/a>, made a similar transition, moving from life as a Hollywood choreographer to teaching dance at \u003ca href=\"https://books.google.com/books?id=nmQvAQAAMAAJ&pg=PR74&lpg=PR74&dq=marion+morgan+summer+school+berkeley&source=bl&ots=MtBlJXpBow&sig=ACfU3U3XeGZlAtJHqZUIPWz97MqC8jMAoQ&hl=en&sa=X&ved=2ahUKEwj5j8Wg4fnmAhX3CTQIHdHhA0gQ6AEwAXoECAoQAQ#v=onepage&q=marion%20morgan%20summer%20school%20berkeley&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">both UC Berkeley and UCLA\u003c/a>.)\u003c/p>\n\u003cp>Arzner’s time at UCLA left a lasting impression on a multitude of students, including Francis Ford Coppola, who moved to San Francisco shortly after graduating from her class. After lobbying Paramount to name a building on its Hollywood lot after Arzner in 2018, Coppola appeared before the new Dorothy Arzner office and talked fondly of his mentor, calling her “salty and sort of tough, but with a heart as big as the world.”\u003c/p>\n\u003cp>At the end of his \u003ca href=\"https://www.hollywoodreporter.com/news/francis-ford-coppola-joins-paramount-honoring-dorothy-arzner-1090127\" target=\"_blank\" rel=\"noopener noreferrer\">touching speech\u003c/a>, Coppola turned toward a large black-and-white photo of Arzner, showing her working diligently behind a camera, and said: “I can never thank you enough for what helped me for the next 58 years of my career.” In a \u003ca href=\"https://theluxurychannel.com/magazine/the-godfathers-godmother-francis-ford-coppola-on-female-film-makers/\" target=\"_blank\" rel=\"noopener noreferrer\">separate interview\u003c/a>, Coppola noted: “I think what meant so much, as I always had self-doubt, was that she would say: ‘You are going to do fine.’ She was very famous. I just had the good luck that I was her student.”\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>For stories on other Rebel Girls from Bay Area History, click \u003ca href=\"https://www.kqed.org/arts/program/rebel-girls-from-bay-area-history\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>A book celebrating women from the Rebel Girls series, \u003ca href=\"https://citylights.com/politics-current-events-history/unsung-heroines35-women-who-changed/\">‘Unsung Heroines: 35 Women Who Changed the Bay Area,’\u003c/a> is available now from City Lights.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Before 'Gretel & Hansel': Exploring the Real-Life History of the Fairytale",
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"content": "\u003cp>A new movie version of \u003cem>Hansel & Gretel\u003c/em> hits theaters this month and, unlike the children’s adaptations we’ve grown accustomed to, it is very much a horror film. \u003cem>Gretel & Hansel\u003c/em> is the logical evolution for a story that’s terrified children and adults alike since the 14th century. What’s more, it continues a long tradition of shifting the story’s narrative in order to reflect, and better suit, the era in which it reemerges.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QZblQLhKcZQ\u003c/p>\n\u003cp>Perhaps unsurprisingly, this tale about siblings being abandoned by their parents in the forest, enticed to the home of a witch and then almost eaten by her, the roots of \u003cem>Hansel & Gretel\u003c/em> spring from shocking real-life horror.\u003c/p>\n\u003cp>The story’s origins have been traced back to the \u003ca href=\"https://en.wikipedia.org/wiki/Great_Famine_of_1315%E2%80%931317\" target=\"_blank\" rel=\"noopener noreferrer\">Great Famine\u003c/a> that started in 1315 and killed millions across Europe. At the time, conditions were so dire and starvation was so widespread that parents were known to \u003ca href=\"https://www.pookpress.co.uk/project/hansel-and-gretel-history/\" target=\"_blank\" rel=\"noopener noreferrer\">abandon their own children\u003c/a>, either to fend for themselves or simply to die. There were also rumors of cannibalism during the period as people struggled to survive. As such, when \u003cem>Hansel & Gretel\u003c/em> first circulated, there was nothing particularly fantastical about a story of “terribly hungry” disowned children nearly being eaten by a frightening stranger.\u003c/p>\n\u003cp>The tale proved so compelling that it was passed from generation to generation via oral traditions until the Brothers Grimm finally \u003ca href=\"https://study.com/academy/lesson/hansel-gretel-setting.html\" target=\"_blank\" rel=\"noopener noreferrer\">immortalized it\u003c/a> in print in 1812. It took less than 50 years, however, for their \u003ca href=\"https://nationalpost.com/life/parenting/something-wicked-this-way-comes-how-real-life-stepmothers-are-battling-centuries-of-fiction-to-overcome-stereotypes\" target=\"_blank\" rel=\"noopener noreferrer\">original version\u003c/a> to undergo some significant updates.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>By the time the \u003ca href=\"https://www.pitt.edu/~dash/grimm015a.html\" target=\"_blank\" rel=\"noopener noreferrer\">final Grimm edition\u003c/a> emerged in 1857, the idea of parents leaving their own children alone in the woods had simply become too taboo to retain—even in a tale that featured attempted cannibalism. As such, all subsequent editions transformed Hansel and Gretel’s coldly practical mother into an overtly abusive stepmother. And their father—already unsure of abandoning his kids in the original story—was presented in a more sympathetic light, thanks to added lines of dialogue, including, early on: “I do feel sorry for the poor children.”\u003c/p>\n\u003cp>Through the decades as we’ve continued to tell the story, small but key details like these have changed to reflect shifting cultural sensibilities. In the composer Engelbert Humperdinck’s 1893 opera \u003ca href=\"https://www.youtube.com/watch?v=JnMEI4aoUfo\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Hänsel und Gretel\u003c/em>\u003c/a>, for example, the children’s mother was still present and still cold (threatening the kids for not doing their chores and such) but she only sent them into the forest to pick strawberries. That’s quite the leap away from escorting them there to die.\u003c/p>\n\u003cp>By the time \u003ca href=\"https://www.youtube.com/watch?v=GT5Rq_QSk-Y\" target=\"_blank\" rel=\"noopener noreferrer\">Ray Harryhausen’s stop-motion rendition of \u003cem>Hansel & Gretel\u003c/em>\u003c/a> appeared in TV in 1951, the children were going into the forest entirely of their own accord, in order to forage for food to help their stressed-out single father. In this \u003cem>Hansel and Gretel\u003c/em>, the kids were simply performing a selfless deed for their family—and their bravery was rewarded with “gold, silver and precious jewels.” The lesson in this version was about familial bonds, not betrayal—a reflection of the family values of the early ’50s.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GT5Rq_QSk-Y\u003c/p>\n\u003cp>In 1983, when Faerie Tale Theatre created \u003ca href=\"https://www.youtube.com/watch?v=S3FEZsyR0Eg\" target=\"_blank\" rel=\"noopener noreferrer\">a version for television\u003c/a>, the moral became even further simplified, with Shelley Duvall introducing the production as a story “about a little boy and girl who learn not to take candy from strangers”—a parable of the prevailing “stranger danger” message for youngsters in the 1980s.\u003c/p>\n\u003cp>The new millennium brought several surefire signals of filmmakers’ struggle to make \u003cem>Hansel & Gretel\u003c/em> make sense for modern audiences. A 2002 movie version starring Dakota Fanning and Taylor Momsen rounded down the story’s sharpest edges by introducing heavy-handed comedic elements and goofy new characters, including Howie Mandel as “The Sandman.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=TPP_Pz5YKMI\u003c/p>\n\u003cp>But that’s nothing compared to what happened in 2013. That year, the world ended up with both \u003ca href=\"https://www.imdb.com/title/tt1428538/?ref_=nv_sr_srsg_4\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Hansel & Gretel: Witch Hunters\u003c/em>\u003c/a> (a Jeremy Renner-starring vehicle in which the children are all grown up and hunting the source of their nightmares) and \u003ca href=\"https://www.imdb.com/title/tt2081194/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Hansel & Gretel Get Baked\u003c/em>\u003c/a> (a stoner movie best forgotten entirely).\u003c/p>\n\u003cp>While movie adaptations were struggling, in 2014 Neil Gaiman and illustrator Lorenzo Mattotti successfully transformed \u003cem>Hansel & Gretel\u003c/em> into a current-day story about refugees surviving war. Their book collaboration succeeded in bringing a grim reality back to the story that had become almost entirely absent in the preceding decades. “In the early Grimms’ versions, there was famine,” \u003ca href=\"http://amanpour.blogs.cnn.com/2014/09/30/bestselling-author-neil-gaiman-recounts-visiting-syrian-refugees/\" target=\"_blank\" rel=\"noopener noreferrer\">Gaiman told CNN\u003c/a> at the time. “Talking to some of the Syrian refugees who ran out of food, telling me about getting permission from their imam to eat cats and dogs because all the other animals had gone—about eating grass, drinking swamp water—I thought, ‘This is \u003cem>Hansel & Gretel\u003c/em> now.’”\u003c/p>\n\u003cp>While we are undoubtedly far better off in 2020 than in the Great Famine of 1315 that originally birthed this story, it makes sense now for a new \u003cem>Hansel & Gretel\u003c/em> to be rooted in horror. With America in the midst of thousands of child separations at the border, a light-hearted narrative in which parents voluntarily abandon their children would be insensitive at best. And while the nation is far from famine, hunger is a real and present danger for \u003ca href=\"https://en.wikipedia.org/wiki/Poverty_in_the_United_States\" target=\"_blank\" rel=\"noopener noreferrer\">millions of American children\u003c/a> right now.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As long as the dark 700-year-old story of \u003cem>Hansel & Gretel\u003c/em> keeps being reinvented, it will always reflect the times. The fact that it’s returned to its medieval roots this year? That’s a development that should probably give us all pause.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A new movie version of \u003cem>Hansel & Gretel\u003c/em> hits theaters this month and, unlike the children’s adaptations we’ve grown accustomed to, it is very much a horror film. \u003cem>Gretel & Hansel\u003c/em> is the logical evolution for a story that’s terrified children and adults alike since the 14th century. What’s more, it continues a long tradition of shifting the story’s narrative in order to reflect, and better suit, the era in which it reemerges.\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/QZblQLhKcZQ'\n title='//www.youtube.com/embed/QZblQLhKcZQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Perhaps unsurprisingly, this tale about siblings being abandoned by their parents in the forest, enticed to the home of a witch and then almost eaten by her, the roots of \u003cem>Hansel & Gretel\u003c/em> spring from shocking real-life horror.\u003c/p>\n\u003cp>The story’s origins have been traced back to the \u003ca href=\"https://en.wikipedia.org/wiki/Great_Famine_of_1315%E2%80%931317\" target=\"_blank\" rel=\"noopener noreferrer\">Great Famine\u003c/a> that started in 1315 and killed millions across Europe. At the time, conditions were so dire and starvation was so widespread that parents were known to \u003ca href=\"https://www.pookpress.co.uk/project/hansel-and-gretel-history/\" target=\"_blank\" rel=\"noopener noreferrer\">abandon their own children\u003c/a>, either to fend for themselves or simply to die. There were also rumors of cannibalism during the period as people struggled to survive. As such, when \u003cem>Hansel & Gretel\u003c/em> first circulated, there was nothing particularly fantastical about a story of “terribly hungry” disowned children nearly being eaten by a frightening stranger.\u003c/p>\n\u003cp>The tale proved so compelling that it was passed from generation to generation via oral traditions until the Brothers Grimm finally \u003ca href=\"https://study.com/academy/lesson/hansel-gretel-setting.html\" target=\"_blank\" rel=\"noopener noreferrer\">immortalized it\u003c/a> in print in 1812. It took less than 50 years, however, for their \u003ca href=\"https://nationalpost.com/life/parenting/something-wicked-this-way-comes-how-real-life-stepmothers-are-battling-centuries-of-fiction-to-overcome-stereotypes\" target=\"_blank\" rel=\"noopener noreferrer\">original version\u003c/a> to undergo some significant updates.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>By the time the \u003ca href=\"https://www.pitt.edu/~dash/grimm015a.html\" target=\"_blank\" rel=\"noopener noreferrer\">final Grimm edition\u003c/a> emerged in 1857, the idea of parents leaving their own children alone in the woods had simply become too taboo to retain—even in a tale that featured attempted cannibalism. As such, all subsequent editions transformed Hansel and Gretel’s coldly practical mother into an overtly abusive stepmother. And their father—already unsure of abandoning his kids in the original story—was presented in a more sympathetic light, thanks to added lines of dialogue, including, early on: “I do feel sorry for the poor children.”\u003c/p>\n\u003cp>Through the decades as we’ve continued to tell the story, small but key details like these have changed to reflect shifting cultural sensibilities. In the composer Engelbert Humperdinck’s 1893 opera \u003ca href=\"https://www.youtube.com/watch?v=JnMEI4aoUfo\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Hänsel und Gretel\u003c/em>\u003c/a>, for example, the children’s mother was still present and still cold (threatening the kids for not doing their chores and such) but she only sent them into the forest to pick strawberries. That’s quite the leap away from escorting them there to die.\u003c/p>\n\u003cp>By the time \u003ca href=\"https://www.youtube.com/watch?v=GT5Rq_QSk-Y\" target=\"_blank\" rel=\"noopener noreferrer\">Ray Harryhausen’s stop-motion rendition of \u003cem>Hansel & Gretel\u003c/em>\u003c/a> appeared in TV in 1951, the children were going into the forest entirely of their own accord, in order to forage for food to help their stressed-out single father. In this \u003cem>Hansel and Gretel\u003c/em>, the kids were simply performing a selfless deed for their family—and their bravery was rewarded with “gold, silver and precious jewels.” The lesson in this version was about familial bonds, not betrayal—a reflection of the family values of the early ’50s.\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/GT5Rq_QSk-Y'\n title='//www.youtube.com/embed/GT5Rq_QSk-Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In 1983, when Faerie Tale Theatre created \u003ca href=\"https://www.youtube.com/watch?v=S3FEZsyR0Eg\" target=\"_blank\" rel=\"noopener noreferrer\">a version for television\u003c/a>, the moral became even further simplified, with Shelley Duvall introducing the production as a story “about a little boy and girl who learn not to take candy from strangers”—a parable of the prevailing “stranger danger” message for youngsters in the 1980s.\u003c/p>\n\u003cp>The new millennium brought several surefire signals of filmmakers’ struggle to make \u003cem>Hansel & Gretel\u003c/em> make sense for modern audiences. A 2002 movie version starring Dakota Fanning and Taylor Momsen rounded down the story’s sharpest edges by introducing heavy-handed comedic elements and goofy new characters, including Howie Mandel as “The Sandman.”\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/TPP_Pz5YKMI'\n title='//www.youtube.com/embed/TPP_Pz5YKMI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But that’s nothing compared to what happened in 2013. That year, the world ended up with both \u003ca href=\"https://www.imdb.com/title/tt1428538/?ref_=nv_sr_srsg_4\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Hansel & Gretel: Witch Hunters\u003c/em>\u003c/a> (a Jeremy Renner-starring vehicle in which the children are all grown up and hunting the source of their nightmares) and \u003ca href=\"https://www.imdb.com/title/tt2081194/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Hansel & Gretel Get Baked\u003c/em>\u003c/a> (a stoner movie best forgotten entirely).\u003c/p>\n\u003cp>While movie adaptations were struggling, in 2014 Neil Gaiman and illustrator Lorenzo Mattotti successfully transformed \u003cem>Hansel & Gretel\u003c/em> into a current-day story about refugees surviving war. Their book collaboration succeeded in bringing a grim reality back to the story that had become almost entirely absent in the preceding decades. “In the early Grimms’ versions, there was famine,” \u003ca href=\"http://amanpour.blogs.cnn.com/2014/09/30/bestselling-author-neil-gaiman-recounts-visiting-syrian-refugees/\" target=\"_blank\" rel=\"noopener noreferrer\">Gaiman told CNN\u003c/a> at the time. “Talking to some of the Syrian refugees who ran out of food, telling me about getting permission from their imam to eat cats and dogs because all the other animals had gone—about eating grass, drinking swamp water—I thought, ‘This is \u003cem>Hansel & Gretel\u003c/em> now.’”\u003c/p>\n\u003cp>While we are undoubtedly far better off in 2020 than in the Great Famine of 1315 that originally birthed this story, it makes sense now for a new \u003cem>Hansel & Gretel\u003c/em> to be rooted in horror. With America in the midst of thousands of child separations at the border, a light-hearted narrative in which parents voluntarily abandon their children would be insensitive at best. And while the nation is far from famine, hunger is a real and present danger for \u003ca href=\"https://en.wikipedia.org/wiki/Poverty_in_the_United_States\" target=\"_blank\" rel=\"noopener noreferrer\">millions of American children\u003c/a> right now.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As long as the dark 700-year-old story of \u003cem>Hansel & Gretel\u003c/em> keeps being reinvented, it will always reflect the times. The fact that it’s returned to its medieval roots this year? That’s a development that should probably give us all pause.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! Coven Film Festival Convenes Sisters of Cinema at the Roxie",
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"content": "\u003cp>Some years are devoted to preparation, others to reflection and contemplation. 2020 is going to be a year of action.\u003c/p>\n\u003cp>That’s the conclusion I draw from the \u003ca href=\"https://www.covenfilmfest.com\" rel=\"noopener noreferrer\" target=\"_blank\">Coven Film Festival\u003c/a>‘s pole position on the perennially packed Bay Area festival calendar. With its emphasis on networking, tools, support and inspiration, Coven aspires to be a launching pad for women and non-binary filmmakers. Its eager-beaver stake out of the first post-holiday weekend of the year (Jan. 10–12) is a veritable clarion call for anyone on its frequency.\u003c/p>\n\u003cp>The second-year festival boasts a new director of programming, Faridah Gbadamosi, who has shifted last year’s emphasis on short films to a balance of features and shorts programs. The theme connecting the various works is discernible from even a cursory glance at the lineup: The urgent lure of freedom—and the forces that arise in opposition.\u003c/p>\n\u003cfigure id=\"attachment_13872431\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Once-Upon-A-River_Still_01.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13872431\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Once-Upon-A-River_Still_01.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Once-Upon-A-River_Still_01-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Once-Upon-A-River_Still_01-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Once-Upon-A-River_Still_01-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Once-Upon-A-River_Still_01-1020x574.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Haroula Rose’s ‘Once Upon a River,’ 2019. \u003ccite>(Courtesy of Coven Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Haroula Rose’s \u003cem>Once Upon a River\u003c/em>, one of three narratives in the ambitious program, is a waterborne, ’70s-set road trip that compels its fleeing/seeking Native American protagonist to reconcile with the past even as she clears a path to her future. Jessica Ellis’s \u003cem>What Lies West\u003c/em> sets a newly minted college grad and her temporary teenage ward on a journey of liberation and, perhaps, transformation.\u003c/p>\n\u003cp>Special events include a master class in directing with actress-director Karen Allen, featuring her 2017 screen adaptation of Carson McCullers’ short story \u003cem>A Tree. A Rock. A Cloud\u003c/em>. The crowdfunding platform Seed & Spark hosts a workshop on connecting filmmakers with potential audiences, while a panel on creative distribution offers guidance for getting finished work out in the world. What’s that old line? Oh, yeah: Sisters are doing it for themselves.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Some years are devoted to preparation, others to reflection and contemplation. 2020 is going to be a year of action.\u003c/p>\n\u003cp>That’s the conclusion I draw from the \u003ca href=\"https://www.covenfilmfest.com\" rel=\"noopener noreferrer\" target=\"_blank\">Coven Film Festival\u003c/a>‘s pole position on the perennially packed Bay Area festival calendar. With its emphasis on networking, tools, support and inspiration, Coven aspires to be a launching pad for women and non-binary filmmakers. Its eager-beaver stake out of the first post-holiday weekend of the year (Jan. 10–12) is a veritable clarion call for anyone on its frequency.\u003c/p>\n\u003cp>The second-year festival boasts a new director of programming, Faridah Gbadamosi, who has shifted last year’s emphasis on short films to a balance of features and shorts programs. The theme connecting the various works is discernible from even a cursory glance at the lineup: The urgent lure of freedom—and the forces that arise in opposition.\u003c/p>\n\u003cfigure id=\"attachment_13872431\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Once-Upon-A-River_Still_01.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13872431\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Once-Upon-A-River_Still_01.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Once-Upon-A-River_Still_01-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Once-Upon-A-River_Still_01-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Once-Upon-A-River_Still_01-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Once-Upon-A-River_Still_01-1020x574.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Haroula Rose’s ‘Once Upon a River,’ 2019. \u003ccite>(Courtesy of Coven Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Haroula Rose’s \u003cem>Once Upon a River\u003c/em>, one of three narratives in the ambitious program, is a waterborne, ’70s-set road trip that compels its fleeing/seeking Native American protagonist to reconcile with the past even as she clears a path to her future. Jessica Ellis’s \u003cem>What Lies West\u003c/em> sets a newly minted college grad and her temporary teenage ward on a journey of liberation and, perhaps, transformation.\u003c/p>\n\u003cp>Special events include a master class in directing with actress-director Karen Allen, featuring her 2017 screen adaptation of Carson McCullers’ short story \u003cem>A Tree. A Rock. A Cloud\u003c/em>. The crowdfunding platform Seed & Spark hosts a workshop on connecting filmmakers with potential audiences, while a panel on creative distribution offers guidance for getting finished work out in the world. What’s that old line? Oh, yeah: Sisters are doing it for themselves.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Adam Sandler has been playing jerks and sleazebags for most of his career, but until now his movies didn’t make a habit of acknowledging it. So it’s exhilarating to watch \u003cem>Uncut Gems\u003c/em>, a gritty indie funhouse ride that sets Sandler loose in a world just as manic and angry as his character—a world in which his absurd, impulsive actions have real consequences. Like every straight male under the age of 40, the writer-director brothers Benny and Josh Safdie grew up with the sound of Sandler’s screech in their brains. Here they’ve cracked the code for how to build a riveting story around it, and Sandler himself—in a ratty goatee, designer clothes, and lounge-lizard earrings — has never looked so alive.\u003c/p>\n\u003cp>We’re in the New York Diamond District, the domain of Sandler’s Howard Ratner, a scheming jeweler and compulsive gambler whose high-risk life choices create a lot of unnecessary problems. Already deeply in debt, Howie pawns another man’s collateral on a priceless item to get enough money to place another sports bet; he neglects his wife (Idina Menzel) and family to have an affair with his much younger employee (Julia Fox); and he screws over friend and foe alike with empty promises and IOUs, even as he hoards what little cash he makes for his own schemes. This is an underworld that runs on crass materialism and smokescreens, where rare minerals share a display case and a bartering currency with fake Rolexes, and every space Howie enters seems to be literally glittering with both promise and instability. But he does have a soul buried under that flashy grin, if he can ever figure out who it’s in service of.\u003c/p>\n\u003cp>https://youtu.be/vTfJp2Ts9X8\u003c/p>\n\u003cp>As filmmakers, the Safdies are uniquely attuned to street-level dramas on the margins, but they’re also savvy students of genre, and so of course their movie about a jeweler pivots around a shiny MacGuffin. Howie has procured an ultra-rare opal from an Ethiopian diamond mine (it’s sent to him stuffed inside a frozen fish for safekeeping) and plans to put it up at auction for north of a million dollars. But that’s before Kevin Garnett walks into his life. The NBA star (playing himself in his prime, in a Hall of Fame performance for celebrity non-actors) is entranced by the opal, seeing visions of himself in its prism of pure light and color. This is the most elementary appeal of jewelry, after all, and the Safdies literally plunge us inside the radiant visions this stone induces, visualizing the geological perfection that makes so many sane people do crazy things. KG himself knows \u003ca href=\"https://www.youtube.com/watch?v=Wcz_kDCBTBk\">anything is possible\u003c/a>.\u003c/p>\n\u003cp>Garnett convinces Howie to let him borrow the stone as a good-luck charm while he plays the 2012 NBA semifinals, thus setting off a chain of events that will leave Howie scrambling to stay one step ahead of the debts he owes even as he accumulates more. What’s great about Sandler’s work here is that, the further he sinks into the muck, the more confident he becomes. He juggles the many, many threats on his life so that he becomes the ringleader of his own circus, gleefully lying through his teeth, spinning verbal patter and slipping into deep, guttural fits of rage when his ducks don’t line up precisely. Even the scenes of him watching basketball are riveting. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Uncut Gems\u003c/em> follows the mold of the Safdies’ previous effort, \u003cem>Good Time\u003c/em>, another breakneck New York tale about a guy with a gift for making bad situations worse. These kinds of movies are liable to cause heart palpitations. They shoot their spiralling heroes in tight, claustrophobic close-ups (although cinematographer Darius Khondji is also a fan of security-camera-style overhead zooms) and edit their journeys to induce constant whiplash, with an eye for the tactile qualities of every face, jewel and carpeted backroom. They also know precisely which buttons to push in their audience: using borrowed time to double down on bad bets is not for those who crave order in their lives. \u003c/p>\n\u003cp>But \u003cem>Gems\u003c/em> also wraps up its most high-wire scenes in some amazing comic setpieces. A malfunction in Howie’s security door traps Garnett and his fixer (LaKeith Stanfield) behind bulletproof glass for several minutes. When some collectors pay a visit to Howie during his daughter’s school play, they beat him, strip him naked and shove him into the trunk of his car, layering on the humiliations in compounded interest. The movie understands the comic (and cosmic) power of making the world’s best bluffer run straight off a cliff.\u003c/p>\n\u003cp>Of course, thanks to fare like \u003cem>Punch-Drunk Love\u003c/em>, we’ve known Sandler was always capable of a performance like this. But it feels even sweeter plopped into his extended late-career phase of lazy cash-cow comedies. After all, this character’s worldview is the product of a bottomless tackiness and naked desire for profit, a middle-aged man who wants the world to know what he thinks he’s worth. There’s not much daylight between Howie hawking a bedazzled Furby to star athletes and the real Sandler roping Al Pacino into a \u003ca href=\"https://www.youtube.com/watch?v=AeLuQQH1OHA\" target=\"_blank\" rel=\"noopener noreferrer\">retina-scarring Dunkin’ Donuts commercial\u003c/a>. What’s different is the self-reflection, the knowledge that bending the world to your will over and over is going to piss off everyone around you. This is what the actor and the film do so well in concert with each other. It’s the right movie for the right person at the right time, a thing of strange beauty forged under a mountain of heat, pressure and irritation. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2020 \u003ca href=\"https://www.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>Adam Sandler has been playing jerks and sleazebags for most of his career, but until now his movies didn’t make a habit of acknowledging it. So it’s exhilarating to watch \u003cem>Uncut Gems\u003c/em>, a gritty indie funhouse ride that sets Sandler loose in a world just as manic and angry as his character—a world in which his absurd, impulsive actions have real consequences. Like every straight male under the age of 40, the writer-director brothers Benny and Josh Safdie grew up with the sound of Sandler’s screech in their brains. Here they’ve cracked the code for how to build a riveting story around it, and Sandler himself—in a ratty goatee, designer clothes, and lounge-lizard earrings — has never looked so alive.\u003c/p>\n\u003cp>We’re in the New York Diamond District, the domain of Sandler’s Howard Ratner, a scheming jeweler and compulsive gambler whose high-risk life choices create a lot of unnecessary problems. Already deeply in debt, Howie pawns another man’s collateral on a priceless item to get enough money to place another sports bet; he neglects his wife (Idina Menzel) and family to have an affair with his much younger employee (Julia Fox); and he screws over friend and foe alike with empty promises and IOUs, even as he hoards what little cash he makes for his own schemes. This is an underworld that runs on crass materialism and smokescreens, where rare minerals share a display case and a bartering currency with fake Rolexes, and every space Howie enters seems to be literally glittering with both promise and instability. But he does have a soul buried under that flashy grin, if he can ever figure out who it’s in service of.\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/vTfJp2Ts9X8'\n title='//www.youtube.com/embed/vTfJp2Ts9X8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As filmmakers, the Safdies are uniquely attuned to street-level dramas on the margins, but they’re also savvy students of genre, and so of course their movie about a jeweler pivots around a shiny MacGuffin. Howie has procured an ultra-rare opal from an Ethiopian diamond mine (it’s sent to him stuffed inside a frozen fish for safekeeping) and plans to put it up at auction for north of a million dollars. But that’s before Kevin Garnett walks into his life. The NBA star (playing himself in his prime, in a Hall of Fame performance for celebrity non-actors) is entranced by the opal, seeing visions of himself in its prism of pure light and color. This is the most elementary appeal of jewelry, after all, and the Safdies literally plunge us inside the radiant visions this stone induces, visualizing the geological perfection that makes so many sane people do crazy things. KG himself knows \u003ca href=\"https://www.youtube.com/watch?v=Wcz_kDCBTBk\">anything is possible\u003c/a>.\u003c/p>\n\u003cp>Garnett convinces Howie to let him borrow the stone as a good-luck charm while he plays the 2012 NBA semifinals, thus setting off a chain of events that will leave Howie scrambling to stay one step ahead of the debts he owes even as he accumulates more. What’s great about Sandler’s work here is that, the further he sinks into the muck, the more confident he becomes. He juggles the many, many threats on his life so that he becomes the ringleader of his own circus, gleefully lying through his teeth, spinning verbal patter and slipping into deep, guttural fits of rage when his ducks don’t line up precisely. Even the scenes of him watching basketball are riveting. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Uncut Gems\u003c/em> follows the mold of the Safdies’ previous effort, \u003cem>Good Time\u003c/em>, another breakneck New York tale about a guy with a gift for making bad situations worse. These kinds of movies are liable to cause heart palpitations. They shoot their spiralling heroes in tight, claustrophobic close-ups (although cinematographer Darius Khondji is also a fan of security-camera-style overhead zooms) and edit their journeys to induce constant whiplash, with an eye for the tactile qualities of every face, jewel and carpeted backroom. They also know precisely which buttons to push in their audience: using borrowed time to double down on bad bets is not for those who crave order in their lives. \u003c/p>\n\u003cp>But \u003cem>Gems\u003c/em> also wraps up its most high-wire scenes in some amazing comic setpieces. A malfunction in Howie’s security door traps Garnett and his fixer (LaKeith Stanfield) behind bulletproof glass for several minutes. When some collectors pay a visit to Howie during his daughter’s school play, they beat him, strip him naked and shove him into the trunk of his car, layering on the humiliations in compounded interest. The movie understands the comic (and cosmic) power of making the world’s best bluffer run straight off a cliff.\u003c/p>\n\u003cp>Of course, thanks to fare like \u003cem>Punch-Drunk Love\u003c/em>, we’ve known Sandler was always capable of a performance like this. But it feels even sweeter plopped into his extended late-career phase of lazy cash-cow comedies. After all, this character’s worldview is the product of a bottomless tackiness and naked desire for profit, a middle-aged man who wants the world to know what he thinks he’s worth. There’s not much daylight between Howie hawking a bedazzled Furby to star athletes and the real Sandler roping Al Pacino into a \u003ca href=\"https://www.youtube.com/watch?v=AeLuQQH1OHA\" target=\"_blank\" rel=\"noopener noreferrer\">retina-scarring Dunkin’ Donuts commercial\u003c/a>. What’s different is the self-reflection, the knowledge that bending the world to your will over and over is going to piss off everyone around you. This is what the actor and the film do so well in concert with each other. It’s the right movie for the right person at the right time, a thing of strange beauty forged under a mountain of heat, pressure and irritation. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2020 \u003ca href=\"https://www.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>Of the 92 submissions accepted for Best International Feature Film (the Oscar formerly known as Best Foreign Language Film), Bong Joon Ho’s \u003cem>Parasite\u003c/em> is by far the most widely seen. In fact, it’s so admired that the South Korean stunner has an excellent shot at vaulting into the Best Director and Best Picture categories.\u003c/p>\n\u003cp>The only other submission with significant U.S. visibility is Pedro Almodóvar’s \u003cem>Pain and Glory\u003c/em>, which means there are 90 excellent movies from around the globe awaiting your discovery. Intrigued? Fifteen (including the Almodóvar) screen Jan. 3-9 in the annual \u003ca href=\"https://rafaelfilm.cafilm.org/for-your-consideration-2020/\" target=\"_blank\" rel=\"noopener noreferrer\">For Your Consideration\u003c/a> series at the Smith Rafael Film Center in San Rafael.\u003c/p>\n\u003cp>Some of the titles chosen by curators João Federici and Karen Davis will receive theatrical releases: Brazil’s separated sisters saga \u003cem>Invisible Life\u003c/em> opens Jan. 3, Italy’s Cosa Nostra history \u003cem>The Traitor\u003c/em> arrives Feb. 7, and Russia’s post-war portrait \u003cem>Beanpole\u003c/em> and Sweden’s gay-themed \u003cem>And Then We Danced\u003c/em> both open Feb. 21. The Czech Republic’s \u003cem>The Painted Bird\u003c/em>, adapted from Jerzy Kozinski’s novel, will probably find its way into theaters. In addition, the U.K.’s Malawi-set \u003cem>The Boy Who Harnessed the Wind\u003c/em> is on Netflix. (To be sure, it’s an even more powerful experience on the big screen.)\u003c/p>\n\u003cfigure id=\"attachment_13872181\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13872181\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/antigone_still_1200.jpg\" alt=\"\" width=\"1200\" height=\"647\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/antigone_still_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/antigone_still_1200-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/antigone_still_1200-800x431.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/antigone_still_1200-768x414.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/antigone_still_1200-1020x550.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Antigone.’ \u003ccite>(Courtesy of California Film Institute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Perhaps it’s a coincidence (spoiler: it’s not) that a trio of acclaimed dramas propelled by female protagonists don’t have U.S. distribution. Algeria’s \u003cem>Papicha\u003c/em> (Jan. 8, with a Jan. 19 screening at the Roxie) follows a young woman’s determined pursuit of a fully expressed life and career in dangerous times. For Your Consideration may be your only chance to see Canada’s \u003cem>Antigone\u003c/em> (Jan. 8), which transposes Sophocles’ female-fueled tragedy to present-day Montreal. Ditto for Morocco’s \u003cem>Adam\u003c/em> (Jan. 9), which portrays the unexpected connection between a grief-paralyzed widow and a pregnant homeless woman.\u003c/p>\n\u003cp>Five of the Smith Rafael’s 15 selections—\u003cem>The Painted Bird\u003c/em>, \u003cem>Beanpole\u003c/em>, \u003cem>Pain and Glory\u003c/em>, \u003cem>Parasite\u003c/em> and Hungary’s \u003cem>Those Who Remained\u003c/em> (Jan. 5)—made the 10-film shortlist for the Academy Award. While that’s one measure of Davis and Federici’s handicapping skills, I mention it primarily for those who take their Oscar preparations very, very seriously.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Of the 92 submissions accepted for Best International Feature Film (the Oscar formerly known as Best Foreign Language Film), Bong Joon Ho’s \u003cem>Parasite\u003c/em> is by far the most widely seen. In fact, it’s so admired that the South Korean stunner has an excellent shot at vaulting into the Best Director and Best Picture categories.\u003c/p>\n\u003cp>The only other submission with significant U.S. visibility is Pedro Almodóvar’s \u003cem>Pain and Glory\u003c/em>, which means there are 90 excellent movies from around the globe awaiting your discovery. Intrigued? Fifteen (including the Almodóvar) screen Jan. 3-9 in the annual \u003ca href=\"https://rafaelfilm.cafilm.org/for-your-consideration-2020/\" target=\"_blank\" rel=\"noopener noreferrer\">For Your Consideration\u003c/a> series at the Smith Rafael Film Center in San Rafael.\u003c/p>\n\u003cp>Some of the titles chosen by curators João Federici and Karen Davis will receive theatrical releases: Brazil’s separated sisters saga \u003cem>Invisible Life\u003c/em> opens Jan. 3, Italy’s Cosa Nostra history \u003cem>The Traitor\u003c/em> arrives Feb. 7, and Russia’s post-war portrait \u003cem>Beanpole\u003c/em> and Sweden’s gay-themed \u003cem>And Then We Danced\u003c/em> both open Feb. 21. The Czech Republic’s \u003cem>The Painted Bird\u003c/em>, adapted from Jerzy Kozinski’s novel, will probably find its way into theaters. In addition, the U.K.’s Malawi-set \u003cem>The Boy Who Harnessed the Wind\u003c/em> is on Netflix. (To be sure, it’s an even more powerful experience on the big screen.)\u003c/p>\n\u003cfigure id=\"attachment_13872181\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13872181\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/antigone_still_1200.jpg\" alt=\"\" width=\"1200\" height=\"647\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/antigone_still_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/antigone_still_1200-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/antigone_still_1200-800x431.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/antigone_still_1200-768x414.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/antigone_still_1200-1020x550.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Antigone.’ \u003ccite>(Courtesy of California Film Institute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Perhaps it’s a coincidence (spoiler: it’s not) that a trio of acclaimed dramas propelled by female protagonists don’t have U.S. distribution. Algeria’s \u003cem>Papicha\u003c/em> (Jan. 8, with a Jan. 19 screening at the Roxie) follows a young woman’s determined pursuit of a fully expressed life and career in dangerous times. For Your Consideration may be your only chance to see Canada’s \u003cem>Antigone\u003c/em> (Jan. 8), which transposes Sophocles’ female-fueled tragedy to present-day Montreal. Ditto for Morocco’s \u003cem>Adam\u003c/em> (Jan. 9), which portrays the unexpected connection between a grief-paralyzed widow and a pregnant homeless woman.\u003c/p>\n\u003cp>Five of the Smith Rafael’s 15 selections—\u003cem>The Painted Bird\u003c/em>, \u003cem>Beanpole\u003c/em>, \u003cem>Pain and Glory\u003c/em>, \u003cem>Parasite\u003c/em> and Hungary’s \u003cem>Those Who Remained\u003c/em> (Jan. 5)—made the 10-film shortlist for the Academy Award. While that’s one measure of Davis and Federici’s handicapping skills, I mention it primarily for those who take their Oscar preparations very, very seriously.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It’s not remotely surprising that so many people pick Will Ferrell, the Muppets, Jimmy Stewart or Ralphie as their holiday-movie favorite over Ingmar Bergman. How many feel-good films did the relentlessly probing Swedish writer-director make? Almost none. And Christmas movies are, above all, fantasies—of family reconciliation, childhood triumph and unconditional love (and other non-material gifts).\u003c/p>\n\u003cp>Bergman’s autobiographical, bittersweet \u003cem>Fanny and Alexander\u003c/em> cuts deeper than any other movie involving the holiday season, and its pleasures are greater. Unfolding at the turn of the last century, the film depicts a pivotal year in the life of 10-year-old Alexander and his younger sister. Bergman’s command is such that the proceedings are both piercingly realistic and infused with a boy’s surreal fears and wish-dreams.\u003c/p>\n\u003cfigure id=\"attachment_13872090\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Bergman_Fanny-and-Alexander_004_1200.jpg\" alt=\"\" width=\"1200\" height=\"796\" class=\"size-full wp-image-13872090\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Bergman_Fanny-and-Alexander_004_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Bergman_Fanny-and-Alexander_004_1200-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Bergman_Fanny-and-Alexander_004_1200-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Bergman_Fanny-and-Alexander_004_1200-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Bergman_Fanny-and-Alexander_004_1200-1020x677.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ingmar Bergman, Still from ‘Fanny and Alexander,’ 1983. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Released in an edited form as a three-hour theatrical film in 1982, the entire piece was broadcast the following year on Swedish television as a five-plus-hour limited miniseries (to use today’s jargon). It’s the latter version that screens Thursday, Dec. 26 at \u003ca href=\"https://bampfa.org/event/fanny-and-alexander\" rel=\"noopener noreferrer\" target=\"_blank\">BAMPFA\u003c/a>. A family saga which veers from cheery warmth to frigid autocracy before the pendulum thankfully swings back, \u003cem>Fanny and Alexander\u003c/em> is the rare epic whose emotional power matches its ambition and production design.\u003c/p>\n\u003cp>Heralded at the time as Bergman’s retirement from cinema—it wasn’t, as it turned out—and therefore the capstone of his career, \u003cem>Fanny and Alexander\u003c/em> does foreground two of the artist’s central yet contradictory passions: The magical intersection of theater, illusion and imagination, and the mysterious, cruel role in which God is cast in many homes. Coincidentally, both faith and the theater are profoundly demanding.\u003c/p>\n\u003cp>\u003cem>Fanny and Alexander\u003c/em> is a rich and remarkable work of art that, believe it or not, contains more than a wisp of family reconciliation, childhood triumph and unconditional love.\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 not remotely surprising that so many people pick Will Ferrell, the Muppets, Jimmy Stewart or Ralphie as their holiday-movie favorite over Ingmar Bergman. How many feel-good films did the relentlessly probing Swedish writer-director make? Almost none. And Christmas movies are, above all, fantasies—of family reconciliation, childhood triumph and unconditional love (and other non-material gifts).\u003c/p>\n\u003cp>Bergman’s autobiographical, bittersweet \u003cem>Fanny and Alexander\u003c/em> cuts deeper than any other movie involving the holiday season, and its pleasures are greater. Unfolding at the turn of the last century, the film depicts a pivotal year in the life of 10-year-old Alexander and his younger sister. Bergman’s command is such that the proceedings are both piercingly realistic and infused with a boy’s surreal fears and wish-dreams.\u003c/p>\n\u003cfigure id=\"attachment_13872090\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Bergman_Fanny-and-Alexander_004_1200.jpg\" alt=\"\" width=\"1200\" height=\"796\" class=\"size-full wp-image-13872090\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Bergman_Fanny-and-Alexander_004_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Bergman_Fanny-and-Alexander_004_1200-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Bergman_Fanny-and-Alexander_004_1200-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Bergman_Fanny-and-Alexander_004_1200-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Bergman_Fanny-and-Alexander_004_1200-1020x677.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ingmar Bergman, Still from ‘Fanny and Alexander,’ 1983. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Released in an edited form as a three-hour theatrical film in 1982, the entire piece was broadcast the following year on Swedish television as a five-plus-hour limited miniseries (to use today’s jargon). It’s the latter version that screens Thursday, Dec. 26 at \u003ca href=\"https://bampfa.org/event/fanny-and-alexander\" rel=\"noopener noreferrer\" target=\"_blank\">BAMPFA\u003c/a>. A family saga which veers from cheery warmth to frigid autocracy before the pendulum thankfully swings back, \u003cem>Fanny and Alexander\u003c/em> is the rare epic whose emotional power matches its ambition and production design.\u003c/p>\n\u003cp>Heralded at the time as Bergman’s retirement from cinema—it wasn’t, as it turned out—and therefore the capstone of his career, \u003cem>Fanny and Alexander\u003c/em> does foreground two of the artist’s central yet contradictory passions: The magical intersection of theater, illusion and imagination, and the mysterious, cruel role in which God is cast in many homes. Coincidentally, both faith and the theater are profoundly demanding.\u003c/p>\n\u003cp>\u003cem>Fanny and Alexander\u003c/em> is a rich and remarkable work of art that, believe it or not, contains more than a wisp of family reconciliation, childhood triumph and unconditional love.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'Knives Out,' A Classic Comic Mystery Of Uncommon Sharpness",
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"content": "\u003cp>Certain fictional mansions exist only so their owners can mysteriously die in them. The gothic revival abode of famous novelist Harlan Thrombey (Christopher Plummer) in Rian Johnson’s \u003cem>Knives Out\u003c/em> is one of them. All brick turrets and spindly spires on the outside, all dark wood and winding staircases on the inside, it’s a perfect place to throw a party—especially one in which all the suspects in a death are gathered at the request of law enforcement. \u003c/p>\n\u003cp>The family Harlan leaves behind is a motley collection of the idiosyncratic products of his wealth: daughter Linda (Jamie Lee Curtis) and her husband Richard (Don Johnson); Linda and Richard’s hot, aggressive, disappointing son Ransom (Chris Evans); Harlan’s son Walt (Michael Shannon) and his wife Donna (Riki Lindhome) and their son Jacob (Jaeden Martell); widowed daughter-in-law Joni (Toni Collette) and her daughter Meg (Katherine Langford); and the mysterious Greatnana (K Callan), always watching from the corner. There’s also Harlan’s faithful nurse Marta (Ana de Armas), perhaps the only person Harlan truly liked and trusted. \u003c/p>\n\u003cp>A police detective (LaKeith Stanfield) and his helpful right hand (Noah Segan) have gathered everyone for interviews—and accompanying them is Benoit Blanc (Daniel Craig), a southern detective so thickly accented that he’s compared to Colonel Sanders. Why Blanc is there at all is one of many things I would not dare reveal, as this film is not a trick or a postmodern deconstruction of a genre, but is instead an actual old-fashioned whodunit that will eventually tell you whodunit and why, precisely as it should.\u003c/p>\n\u003cp>https://youtu.be/qGqiHJTsRkQ\u003c/p>\n\u003cp>If it sounds like a very big cast full of potentially very big performances, please know it is one. With the exception of de Armas and perhaps Evans, everyone in the film is working in marvelous broad strokes, drawing these characters as types but not retreads. From Collette’s goofy lifestyle influencer to Shannon’s stone-faced and resentment-driven grump, they’re all perfectly cast. And that’s before you get to Jamie Lee Curtis, resplendent in Linda’s luscious, vibrant, real-estate-peddling pantsuits, with round glasses and a cap of perfectly kept, snow-white hair. The work of assembling this group is a credit to casting director Mary Vernieu, and a reminder of what an art it is to find the right people for the right parts. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Knives Out\u003c/em> is also one of the best-dressed movies you’ll see this year, both in terms of actual wardrobe from costume designer Jenny Eagan and from production designer David Crank. This is a very rich family that, as some rich families do, often looks both indulgent and stupefyingly tacky. Their family home is similarly luxurious and weird at the same time, its elaborate rugs and ornate \u003cem>everything \u003c/em>speaking to both the family’s excesses and its overly complicated existence.\u003c/p>\n\u003cfigure id=\"attachment_13871507\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/KnivesOutGroup_1200.jpg\" alt=\"Group portrait of the cast of 'Knives Out.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13871507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/KnivesOutGroup_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/KnivesOutGroup_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/KnivesOutGroup_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/KnivesOutGroup_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/KnivesOutGroup_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">‘Knives Out,’ written and directed by Rian Johnson, brings together an all-star cast for a festive and fun family fatality. \u003ccite>(Claire Folger/Lionsgate)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The same goes for the things they are given to say. Johnson’s dialogue is sharp and filled with quotable lines no fair review would quote, and sometimes, just as the story gets very big and broad, a joke will go by very quietly, almost under the breath. Everyone in this cast can nail a line reading to the wall, including a couple of folks—Don Johnson for one, Daniel Craig for another—who have maybe never been given such a good workout for their comic chops. \u003c/p>\n\u003cp>That goes for Chris Evans as well, even though he’s spent the past several years in some of the most popular movies of all time. He was allowed to be funny in a wholesome sort of way in his Captain America days, but it’s a special treat to see him tear right into this rich-brat bit, both preternaturally handsome and cheerfully obnoxious, a one-man cable-knit charm offensive, emphasis very often on “offensive.”\u003c/p>\n\u003cp>What Rian Johnson has done here is a masterful feat of balance, staying within the rules of the creaky-old-house genre but making just enough adjustments to stay clear of story trouble. Because story trouble isn’t uncommon in a film like this: There’s only so long it’s fun to watch people accuse each other while clues accumulate and red herrings fly by before you start to want something to happen, something to be revealed. In \u003cem>Knives Out\u003c/em>, there’s not just one information dump; there are several. The twists are plentiful enough that even if some ungenerous person tried to spoil the film for you, they couldn’t really; you’d still be missing chapters upon chapters of necessary information. \u003c/p>\n\u003cfigure id=\"attachment_13871506\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/KnivesOutChris_1200.jpg\" alt=\"Chris Evans leans on a table in white cable knit sweater with four empty beer bottles in front of him.\" width=\"1200\" height=\"899\" class=\"size-full wp-image-13871506\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/KnivesOutChris_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/KnivesOutChris_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/KnivesOutChris_1200-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/KnivesOutChris_1200-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/KnivesOutChris_1200-1020x764.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Move over, Captain America: Chris Evans in this cable-knit sweater may be Peak Chris Evans. \u003ccite>(Claire Folger/Lionsgate)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If it seems to you that this film has much in common with \u003cem>Clue\u003c/em>, Johnson knows it. You feel echoes of \u003cem>Murder, She Wrote\u003c/em>? He knows. You think Craig sounds like Foghorn Leghorn? Yup, Johnson knows that too. (Although Craig says he based the voice on historian Shelby Foote.) Self-aware but not self-conscious, \u003cem>Knives Out \u003c/em>acknowledges its debts to the trappings of mystery and frolics in them like a field of clover. \u003c/p>\n\u003cp>At the same time, touches of a contemporary consciousness drive the story. Marta is “the help” to many of the Thrombeys, and the family treats her with a sharply observed combination of affection, condescension and dismissal, provided she stays in what they consider her place. Given how big the other performances are, de Armas and her work here, which has both comedy and stillness, could have been swallowed up. But they aren’t at all. She’s often the most compelling person in the story, even as she’s doing the least. (Not hard, when everyone else is, as they say, doing the most.) \u003c/p>\n\u003cp>It is always a delight to see someone joyfully, efficiently, and indelibly demolish any alleged hard barrier between art and entertainment. \u003cem>Knives Out \u003c/em>is Rian Johnson’s salute to mysteries, but it is also his latest demonstration of his uncommon mastery of the idea that you can—that you \u003cem>should \u003c/em>— artfully entertain an audience with loving attention to detail; that it is just as high a purpose as to artfully devastate or confound them. It’s one of the best movies of the year, and one of the most purely enjoyable, as well.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Copyright 2019 \u003ca href=\"https://www.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>Certain fictional mansions exist only so their owners can mysteriously die in them. The gothic revival abode of famous novelist Harlan Thrombey (Christopher Plummer) in Rian Johnson’s \u003cem>Knives Out\u003c/em> is one of them. All brick turrets and spindly spires on the outside, all dark wood and winding staircases on the inside, it’s a perfect place to throw a party—especially one in which all the suspects in a death are gathered at the request of law enforcement. \u003c/p>\n\u003cp>The family Harlan leaves behind is a motley collection of the idiosyncratic products of his wealth: daughter Linda (Jamie Lee Curtis) and her husband Richard (Don Johnson); Linda and Richard’s hot, aggressive, disappointing son Ransom (Chris Evans); Harlan’s son Walt (Michael Shannon) and his wife Donna (Riki Lindhome) and their son Jacob (Jaeden Martell); widowed daughter-in-law Joni (Toni Collette) and her daughter Meg (Katherine Langford); and the mysterious Greatnana (K Callan), always watching from the corner. There’s also Harlan’s faithful nurse Marta (Ana de Armas), perhaps the only person Harlan truly liked and trusted. \u003c/p>\n\u003cp>A police detective (LaKeith Stanfield) and his helpful right hand (Noah Segan) have gathered everyone for interviews—and accompanying them is Benoit Blanc (Daniel Craig), a southern detective so thickly accented that he’s compared to Colonel Sanders. Why Blanc is there at all is one of many things I would not dare reveal, as this film is not a trick or a postmodern deconstruction of a genre, but is instead an actual old-fashioned whodunit that will eventually tell you whodunit and why, precisely as it should.\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/qGqiHJTsRkQ'\n title='//www.youtube.com/embed/qGqiHJTsRkQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If it sounds like a very big cast full of potentially very big performances, please know it is one. With the exception of de Armas and perhaps Evans, everyone in the film is working in marvelous broad strokes, drawing these characters as types but not retreads. From Collette’s goofy lifestyle influencer to Shannon’s stone-faced and resentment-driven grump, they’re all perfectly cast. And that’s before you get to Jamie Lee Curtis, resplendent in Linda’s luscious, vibrant, real-estate-peddling pantsuits, with round glasses and a cap of perfectly kept, snow-white hair. The work of assembling this group is a credit to casting director Mary Vernieu, and a reminder of what an art it is to find the right people for the right parts. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Knives Out\u003c/em> is also one of the best-dressed movies you’ll see this year, both in terms of actual wardrobe from costume designer Jenny Eagan and from production designer David Crank. This is a very rich family that, as some rich families do, often looks both indulgent and stupefyingly tacky. Their family home is similarly luxurious and weird at the same time, its elaborate rugs and ornate \u003cem>everything \u003c/em>speaking to both the family’s excesses and its overly complicated existence.\u003c/p>\n\u003cfigure id=\"attachment_13871507\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/KnivesOutGroup_1200.jpg\" alt=\"Group portrait of the cast of 'Knives Out.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13871507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/KnivesOutGroup_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/KnivesOutGroup_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/KnivesOutGroup_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/KnivesOutGroup_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/KnivesOutGroup_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">‘Knives Out,’ written and directed by Rian Johnson, brings together an all-star cast for a festive and fun family fatality. \u003ccite>(Claire Folger/Lionsgate)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The same goes for the things they are given to say. Johnson’s dialogue is sharp and filled with quotable lines no fair review would quote, and sometimes, just as the story gets very big and broad, a joke will go by very quietly, almost under the breath. Everyone in this cast can nail a line reading to the wall, including a couple of folks—Don Johnson for one, Daniel Craig for another—who have maybe never been given such a good workout for their comic chops. \u003c/p>\n\u003cp>That goes for Chris Evans as well, even though he’s spent the past several years in some of the most popular movies of all time. He was allowed to be funny in a wholesome sort of way in his Captain America days, but it’s a special treat to see him tear right into this rich-brat bit, both preternaturally handsome and cheerfully obnoxious, a one-man cable-knit charm offensive, emphasis very often on “offensive.”\u003c/p>\n\u003cp>What Rian Johnson has done here is a masterful feat of balance, staying within the rules of the creaky-old-house genre but making just enough adjustments to stay clear of story trouble. Because story trouble isn’t uncommon in a film like this: There’s only so long it’s fun to watch people accuse each other while clues accumulate and red herrings fly by before you start to want something to happen, something to be revealed. In \u003cem>Knives Out\u003c/em>, there’s not just one information dump; there are several. The twists are plentiful enough that even if some ungenerous person tried to spoil the film for you, they couldn’t really; you’d still be missing chapters upon chapters of necessary information. \u003c/p>\n\u003cfigure id=\"attachment_13871506\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/KnivesOutChris_1200.jpg\" alt=\"Chris Evans leans on a table in white cable knit sweater with four empty beer bottles in front of him.\" width=\"1200\" height=\"899\" class=\"size-full wp-image-13871506\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/KnivesOutChris_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/KnivesOutChris_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/KnivesOutChris_1200-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/KnivesOutChris_1200-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/KnivesOutChris_1200-1020x764.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Move over, Captain America: Chris Evans in this cable-knit sweater may be Peak Chris Evans. \u003ccite>(Claire Folger/Lionsgate)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If it seems to you that this film has much in common with \u003cem>Clue\u003c/em>, Johnson knows it. You feel echoes of \u003cem>Murder, She Wrote\u003c/em>? He knows. You think Craig sounds like Foghorn Leghorn? Yup, Johnson knows that too. (Although Craig says he based the voice on historian Shelby Foote.) Self-aware but not self-conscious, \u003cem>Knives Out \u003c/em>acknowledges its debts to the trappings of mystery and frolics in them like a field of clover. \u003c/p>\n\u003cp>At the same time, touches of a contemporary consciousness drive the story. Marta is “the help” to many of the Thrombeys, and the family treats her with a sharply observed combination of affection, condescension and dismissal, provided she stays in what they consider her place. Given how big the other performances are, de Armas and her work here, which has both comedy and stillness, could have been swallowed up. But they aren’t at all. She’s often the most compelling person in the story, even as she’s doing the least. (Not hard, when everyone else is, as they say, doing the most.) \u003c/p>\n\u003cp>It is always a delight to see someone joyfully, efficiently, and indelibly demolish any alleged hard barrier between art and entertainment. \u003cem>Knives Out \u003c/em>is Rian Johnson’s salute to mysteries, but it is also his latest demonstration of his uncommon mastery of the idea that you can—that you \u003cem>should \u003c/em>— artfully entertain an audience with loving attention to detail; that it is just as high a purpose as to artfully devastate or confound them. It’s one of the best movies of the year, and one of the most purely enjoyable, as well.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
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},
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"order": 1
},
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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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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"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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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
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"source": "WNYC"
},
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
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"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"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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},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"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",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"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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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"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>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"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",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"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",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"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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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"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"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
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