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Acting was her family’s trade, and she was pushed into movies early, cast as an adolescent minx in a few British productions before getting gobbled up by Paramount and Warner Brothers as the “poor man’s Bette Davis” — her words, and the kind of ostensibly self-deprecating remark that threatens to give the whole game away. \u003c/p>\n\u003cp>Of Hollywood’s factory line, she reported: “Boredom sets in, which is a bad thing.” Remarkably, she did something about it: first turning down a long-term acting contract and then striking out with husband Collier Young to form the independent production venture for which she would direct a handful of fine-tuned variations on the social-problem formula. \u003c/p>\n\u003cp>A \u003ca href=\"https://bampfa.org/program/ida-lupino-hard-fast-and-beautiful\" rel=\"noopener\" target=\"_blank\">BAMPFA retrospective\u003c/a> on this month and next illuminates both sides of Lupino’s extraordinary life in movies. “Bored” certainly isn’t the word for her glowering onscreen presence, though something of her confessed impatience is evident in her knack for turning a film inside out. The whole center of gravity of Raoul Walsh’s \u003cem>\u003ca href=\"https://bampfa.org/event/high-sierra-2\" rel=\"noopener\" target=\"_blank\">High Sierra\u003c/a>\u003c/em> (1941) seems to shift the moment her character imposes herself on Bogart’s seasoned stickup man in a dingy motel room. A gritty striver on the run from her ordinary, awful life as a dancer, she sizes up the heist group’s dynamics faster than any of the men, grabbing at her best chance for escape and making it stick. \u003c/p>\n\u003cfigure id=\"attachment_13818805\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Walsh_They-Drive-by-Night_001_1200.jpg\" alt=\"Still from Raoul Walsh's 'They Drive by Night,' 1940.\" width=\"1200\" height=\"890\" class=\"size-full wp-image-13818805\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Walsh_They-Drive-by-Night_001_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Walsh_They-Drive-by-Night_001_1200-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Walsh_They-Drive-by-Night_001_1200-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Walsh_They-Drive-by-Night_001_1200-768x570.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Walsh_They-Drive-by-Night_001_1200-1020x757.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Walsh_They-Drive-by-Night_001_1200-1180x875.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Walsh_They-Drive-by-Night_001_1200-960x712.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Walsh_They-Drive-by-Night_001_1200-240x178.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Walsh_They-Drive-by-Night_001_1200-375x278.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Walsh_They-Drive-by-Night_001_1200-520x386.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Raoul Walsh’s ‘They Drive by Night,’ 1940. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lupino’s role as a blind recluse who redeems Robert Ryan’s raging cop in Nicholas Ray’s imperishable \u003cem>\u003ca href=\"https://bampfa.org/event/dangerous-ground-2\" rel=\"noopener\" target=\"_blank\">On Dangerous Ground\u003c/a>\u003c/em> (1951) looks hopeless on paper, but she finds a dozen clever ways to shade the character’s self-reliance with stubborn pride, thereby mirroring the Ryan character’s alienation rather than offsetting it. And then there is her star-making performance in Walsh’s \u003cem>\u003ca href=\"https://bampfa.org/event/they-drive-night-3\" rel=\"noopener\" target=\"_blank\">They Drive By Night\u003c/a>\u003c/em> (1940), where Lupino singlehandedly — and joyously — throws a wrench into a rollicking proletarian drama. Her low-rent Lady Macbeth first appears draped across her husband’s desk, playing different registers for the two men present and plainly relishing her character’s self-regard. In all Hollywood villainy, there is little to compare with the devious look her character shoots the camera after getting away with murder. Walsh sensibly cedes the entire screen to this magnificent touch of evil. \u003c/p>\n\u003cp>The critic Manny Farber, always attuned to the pleasure of a scene-stealing actor, applauded Lupino’s penchant for working from “the basic realization that life is hard, severe and bitter,” and this same cutting intelligence is evident in her work as a director. Lupino found freedom in constraint, working fast and cheap off the bounce of a hot-button issue or ripped-from-the-headlines yarn. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://bampfa.org/event/outrage-1\" rel=\"noopener\" target=\"_blank\">Outrage\u003c/a>\u003c/em> (1950), the first of Lupino’s own films showing in the BAMPFA series — and in a rare print from the British Film Archive at that — is a fine place to start. Tiptoeing around the Hays Code, this 75-minute programmer patiently details a rape victim’s psychological unraveling. The assault itself is done in heavy shades of German expressionism, as if the film’s all-American gal had suddenly been dropped in Fritz Lang’s \u003cem>M\u003c/em> (1931). The geometric rendering is classic noir and cues the audience’s expectation for an investigation, but Lupino steers away from the thrill of the chase. To the contrary, \u003cem>Outrage\u003c/em> works against the whole premise that such an attack can ever be set right. A key sequence deploys a slow camera movement to register every passing glance tracking the girl’s initial reentry back into her anodyne middle class milieu. Whether pitied or scorned, she is every bit the outcast, a precursor to the drifter figures found in Barbara Loden’s \u003cem>Wanda\u003c/em> (1970), Agnès Varda’s \u003cem>Vagabond\u003c/em> (1985), and Kelly Reichardt’s \u003cem>Wendy and Lucy\u003c/em> (2008). \u003c/p>\n\u003cfigure id=\"attachment_13818802\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Lupino_Bigamist_001_1200.jpg\" alt=\"Still from Ida Lupino's 'The Bigamist,' 1953.\" width=\"1200\" height=\"864\" class=\"size-full wp-image-13818802\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lupino_Bigamist_001_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lupino_Bigamist_001_1200-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lupino_Bigamist_001_1200-800x576.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lupino_Bigamist_001_1200-768x553.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lupino_Bigamist_001_1200-1020x734.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lupino_Bigamist_001_1200-1180x850.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lupino_Bigamist_001_1200-960x691.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lupino_Bigamist_001_1200-240x173.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lupino_Bigamist_001_1200-375x270.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lupino_Bigamist_001_1200-520x374.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Ida Lupino’s ‘The Bigamist,’ 1953. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another highlight in the BAMPFA series is \u003ca href=\"https://bampfa.org/event/bigamist-4\" rel=\"noopener\" target=\"_blank\">The Bigamist\u003c/a> (1953), a film that shows off Lupino’s adroitness in simultaneously capitalizing on and undercutting a salacious premise. Edmond O’Brien is the titular two-timer, an everyman so accustomed to being passed over that he looks as if he might not recognize himself in the mirror. The character splits his life between an entrepreneurial marriage and a working-class romance, with the big reveal coming when an investigator espies O’Brien shushing a baby to sleep because his second wife (played by Lupino) is sick in bed — hardly the stuff of a torrid potboiler. \u003c/p>\n\u003cp>Among other things, \u003cem>The Bigamist\u003c/em> suggests that classical Hollywood would have produced more tough-minded, unsentimental melodramas if only more women had been asked to direct.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Ida Lupino: Hard, Fast, and Beautiful’ plays at the Berkeley Art Museum and Pacific Film Archive Jan. 13 – Feb. 24, 2018. For tickets and more information, \u003ca href=\"https://bampfa.org/program/ida-lupino-hard-fast-and-beautiful\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "A month-long retrospective honors Ida Lupino as a scene-stealing actor who carried the same cutting intelligence into her work as a director.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Smart money says Ida Lupino never fell for a Hollywood ending. Acting was her family’s trade, and she was pushed into movies early, cast as an adolescent minx in a few British productions before getting gobbled up by Paramount and Warner Brothers as the “poor man’s Bette Davis” — her words, and the kind of ostensibly self-deprecating remark that threatens to give the whole game away. \u003c/p>\n\u003cp>Of Hollywood’s factory line, she reported: “Boredom sets in, which is a bad thing.” Remarkably, she did something about it: first turning down a long-term acting contract and then striking out with husband Collier Young to form the independent production venture for which she would direct a handful of fine-tuned variations on the social-problem formula. \u003c/p>\n\u003cp>A \u003ca href=\"https://bampfa.org/program/ida-lupino-hard-fast-and-beautiful\" rel=\"noopener\" target=\"_blank\">BAMPFA retrospective\u003c/a> on this month and next illuminates both sides of Lupino’s extraordinary life in movies. “Bored” certainly isn’t the word for her glowering onscreen presence, though something of her confessed impatience is evident in her knack for turning a film inside out. The whole center of gravity of Raoul Walsh’s \u003cem>\u003ca href=\"https://bampfa.org/event/high-sierra-2\" rel=\"noopener\" target=\"_blank\">High Sierra\u003c/a>\u003c/em> (1941) seems to shift the moment her character imposes herself on Bogart’s seasoned stickup man in a dingy motel room. A gritty striver on the run from her ordinary, awful life as a dancer, she sizes up the heist group’s dynamics faster than any of the men, grabbing at her best chance for escape and making it stick. \u003c/p>\n\u003cfigure id=\"attachment_13818805\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Walsh_They-Drive-by-Night_001_1200.jpg\" alt=\"Still from Raoul Walsh's 'They Drive by Night,' 1940.\" width=\"1200\" height=\"890\" class=\"size-full wp-image-13818805\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Walsh_They-Drive-by-Night_001_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Walsh_They-Drive-by-Night_001_1200-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Walsh_They-Drive-by-Night_001_1200-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Walsh_They-Drive-by-Night_001_1200-768x570.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Walsh_They-Drive-by-Night_001_1200-1020x757.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Walsh_They-Drive-by-Night_001_1200-1180x875.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Walsh_They-Drive-by-Night_001_1200-960x712.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Walsh_They-Drive-by-Night_001_1200-240x178.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Walsh_They-Drive-by-Night_001_1200-375x278.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Walsh_They-Drive-by-Night_001_1200-520x386.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Raoul Walsh’s ‘They Drive by Night,’ 1940. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lupino’s role as a blind recluse who redeems Robert Ryan’s raging cop in Nicholas Ray’s imperishable \u003cem>\u003ca href=\"https://bampfa.org/event/dangerous-ground-2\" rel=\"noopener\" target=\"_blank\">On Dangerous Ground\u003c/a>\u003c/em> (1951) looks hopeless on paper, but she finds a dozen clever ways to shade the character’s self-reliance with stubborn pride, thereby mirroring the Ryan character’s alienation rather than offsetting it. And then there is her star-making performance in Walsh’s \u003cem>\u003ca href=\"https://bampfa.org/event/they-drive-night-3\" rel=\"noopener\" target=\"_blank\">They Drive By Night\u003c/a>\u003c/em> (1940), where Lupino singlehandedly — and joyously — throws a wrench into a rollicking proletarian drama. Her low-rent Lady Macbeth first appears draped across her husband’s desk, playing different registers for the two men present and plainly relishing her character’s self-regard. In all Hollywood villainy, there is little to compare with the devious look her character shoots the camera after getting away with murder. Walsh sensibly cedes the entire screen to this magnificent touch of evil. \u003c/p>\n\u003cp>The critic Manny Farber, always attuned to the pleasure of a scene-stealing actor, applauded Lupino’s penchant for working from “the basic realization that life is hard, severe and bitter,” and this same cutting intelligence is evident in her work as a director. Lupino found freedom in constraint, working fast and cheap off the bounce of a hot-button issue or ripped-from-the-headlines yarn. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://bampfa.org/event/outrage-1\" rel=\"noopener\" target=\"_blank\">Outrage\u003c/a>\u003c/em> (1950), the first of Lupino’s own films showing in the BAMPFA series — and in a rare print from the British Film Archive at that — is a fine place to start. Tiptoeing around the Hays Code, this 75-minute programmer patiently details a rape victim’s psychological unraveling. The assault itself is done in heavy shades of German expressionism, as if the film’s all-American gal had suddenly been dropped in Fritz Lang’s \u003cem>M\u003c/em> (1931). The geometric rendering is classic noir and cues the audience’s expectation for an investigation, but Lupino steers away from the thrill of the chase. To the contrary, \u003cem>Outrage\u003c/em> works against the whole premise that such an attack can ever be set right. A key sequence deploys a slow camera movement to register every passing glance tracking the girl’s initial reentry back into her anodyne middle class milieu. Whether pitied or scorned, she is every bit the outcast, a precursor to the drifter figures found in Barbara Loden’s \u003cem>Wanda\u003c/em> (1970), Agnès Varda’s \u003cem>Vagabond\u003c/em> (1985), and Kelly Reichardt’s \u003cem>Wendy and Lucy\u003c/em> (2008). \u003c/p>\n\u003cfigure id=\"attachment_13818802\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Lupino_Bigamist_001_1200.jpg\" alt=\"Still from Ida Lupino's 'The Bigamist,' 1953.\" width=\"1200\" height=\"864\" class=\"size-full wp-image-13818802\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lupino_Bigamist_001_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lupino_Bigamist_001_1200-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lupino_Bigamist_001_1200-800x576.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lupino_Bigamist_001_1200-768x553.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lupino_Bigamist_001_1200-1020x734.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lupino_Bigamist_001_1200-1180x850.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lupino_Bigamist_001_1200-960x691.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lupino_Bigamist_001_1200-240x173.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lupino_Bigamist_001_1200-375x270.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lupino_Bigamist_001_1200-520x374.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Ida Lupino’s ‘The Bigamist,’ 1953. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another highlight in the BAMPFA series is \u003ca href=\"https://bampfa.org/event/bigamist-4\" rel=\"noopener\" target=\"_blank\">The Bigamist\u003c/a> (1953), a film that shows off Lupino’s adroitness in simultaneously capitalizing on and undercutting a salacious premise. Edmond O’Brien is the titular two-timer, an everyman so accustomed to being passed over that he looks as if he might not recognize himself in the mirror. The character splits his life between an entrepreneurial marriage and a working-class romance, with the big reveal coming when an investigator espies O’Brien shushing a baby to sleep because his second wife (played by Lupino) is sick in bed — hardly the stuff of a torrid potboiler. \u003c/p>\n\u003cp>Among other things, \u003cem>The Bigamist\u003c/em> suggests that classical Hollywood would have produced more tough-minded, unsentimental melodramas if only more women had been asked to direct.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Ida Lupino: Hard, Fast, and Beautiful’ plays at the Berkeley Art Museum and Pacific Film Archive Jan. 13 – Feb. 24, 2018. For tickets and more information, \u003ca href=\"https://bampfa.org/program/ida-lupino-hard-fast-and-beautiful\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Steven Spielberg’s \u003cem>The Post\u003c/em> is a story of journalists, government leaks, and a president who hates the press. It’s about the publication of the Pentagon Papers in 1971, but there’s a reason Spielberg rushed to tell the story now. \u003c/p>\n\u003cp>And he really \u003cem>did\u003c/em> rush: The filmmaker has long talked about making a Pentagon Papers movie, but the 2016 election made him feel it had become urgent. He got the working script just weeks after the inauguration, rounded up his high-powered cast, and leapt into production as if he were making a little indie flick on the fly. \u003c/p>\n\u003cp>https://youtu.be/nrXlY6gzTTM\u003c/p>\n\u003cp>But this story is big. We begin with defense secretary Robert McNamara (Bruce Greenwood) talking with staffers on a plane about how badly things are going in Vietnam — but then, when talking to reporters the moment they touch down, praising the progress the U.S. is making. \u003c/p>\n\u003cp>Staffer Daniel Ellsberg (Matthew Rhys) registers this disconnect, and leaks a top-secret government report on the war to the \u003cem>New York Times\u003c/em>. And whenever the \u003cem>Times\u003c/em> gets a scoop, \u003cem>Washington Post\u003c/em> editor Ben Bradlee (Tom Hanks) gets riled.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Today, of course, the \u003cem>Washington Post\u003c/em> is a brand name. In 1971, it was an underfunded, family-owned paper, making its first stock offering with a perceived disadvantage. The recent death of publisher Phil Graham had left his wife Katharine (played here by Meryl Streep) at the helm.\u003c/p>\n\u003cp>Bradlee’s ambitions were not modest, however. He just needed time. And now, suddenly, when the \u003ci>Post\u003c/i> also got their own copy of the report, he had it.\u003c/p>\n\u003cp>Though \u003cem>The Post\u003c/em> seems to fit squarely with Spielbergian histories like \u003cem>Lincoln\u003c/em> and \u003cem>Schindler’s List\u003c/em>, there’s a definite Ark-of-the-Covenant vibe to the film when the box of Pentagon Papers arrives, and an \u003cem>Indiana Jones\u003c/em> urgency to the frenzy that follows, because the \u003cem>Post\u003c/em> had hours to sift through thousands of pages and do what had taken the \u003cem>Times\u003c/em> months. \u003c/p>\n\u003cp>The film isn’t Spielberg’s subtlest, but it has some nicely subtle touches, like when his long-lens camera peers through White House windows to catch glimpses of a president and his henchmen; we hear their actual voices from tapes Nixon was forced to give up, years later. \u003c/p>\n\u003cp>It’s a film where the clatter of typewriters competes with the whoosh of pages sent by pneumatic tube to a pressroom where molten lead turns them into lines of type. \u003c/p>\n\u003cp>Tom Hanks makes for a blustery Ben Bradlee, and Meryl Streep plays Kay Graham as hesitant but steely, seemingly the only woman in the corridors of power — and ironically, the one with the power to defend the First Amendment. Bradlee can talk principle all he wants — and he does here, often — but only Graham can publish.\u003c/p>\n\u003cp>It’s melodrama, but effective, about an age where the First Amendment means something, where a power-mad president gets called to account by a crusading press, and where a woman can not just find her voice but … well, as Spielberg does in \u003cem>The Post\u003c/em>, I should let you fill in the blanks. Trust me, you will.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cp>The \u003ca href=\"http://www.roxie.com/\" target=\"_blank\" rel=\"noopener\">Roxie Theatre\u003c/a> in San Francisco has had a good year. Elizabeth O’Malley, executive director of the Mission District-based indie theater, says that it sold 15,000 more tickets in the past financial year than it did in the previous one.\u003c/p>\n\u003cp>One reason for the surge might be \u003ca href=\"https://www.moviepass.com/\" target=\"_blank\" rel=\"noopener\">MoviePass\u003c/a>, a dirt-cheap subscription service which lets customers see a movie a day for $9.95 a month. It pays theaters the entire ticket price for each ticket sold via its app. That’s $12 for every regular ticket sold at the Roxie.\u003c/p>\n\u003cp>“Anecdotally, our box office managers have said that they’ve seen an increase in these MoviePass subscribers coming through our doors,” O’Malley says.\u003c/p>\n\u003cp>O’Malley doesn’t credit MoviePass entirely for the increased business, though she says the service has brought some people out who might otherwise have waited to stream the movie at home.\u003c/p>\n\u003cp>“We are seeing it as a positive in terms of pushing back on video-on-demand as a threat to movie theaters,” O’Malley says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Launched in 2011 and run since June 2016 by Netflix co-founder Mitch Lowe, MoviePass introduced its cut-rate pricing last August after largely failing to appeal to a wide audience with more expensive subscription plans.\u003c/p>\n\u003cfigure id=\"attachment_13818328\" class=\"wp-caption aligncenter\" style=\"max-width: 665px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13818328 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Mitch_Lowe-e1514590953465.jpg\" alt=\"MoviePass CEO Mitch Lowe.\" width=\"665\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Mitch_Lowe-e1514590953465.jpg 665w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Mitch_Lowe-e1514590953465-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Mitch_Lowe-e1514590953465-240x163.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Mitch_Lowe-e1514590953465-375x255.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Mitch_Lowe-e1514590953465-520x353.jpg 520w\" sizes=\"(max-width: 665px) 100vw, 665px\">\u003cfigcaption class=\"wp-caption-text\">MoviePass CEO Mitch Lowe. \u003ccite>(Photo: Courtesy of MoviePass)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A MoviePass spokesman says the service can be used at more than 90 percent of theaters around the country. The spokesperson says the Bay Area is now MoviePass’s third largest market in the U.S. after Los Angeles and New York.\u003c/p>\n\u003cp>Besides the Roxie, the company’s website lists a variety of local theaters as honoring MoviePass subscriptions, from indie houses such as 4-Star and Vogue to big chains like AMC Van Ness 14 and Century 20 Daly City.\u003c/p>\n\u003cp>But the service has drawn criticism from small and big players alike.\u003c/p>\n\u003cp>\u003ca href=\"https://www.nytimes.com/2017/12/27/business/media/moviepass-theaters-tickets.html\" target=\"_blank\" rel=\"noopener\">A recent article in The New York Times\u003c/a> reports that major theaters and studio owners are denouncing MoviePass’ business model as being unsustainable because the monthly subscription fee is so low.\u003c/p>\n\u003cp>“They say that will cause MoviePass to either raise prices or go out of business, disappointing audiences and ultimately hurting the fragile multiplex business,” writes reporter Brooks Barnes.\u003c/p>\n\u003cp>“We are constantly looking for new ways to improve and expand service,” Lowe says. “Right now, in addition to the subscription model, we are also building out additional revenue streams related to the movie-going experience.” Lowe adds his company has no plans to increase subscription prices in 2018.\u003c/p>\n\u003cp>Meanwhile, O’Malley is unhappy with the lack of a sense of partnership between her theater and MoviePass.\u003c/p>\n\u003cp>“We’ve appreciated the uptick in business because of MoviePass, but would really love to be a more collaborative member of the MoviePass community.”\u003c/p>\n\u003cp>O’Malley says there’s no way to contact MoviePass directly if a customer issue arises. Also, she says MoviePass isn’t set up to deviate from the standard $12-a-ticket compensation structure when the Roxie wants to do special programming (e.g. asking customers to pay $15 for a double feature).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“So when MoviePass subscribers come through the door, they have to pay the extra out of pocket,” O’Malley says. “That three dollar difference is just a confusing experience for our customers.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"http://www.roxie.com/\" target=\"_blank\" rel=\"noopener\">Roxie Theatre\u003c/a> in San Francisco has had a good year. Elizabeth O’Malley, executive director of the Mission District-based indie theater, says that it sold 15,000 more tickets in the past financial year than it did in the previous one.\u003c/p>\n\u003cp>One reason for the surge might be \u003ca href=\"https://www.moviepass.com/\" target=\"_blank\" rel=\"noopener\">MoviePass\u003c/a>, a dirt-cheap subscription service which lets customers see a movie a day for $9.95 a month. It pays theaters the entire ticket price for each ticket sold via its app. That’s $12 for every regular ticket sold at the Roxie.\u003c/p>\n\u003cp>“Anecdotally, our box office managers have said that they’ve seen an increase in these MoviePass subscribers coming through our doors,” O’Malley says.\u003c/p>\n\u003cp>O’Malley doesn’t credit MoviePass entirely for the increased business, though she says the service has brought some people out who might otherwise have waited to stream the movie at home.\u003c/p>\n\u003cp>“We are seeing it as a positive in terms of pushing back on video-on-demand as a threat to movie theaters,” O’Malley says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Launched in 2011 and run since June 2016 by Netflix co-founder Mitch Lowe, MoviePass introduced its cut-rate pricing last August after largely failing to appeal to a wide audience with more expensive subscription plans.\u003c/p>\n\u003cfigure id=\"attachment_13818328\" class=\"wp-caption aligncenter\" style=\"max-width: 665px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13818328 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Mitch_Lowe-e1514590953465.jpg\" alt=\"MoviePass CEO Mitch Lowe.\" width=\"665\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Mitch_Lowe-e1514590953465.jpg 665w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Mitch_Lowe-e1514590953465-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Mitch_Lowe-e1514590953465-240x163.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Mitch_Lowe-e1514590953465-375x255.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Mitch_Lowe-e1514590953465-520x353.jpg 520w\" sizes=\"(max-width: 665px) 100vw, 665px\">\u003cfigcaption class=\"wp-caption-text\">MoviePass CEO Mitch Lowe. \u003ccite>(Photo: Courtesy of MoviePass)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A MoviePass spokesman says the service can be used at more than 90 percent of theaters around the country. The spokesperson says the Bay Area is now MoviePass’s third largest market in the U.S. after Los Angeles and New York.\u003c/p>\n\u003cp>Besides the Roxie, the company’s website lists a variety of local theaters as honoring MoviePass subscriptions, from indie houses such as 4-Star and Vogue to big chains like AMC Van Ness 14 and Century 20 Daly City.\u003c/p>\n\u003cp>But the service has drawn criticism from small and big players alike.\u003c/p>\n\u003cp>\u003ca href=\"https://www.nytimes.com/2017/12/27/business/media/moviepass-theaters-tickets.html\" target=\"_blank\" rel=\"noopener\">A recent article in The New York Times\u003c/a> reports that major theaters and studio owners are denouncing MoviePass’ business model as being unsustainable because the monthly subscription fee is so low.\u003c/p>\n\u003cp>“They say that will cause MoviePass to either raise prices or go out of business, disappointing audiences and ultimately hurting the fragile multiplex business,” writes reporter Brooks Barnes.\u003c/p>\n\u003cp>“We are constantly looking for new ways to improve and expand service,” Lowe says. “Right now, in addition to the subscription model, we are also building out additional revenue streams related to the movie-going experience.” Lowe adds his company has no plans to increase subscription prices in 2018.\u003c/p>\n\u003cp>Meanwhile, O’Malley is unhappy with the lack of a sense of partnership between her theater and MoviePass.\u003c/p>\n\u003cp>“We’ve appreciated the uptick in business because of MoviePass, but would really love to be a more collaborative member of the MoviePass community.”\u003c/p>\n\u003cp>O’Malley says there’s no way to contact MoviePass directly if a customer issue arises. Also, she says MoviePass isn’t set up to deviate from the standard $12-a-ticket compensation structure when the Roxie wants to do special programming (e.g. asking customers to pay $15 for a double feature).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“So when MoviePass subscribers come through the door, they have to pay the extra out of pocket,” O’Malley says. “That three dollar difference is just a confusing experience for our customers.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>We called in the reinforcements this week — my KQED Arts colleagues Rachael Myrow, Sarah Hotchkiss and Gabe Meline join me for a special 2018 preview to talk about the upcoming concerts and exhibitions we’re most excited about in the new year. Tickets to these shows might make good presents for your loved ones. (Say it with me, people: \u003ca href=\"https://www.theatlantic.com/business/archive/2014/10/buy-experiences/381132/\" target=\"_blank\" rel=\"noopener\">experiences, not things\u003c/a>.)\u003c/p>\n\u003cp>We’ll be taking the next week off, but we sincerely wish you a Happy Hanukkah, Merry Christmas, Happy Kwanzaa, and Happy New Year from all of us at KQED Arts.\u003c/p>\n\u003cp>\u003cstrong>Jan. 11–28\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/12/19/lush-large-scale-polaroids-in-the-presidio/\" target=\"_blank\" rel=\"noopener\">Large-scale Polaroids tell the story of Afro-Cuban ancestry on the Presidio\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 11–Feb. 11:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/marga-gomez-pays-tribute-to-her-showman-dad-with-latin-standards/\" target=\"_blank\" rel=\"noopener\">Marga Gomez explores what it means to be the driven adult child of a blustery Cuban showman\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 27–May 27:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/19/desiged-with-california-dreams-in-mind/\" target=\"_blank\" rel=\"noopener\">A show about socially conscious California design comes to SFMOMA\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Feb. 1–24: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/life-could-be-very-strange-and-very-hard-and-very-cruel/\" target=\"_blank\" rel=\"noopener\">The Pacific Film Archive celebrates the films of Ingmar Bergman on his centennial\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 10 and 11:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/gaelynn-leas-grand-ideas-from-a-small-violin/\" target=\"_blank\" rel=\"noopener\">A tiny woman with a big heart makes haunting melodies\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 13:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/19/new-rules-for-hopefully-a-new-world/\" target=\"_blank\" rel=\"noopener\">A rising pop star from England doles out her new rules\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 24:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/19/superchunk-points-the-right-way-to-enter-2018/\" target=\"_blank\" rel=\"noopener\">Superchunk returns with music challenging the political status quo\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>March 8:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/dee-dee-bridgewater-brings-classic-soul-from-memphis-to-montalvo/\" target=\"_blank\" rel=\"noopener\">Jazz icon Dee Dee Bridgewater gets funky with music from Memphis\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>March 24–Aug. 12:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/oakland-museum-gives-hip-hop-the-respect-its-earned/\" target=\"_blank\" rel=\"noopener\">The Oakland Museum of California tells the story of hip-hop through a Bay Area lens\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13818012\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13818012\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/CyRadio12.22-800x600.jpg\" alt=\"(L–R): Sarah Hotchkiss, Rachael Myrow, Cy Musiker and Gabe Meline.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22.jpg 2016w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L–R): Sarah Hotchkiss, Rachael Myrow, Cy Musiker and Gabe Meline.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\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, 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We called in the reinforcements this week — my KQED Arts colleagues Rachael Myrow, Sarah Hotchkiss and Gabe Meline join me for a special 2018 preview to talk about the upcoming concerts and exhibitions we’re most excited about in the new year. Tickets to these shows might make good presents for your loved ones. (Say it with me, people: \u003ca href=\"https://www.theatlantic.com/business/archive/2014/10/buy-experiences/381132/\" target=\"_blank\" rel=\"noopener\">experiences, not things\u003c/a>.)\u003c/p>\n\u003cp>We’ll be taking the next week off, but we sincerely wish you a Happy Hanukkah, Merry Christmas, Happy Kwanzaa, and Happy New Year from all of us at KQED Arts.\u003c/p>\n\u003cp>\u003cstrong>Jan. 11–28\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/12/19/lush-large-scale-polaroids-in-the-presidio/\" target=\"_blank\" rel=\"noopener\">Large-scale Polaroids tell the story of Afro-Cuban ancestry on the Presidio\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 11–Feb. 11:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/marga-gomez-pays-tribute-to-her-showman-dad-with-latin-standards/\" target=\"_blank\" rel=\"noopener\">Marga Gomez explores what it means to be the driven adult child of a blustery Cuban showman\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 27–May 27:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/19/desiged-with-california-dreams-in-mind/\" target=\"_blank\" rel=\"noopener\">A show about socially conscious California design comes to SFMOMA\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Feb. 1–24: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/life-could-be-very-strange-and-very-hard-and-very-cruel/\" target=\"_blank\" rel=\"noopener\">The Pacific Film Archive celebrates the films of Ingmar Bergman on his centennial\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 10 and 11:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/gaelynn-leas-grand-ideas-from-a-small-violin/\" target=\"_blank\" rel=\"noopener\">A tiny woman with a big heart makes haunting melodies\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 13:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/19/new-rules-for-hopefully-a-new-world/\" target=\"_blank\" rel=\"noopener\">A rising pop star from England doles out her new rules\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 24:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/19/superchunk-points-the-right-way-to-enter-2018/\" target=\"_blank\" rel=\"noopener\">Superchunk returns with music challenging the political status quo\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>March 8:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/dee-dee-bridgewater-brings-classic-soul-from-memphis-to-montalvo/\" target=\"_blank\" rel=\"noopener\">Jazz icon Dee Dee Bridgewater gets funky with music from Memphis\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>March 24–Aug. 12:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/oakland-museum-gives-hip-hop-the-respect-its-earned/\" target=\"_blank\" rel=\"noopener\">The Oakland Museum of California tells the story of hip-hop through a Bay Area lens\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13818012\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13818012\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/CyRadio12.22-800x600.jpg\" alt=\"(L–R): Sarah Hotchkiss, Rachael Myrow, Cy Musiker and Gabe Meline.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22.jpg 2016w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L–R): Sarah Hotchkiss, Rachael Myrow, Cy Musiker and Gabe Meline.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\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=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Life Could be Very Strange, and Very Hard, and Very Cruel'",
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"content": "\u003cp>Ingmar Bergman’s films are often compelling and disturbing in equal measure, psychological puzzles about the tragedy of the human condition. In some ways his movies mirror his childhood, when he played with marionettes he’d made himself.\u003c/p>\n\u003cp>“Life around me,” Bergman recalled in an interview with Dick Cavett from 1971, “the darkness, the emptiness of the house, the sunshine, everything could have some magic inside, that could be suddenly very unsecure, and suddenly I didn’t know if I had dreamt things or if they existed. Life could be very strange, and very hard, and very cruel.”\u003c/p>\n\u003cfigure id=\"attachment_13817730\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13817730 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Bergman_Saraband_008-e1513787974951-800x512.jpg\" alt=\"Liv Ullman in Ingmar Bergman's Saraband\" width=\"800\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Bergman_Saraband_008-e1513787974951-800x512.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Bergman_Saraband_008-e1513787974951-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Bergman_Saraband_008-e1513787974951-768x492.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Bergman_Saraband_008-e1513787974951-1020x653.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Bergman_Saraband_008-e1513787974951-1920x1230.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Bergman_Saraband_008-e1513787974951-1180x756.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Bergman_Saraband_008-e1513787974951-960x615.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Bergman_Saraband_008-e1513787974951-240x154.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Bergman_Saraband_008-e1513787974951-375x240.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Bergman_Saraband_008-e1513787974951-520x333.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Bergman_Saraband_008-e1513787974951.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Liv Ullman in Ingmar Bergman’s ‘Saraband.’ \u003ccite>(Photo: Courtesy of PFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Bergman’s centennial year, the Pacific Film Archive is programming screenings of his films throughout 2018, starting with a tribute honoring his favorite actress, titled ‘Bergman 100: A Tribute to Liv Ullman,’ including \u003cem>Cries and Whispers\u003c/em>, \u003cem>Persona\u003c/em> and \u003cem>Hour of the Wolf\u003c/em>. It runs Feb. 1–24; \u003ca href=\"https://bampfa.org/program/bergman-100-tribute-liv-ullmann\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DXk6VXs6jh4\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ingmar Bergman’s films are often compelling and disturbing in equal measure, psychological puzzles about the tragedy of the human condition. In some ways his movies mirror his childhood, when he played with marionettes he’d made himself.\u003c/p>\n\u003cp>“Life around me,” Bergman recalled in an interview with Dick Cavett from 1971, “the darkness, the emptiness of the house, the sunshine, everything could have some magic inside, that could be suddenly very unsecure, and suddenly I didn’t know if I had dreamt things or if they existed. Life could be very strange, and very hard, and very cruel.”\u003c/p>\n\u003cfigure id=\"attachment_13817730\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13817730 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Bergman_Saraband_008-e1513787974951-800x512.jpg\" alt=\"Liv Ullman in Ingmar Bergman's Saraband\" width=\"800\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Bergman_Saraband_008-e1513787974951-800x512.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Bergman_Saraband_008-e1513787974951-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Bergman_Saraband_008-e1513787974951-768x492.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Bergman_Saraband_008-e1513787974951-1020x653.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Bergman_Saraband_008-e1513787974951-1920x1230.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Bergman_Saraband_008-e1513787974951-1180x756.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Bergman_Saraband_008-e1513787974951-960x615.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Bergman_Saraband_008-e1513787974951-240x154.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Bergman_Saraband_008-e1513787974951-375x240.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Bergman_Saraband_008-e1513787974951-520x333.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Bergman_Saraband_008-e1513787974951.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Liv Ullman in Ingmar Bergman’s ‘Saraband.’ \u003ccite>(Photo: Courtesy of PFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Bergman’s centennial year, the Pacific Film Archive is programming screenings of his films throughout 2018, starting with a tribute honoring his favorite actress, titled ‘Bergman 100: A Tribute to Liv Ullman,’ including \u003cem>Cries and Whispers\u003c/em>, \u003cem>Persona\u003c/em> and \u003cem>Hour of the Wolf\u003c/em>. It runs Feb. 1–24; \u003ca href=\"https://bampfa.org/program/bergman-100-tribute-liv-ullmann\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\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/DXk6VXs6jh4'\n title='//www.youtube.com/embed/DXk6VXs6jh4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"title": "'Call Me By Your Name' Believes in the Power of Utopia",
"headTitle": "‘Call Me By Your Name’ Believes in the Power of Utopia | KQED",
"content": "\u003cp>Luca Guadagnino is an unapologetic hedonist. The Italian director films erotic fever dreams set in exquisite surroundings.\u003c/p>\n\u003cp>In his 2009 film \u003cem>I Am Love \u003c/em>, Tilda Swinton leaves her husband and their privileged life in Milan for a man half her age. She’s a modern day Emma Bovary who finds sexual and spiritual liberation in a younger lover’s arms. Guadagnino then turned his attention to Ralph Fiennes’ volcanic emotions in 2005’s \u003cem>A Bigger Splash\u003c/em>. On a Mediterranean island, the director orchestrates two love triangles. Fiennes and Dakota Johnson star as the worst houseguests in cinematic history, responsible for a staggering amount of sexual aggression toward their unsuspecting hosts.\u003c/p>\n\u003cp>The houses, or, more accurately, the estates where these amatory adventures take place provoke feelings of envy and covetousness in the audience. These property owners and their companions dine al fresco, with the help of servants, usually poolside. In his latest film \u003cem>Call Me By Your Name\u003c/em>, Guadagnino continues to focus on opulent imagery — with unrestrained devotion — and on characters who can afford to indulge in pleasures of the flesh.\u003c/p>\n\u003cfigure id=\"attachment_13817262\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13817262\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/LucaII.jpg\" alt=\"Left to right: Timothée Chalamet, director Luca Guadagnino and Armie Hammer.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/LucaII.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/LucaII-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/LucaII-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/LucaII-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/LucaII-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/LucaII-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/LucaII-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/LucaII-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/LucaII-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/LucaII-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Left to right: Timothée Chalamet, director Luca Guadagnino and Armie Hammer. \u003ccite>(Photo by Peter Spears; courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While attending this year’s Napa Valley Film Festival, the director spoke over the phone about this approach to filmmaking, saying, “I believe that the practice of utopia is what we need to be doing constantly in our life.”\u003c/p>\n\u003cp>You can easily dismiss this belief with a dash of proletarian scorn — the stories are just about rich people with enough leisure time to wallow in anguished love affairs. Or you can watch his movies with unguarded emotions, as utopian fantasies that are suffused with nostalgia.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Seventeen-year-old Elio (Timothée Chalamet) is the subject of \u003cem>Call Me By Your Name\u003c/em>. He lives with his parents outside of a small town in the Italian countryside. And yes, they have a pool. As aspirational fictions, these well-appointed homes are tantalizing yet out of reach for most ordinary mortals. Based on André Aciman’s novel of the same name, the film is a record of Elio’s first explorations with his newly emergent sexuality. When Oliver (Armie Hammer), one of his father’s graduate students, shows up for a summer internship, Elio develops a mad crush.\u003c/p>\n\u003cfigure id=\"attachment_13817263\" class=\"wp-caption aligncenter\" style=\"max-width: 918px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13817263\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Hammer.jpg\" alt=\"Armie Hammer as Oliver in 'Call Me By Your Name.'\" width=\"918\" height=\"612\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hammer.jpg 918w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hammer-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hammer-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hammer-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hammer-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hammer-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hammer-520x347.jpg 520w\" sizes=\"(max-width: 918px) 100vw, 918px\">\u003cfigcaption class=\"wp-caption-text\">Armie Hammer as Oliver in ‘Call Me By Your Name.’ \u003ccite>(Photo by Sayombhu Mukdeeprom; courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Guadagnino’s camera orbits around Hammer the way the earth revolves around the sun. We see him through a burnished lens. He’s a golden-haired Apollo with tanned, bare legs that are perilously draped. The attraction between Elio and Oliver is mutual but halting and often frustrated.\u003c/p>\n\u003cp>According to the director, he wanted to show their courtship from the point of view of someone who is in the midst of his first love. “They try to understand one another, and they’re confused, and Elio’s confused,” Guadagnino says. “It’s more about, as Freud would say, connecting yourself to your desires and what happens in your id.”\u003c/p>\n\u003cp>This idealized, romantic theme can be traced directly back to the films of Merchant Ivory, in which passion triumphs over repression — \u003cem>A Room with a View\u003c/em> (1985) being the supreme example. In that classic Merchant-Ivory film, Lucy Honeychurch (Helena Bonham Carter) resists George Emerson (Julian Sands) until she can’t. You’ll recognize the same gentility in Guadagnino’s movie because James Ivory, \u003cem>Room\u003c/em>‘s director, initially adapted the screenplay for \u003ci>Call Me By Your Name\u003c/i>. He was also hired to direct the film. But by the time it went into production, the budget had shrunk. And, concurrently, Guadagnino’s stock as a director had risen.\u003c/p>\n\u003cfigure id=\"attachment_13817264\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13817264\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Stuhlbarg.jpg\" alt=\"Michael Stulhbarg as Mr. Perlman in 'Call Me By Your Name.'\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Stuhlbarg.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Stuhlbarg-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Stuhlbarg-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Stuhlbarg-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Stuhlbarg-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Stuhlbarg-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Stuhlbarg-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Stuhlbarg-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Stuhlbarg-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Stuhlbarg-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Michael Stulhbarg as Mr. Perlman in ‘Call Me By Your Name.’ \u003ccite>(Photo by Luca Campri; courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The script became the outcome of our collaboration,” Guadagnino says. He points to his own influences, more ruminative filmmakers like Jean Renoir (\u003cem>A Day in the Country\u003c/em>), Maurice Pialat (\u003cem>À nos amours\u003c/em>) and Eric Rohmer (\u003cem>Pauline at the Beach\u003c/em>). Despite all its lavish meals and idyllic summer scenery, \u003cem>Call Me By Your Name\u003c/em> offers something psychologically substantial. Elio’s parents accept their son’s homosexuality quietly, without melodramatic reactions.\u003c/p>\n\u003cp>Guadagnino, along with a strong supporting performance by Michael Stuhlbarg as Elio’s father, provides an alternate vision of what accepting parents can look like. The director says, “I think we have the power of imagining things that can be radically different and what may feel for us is impossible, but eventually is really possible.”\u003c/p>\n\u003cp>Stuhlbarg, who was traveling with him in Napa, added, “If this performance, if this film can salve old wounds for anybody, or if it can present another eye-opening vision of what people might have gone through in their youth, all the better.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.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=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Call Me By Your Name’ opens Friday, Dec. 15 at San Francisco’s Landmark Embarcadero and the AMC Kabuki.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Luca Guadagnino is an unapologetic hedonist. The Italian director films erotic fever dreams set in exquisite surroundings.\u003c/p>\n\u003cp>In his 2009 film \u003cem>I Am Love \u003c/em>, Tilda Swinton leaves her husband and their privileged life in Milan for a man half her age. She’s a modern day Emma Bovary who finds sexual and spiritual liberation in a younger lover’s arms. Guadagnino then turned his attention to Ralph Fiennes’ volcanic emotions in 2005’s \u003cem>A Bigger Splash\u003c/em>. On a Mediterranean island, the director orchestrates two love triangles. Fiennes and Dakota Johnson star as the worst houseguests in cinematic history, responsible for a staggering amount of sexual aggression toward their unsuspecting hosts.\u003c/p>\n\u003cp>The houses, or, more accurately, the estates where these amatory adventures take place provoke feelings of envy and covetousness in the audience. These property owners and their companions dine al fresco, with the help of servants, usually poolside. In his latest film \u003cem>Call Me By Your Name\u003c/em>, Guadagnino continues to focus on opulent imagery — with unrestrained devotion — and on characters who can afford to indulge in pleasures of the flesh.\u003c/p>\n\u003cfigure id=\"attachment_13817262\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13817262\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/LucaII.jpg\" alt=\"Left to right: Timothée Chalamet, director Luca Guadagnino and Armie Hammer.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/LucaII.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/LucaII-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/LucaII-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/LucaII-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/LucaII-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/LucaII-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/LucaII-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/LucaII-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/LucaII-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/LucaII-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Left to right: Timothée Chalamet, director Luca Guadagnino and Armie Hammer. \u003ccite>(Photo by Peter Spears; courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While attending this year’s Napa Valley Film Festival, the director spoke over the phone about this approach to filmmaking, saying, “I believe that the practice of utopia is what we need to be doing constantly in our life.”\u003c/p>\n\u003cp>You can easily dismiss this belief with a dash of proletarian scorn — the stories are just about rich people with enough leisure time to wallow in anguished love affairs. Or you can watch his movies with unguarded emotions, as utopian fantasies that are suffused with nostalgia.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Seventeen-year-old Elio (Timothée Chalamet) is the subject of \u003cem>Call Me By Your Name\u003c/em>. He lives with his parents outside of a small town in the Italian countryside. And yes, they have a pool. As aspirational fictions, these well-appointed homes are tantalizing yet out of reach for most ordinary mortals. Based on André Aciman’s novel of the same name, the film is a record of Elio’s first explorations with his newly emergent sexuality. When Oliver (Armie Hammer), one of his father’s graduate students, shows up for a summer internship, Elio develops a mad crush.\u003c/p>\n\u003cfigure id=\"attachment_13817263\" class=\"wp-caption aligncenter\" style=\"max-width: 918px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13817263\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Hammer.jpg\" alt=\"Armie Hammer as Oliver in 'Call Me By Your Name.'\" width=\"918\" height=\"612\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hammer.jpg 918w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hammer-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hammer-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hammer-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hammer-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hammer-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hammer-520x347.jpg 520w\" sizes=\"(max-width: 918px) 100vw, 918px\">\u003cfigcaption class=\"wp-caption-text\">Armie Hammer as Oliver in ‘Call Me By Your Name.’ \u003ccite>(Photo by Sayombhu Mukdeeprom; courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Guadagnino’s camera orbits around Hammer the way the earth revolves around the sun. We see him through a burnished lens. He’s a golden-haired Apollo with tanned, bare legs that are perilously draped. The attraction between Elio and Oliver is mutual but halting and often frustrated.\u003c/p>\n\u003cp>According to the director, he wanted to show their courtship from the point of view of someone who is in the midst of his first love. “They try to understand one another, and they’re confused, and Elio’s confused,” Guadagnino says. “It’s more about, as Freud would say, connecting yourself to your desires and what happens in your id.”\u003c/p>\n\u003cp>This idealized, romantic theme can be traced directly back to the films of Merchant Ivory, in which passion triumphs over repression — \u003cem>A Room with a View\u003c/em> (1985) being the supreme example. In that classic Merchant-Ivory film, Lucy Honeychurch (Helena Bonham Carter) resists George Emerson (Julian Sands) until she can’t. You’ll recognize the same gentility in Guadagnino’s movie because James Ivory, \u003cem>Room\u003c/em>‘s director, initially adapted the screenplay for \u003ci>Call Me By Your Name\u003c/i>. He was also hired to direct the film. But by the time it went into production, the budget had shrunk. And, concurrently, Guadagnino’s stock as a director had risen.\u003c/p>\n\u003cfigure id=\"attachment_13817264\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13817264\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Stuhlbarg.jpg\" alt=\"Michael Stulhbarg as Mr. Perlman in 'Call Me By Your Name.'\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Stuhlbarg.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Stuhlbarg-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Stuhlbarg-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Stuhlbarg-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Stuhlbarg-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Stuhlbarg-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Stuhlbarg-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Stuhlbarg-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Stuhlbarg-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Stuhlbarg-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Michael Stulhbarg as Mr. Perlman in ‘Call Me By Your Name.’ \u003ccite>(Photo by Luca Campri; courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The script became the outcome of our collaboration,” Guadagnino says. He points to his own influences, more ruminative filmmakers like Jean Renoir (\u003cem>A Day in the Country\u003c/em>), Maurice Pialat (\u003cem>À nos amours\u003c/em>) and Eric Rohmer (\u003cem>Pauline at the Beach\u003c/em>). Despite all its lavish meals and idyllic summer scenery, \u003cem>Call Me By Your Name\u003c/em> offers something psychologically substantial. Elio’s parents accept their son’s homosexuality quietly, without melodramatic reactions.\u003c/p>\n\u003cp>Guadagnino, along with a strong supporting performance by Michael Stuhlbarg as Elio’s father, provides an alternate vision of what accepting parents can look like. The director says, “I think we have the power of imagining things that can be radically different and what may feel for us is impossible, but eventually is really possible.”\u003c/p>\n\u003cp>Stuhlbarg, who was traveling with him in Napa, added, “If this performance, if this film can salve old wounds for anybody, or if it can present another eye-opening vision of what people might have gone through in their youth, all the better.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.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=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Call Me By Your Name’ opens Friday, Dec. 15 at San Francisco’s Landmark Embarcadero and the AMC Kabuki.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A starry anniversary discussion of the film \u003cem>Wag the Dog\u003c/em> turned testy Monday when moderator John Oliver confronted Dustin Hoffman about allegations of sexual harassment.\u003c/p>\n\u003cp>Hoffman seemed blindsided and defensive by the line of questioning from the host of HBO’s \u003cem>Last Week Tonight\u003c/em>. Hoffman explained the accusation was 40 years old. “I don’t love that response either,” Oliver said. Hoffman shot back: “What response do you want?” Hoffman maintained that he did nothing wrong.\u003c/p>\n\u003cp>Actress Anna Graham Hunter has alleged that Hoffman groped her and made inappropriate comments when she was a 17-year-old intern on the set of the 1985 TV movie “Death of a Salesman.”\u003c/p>\n\u003cp>Hoffman had said in an earlier statement that the incident “is not reflective of who I am,” which Oliver seized on and called a “cop-out,” adding: “It is reflective of who you were.” Hoffman complained: “You’ve put me on display here.”\u003c/p>\n\u003cp>The back-and-forth came at a 20th-anniversary screening panel at the 92nd Street Y. Onstage in addition to Oliver and Hoffman were Robert De Niro, producer Jane Rosenthal and director Barry Levinson.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I get no pleasure from having this conversation,” Oliver said. Referring to Hoffman, he added: “But you and I are not the victims here.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The exchange was reported by The Washington Post, which also posted a video of part of the conversation.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A starry anniversary discussion of the film \u003cem>Wag the Dog\u003c/em> turned testy Monday when moderator John Oliver confronted Dustin Hoffman about allegations of sexual harassment.\u003c/p>\n\u003cp>Hoffman seemed blindsided and defensive by the line of questioning from the host of HBO’s \u003cem>Last Week Tonight\u003c/em>. Hoffman explained the accusation was 40 years old. “I don’t love that response either,” Oliver said. Hoffman shot back: “What response do you want?” Hoffman maintained that he did nothing wrong.\u003c/p>\n\u003cp>Actress Anna Graham Hunter has alleged that Hoffman groped her and made inappropriate comments when she was a 17-year-old intern on the set of the 1985 TV movie “Death of a Salesman.”\u003c/p>\n\u003cp>Hoffman had said in an earlier statement that the incident “is not reflective of who I am,” which Oliver seized on and called a “cop-out,” adding: “It is reflective of who you were.” Hoffman complained: “You’ve put me on display here.”\u003c/p>\n\u003cp>The back-and-forth came at a 20th-anniversary screening panel at the 92nd Street Y. Onstage in addition to Oliver and Hoffman were Robert De Niro, producer Jane Rosenthal and director Barry Levinson.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I get no pleasure from having this conversation,” Oliver said. Referring to Hoffman, he added: “But you and I are not the victims here.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The exchange was reported by The Washington Post, which also posted a video of part of the conversation.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Giant Tree Stump Journeys From Sierra to S.F. Opera Stage",
"headTitle": "Giant Tree Stump Journeys From Sierra to S.F. Opera Stage | KQED",
"content": "\u003cp>Stage director Peter Sellars recently drove three hours east of San Francisco to see the stump of what was once one of the tallest trees in the world — the Discovery Tree.\u003c/p>\n\u003cp>“The stump is a vision from Dante,” Sellars said on a break from rehearsals at San Francisco’s War Memorial Opera House for his new opera, \u003cem>\u003ca href=\"https://sfopera.com/1718season/201718-season/goldenwest/\" target=\"_blank\" rel=\"noopener\">Girls of the Golden West\u003c/a>. “\u003c/em>It’s some wild rage of the spirit world that just is coming out in this twisted scream of roots.”\u003c/p>\n\u003cp>Artists have long romanticized California’s Gold Rush — just think of the writings of Bret Harte, or of Giacomo Puccini’s opera, \u003cem>The Girl of the Golden West, \u003c/em>the title of which Sellars and his collaborators shamelessly stole.\u003c/p>\n\u003cfigure id=\"attachment_13816351\" class=\"wp-caption alignleft\" style=\"max-width: 492px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13816351\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Calaveras-big-trees-dance-copy.png\" alt=\"An etching of The Discovery Tree Stump. The image informed the creators of 'Girls of the Golden West.'\" width=\"492\" height=\"348\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Calaveras-big-trees-dance-copy.png 492w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Calaveras-big-trees-dance-copy-160x113.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Calaveras-big-trees-dance-copy-240x170.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Calaveras-big-trees-dance-copy-375x265.png 375w\" sizes=\"(max-width: 492px) 100vw, 492px\">\u003cfigcaption class=\"wp-caption-text\">An etching of The Discovery Tree Stump. The image informed the creators of ‘Girls of the Golden West.’ \u003ccite>(Photo: Courtesy of San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Contrastingly, \u003cem>Girls of the Golden West\u003c/em> tells a much darker story of greed, racism and environmental destruction. And at the center of the stage is the stump of the Discovery Tree.\u003c/p>\n\u003cp>Sellars first heard about the stump, which is located in \u003ca href=\"http://www.parks.ca.gov/?page_id=551\" target=\"_blank\" rel=\"noopener\">Calaveras Big Trees State Park\u003c/a>, when \u003cem>Girls of the Golden West\u003c/em> composer John Adams emailed him an antique etching of it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The image shows a bunch of well-dressed couples dancing on top of the stump. At around twenty-four feet across — about the size of a small ice rink — it must have made for a bucolic setting for the two-steps and waltzes of wealthy nineteenth century tourists.\u003c/p>\n\u003cp>“I was just stunned because of course it’s a shocking image,” Sellars said.\u003c/p>\n\u003cfigure id=\"attachment_13807065\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807065\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-800x422.jpg\" alt=\"'Girls of the Golden West' Composer John Adams and Librettist Peter Sellars\" width=\"800\" height=\"422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1920x1013.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1180x623.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-960x507.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-240x127.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-375x198.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-520x274.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573.jpg 2039w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Girls of the Golden West’ composer John Adams and librettist/stage director Peter Sellars. \u003ccite>(Photo: Courtesy of San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This incongruous vision of a bunch of humans twirling and stomping all over the dead remains of one of the biggest marvels of the natural world captured Sellars attention. It spoke to the bleak themes of his opera.\u003c/p>\n\u003cp>“The destruction of the natural world; the kind of relentless and heartless progress of this idea that the only thing that matters is money, and the Gold Rush of course epitomized that,” Sellars said.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>The November morning I visited Calaveras Big Trees State Park, no one was dancing on the stump. The air in the grove was crisp and damp. I was entranced by the steam rising off the lofty, chocolate-colored trunks.\u003c/p>\n\u003cp>And then I saw The Stump.\u003c/p>\n\u003cp>The park gets around 200,000 visitors a year, and Big Trees State Park docent Sanders Lamont said 95 percent of them come to see the 1,200-year-old hunk of wood.\u003c/p>\n\u003cfigure id=\"attachment_13816353\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816353\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-800x600.jpg\" alt=\"Calaveras Big Trees State Park docent Sanders Lamont.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Calaveras Big Trees State Park docent Sanders Lamont. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lamont said word got out about the tree in 1852, when a hunter named Augustus T. Dowd came across it while chasing down a bear. But no one believed Dowd about his find at first.\u003c/p>\n\u003cp>“Dowd said, ‘Man, I’ve found the biggest tree in the world,'” Lamont said. “And they said, ‘Shut up and have a drink.'”\u003c/p>\n\u003cp>But Dowd eventually convinced a crew to return to the site with him. They were floored, and news of the Discovery Tree spread fast.\u003c/p>\n\u003cp>“Even in Europe it was a sensation,” Lamont said. “And from there on it becomes a story of typical eighteen-hundreds exploitation.”\u003c/p>\n\u003cp>Lamont says sequoias don’t make for great lumber and firewood. So some enterprising local businessmen quickly realized they could make money from the Discovery Tree another way: by hacking the giant down and turning parts of it into a traveling exhibit.\u003c/p>\n\u003cfigure id=\"attachment_13816358\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816358\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Discovery-Tree-800x600.jpg\" alt=\"The Discovery Tree today\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Discovery Tree today. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The road show failed to make money, in part because the famous impresario P.T. Barnum saw it as competing with his own exhibits in New York City. After Barnum’s claims debunking the tree spectacle in the press, it didn’t attract enough visitors. Eventually it burned in a warehouse fire.\u003c/p>\n\u003cp>Back in California, tourism to the sequoia grove and the Discovery Tree’s stump took off in a big way, especially when the entrepreneurs added a hotel, a bar and even a bowling alley.\u003c/p>\n\u003cp>Those giant sequoias, meanwhile, started to attract scientists’ attention. The eminent naturalist John Muir visited the grove on a couple of occasions, and was one of a number of authors who wrote articles calling for the preservation of the trees. Other voices around the world joined the campaign. Eventually the state park system came into being to protect the large trees.\u003c/p>\n\u003cp>“The outrage over the cutting of this tree sparked the modern environmental movement all around the world,” Lamont said.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>A full-size recreation of the giant stump — made from wood, foam and resin — takes up almost the entire stage in \u003cem>Girls of the Golden West\u003c/em>. It sits front and center for some of the opera’s most cataclysmic moments, including an attempted rape and an angry mob yelling for non-white miners to get out.\u003c/p>\n\u003cfigure id=\"attachment_13816352\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816352\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-800x534.jpg\" alt=\"Davone Tines and Ryan McKinny in a scene of racial abuse in 'Girls of the Golden West'\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Davone Tines and Ryan McKinny in a scene of racial abuse in ‘Girls of the Golden West’ \u003ccite>(Photo: Stefan Cohen courtesy of San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The whole thing ends with a baleful aria describing the mess the miners have made of the landscape.\u003c/p>\n\u003cp>“The whole bar is thickly peppered with empty bottles, oyster cans, sardine boxes,” one of the characters sings in the final scene of the work.\u003c/p>\n\u003cp>But like the role the Discovery Tree played in igniting the public’s conscience about caring for the natural environment, so the opera ends on a slightly positive note — with an image of the fathomless splendor of the California sky.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright 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=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Girls of the Golden West’ runs through Sunday, Dec. 10, at the War Memorial Opera House in San Francisco. More information \u003ca href=\"https://sfopera.com/1718season/201718-season/goldenwest/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Once one of the tallest trees in the world, the Discovery Tree tells the story of environmental destruction at the heart of the new opera 'The Girls of the Golden West.'",
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"headline": "Giant Tree Stump Journeys From Sierra to S.F. Opera Stage",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Stage director Peter Sellars recently drove three hours east of San Francisco to see the stump of what was once one of the tallest trees in the world — the Discovery Tree.\u003c/p>\n\u003cp>“The stump is a vision from Dante,” Sellars said on a break from rehearsals at San Francisco’s War Memorial Opera House for his new opera, \u003cem>\u003ca href=\"https://sfopera.com/1718season/201718-season/goldenwest/\" target=\"_blank\" rel=\"noopener\">Girls of the Golden West\u003c/a>. “\u003c/em>It’s some wild rage of the spirit world that just is coming out in this twisted scream of roots.”\u003c/p>\n\u003cp>Artists have long romanticized California’s Gold Rush — just think of the writings of Bret Harte, or of Giacomo Puccini’s opera, \u003cem>The Girl of the Golden West, \u003c/em>the title of which Sellars and his collaborators shamelessly stole.\u003c/p>\n\u003cfigure id=\"attachment_13816351\" class=\"wp-caption alignleft\" style=\"max-width: 492px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13816351\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Calaveras-big-trees-dance-copy.png\" alt=\"An etching of The Discovery Tree Stump. The image informed the creators of 'Girls of the Golden West.'\" width=\"492\" height=\"348\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Calaveras-big-trees-dance-copy.png 492w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Calaveras-big-trees-dance-copy-160x113.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Calaveras-big-trees-dance-copy-240x170.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Calaveras-big-trees-dance-copy-375x265.png 375w\" sizes=\"(max-width: 492px) 100vw, 492px\">\u003cfigcaption class=\"wp-caption-text\">An etching of The Discovery Tree Stump. The image informed the creators of ‘Girls of the Golden West.’ \u003ccite>(Photo: Courtesy of San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Contrastingly, \u003cem>Girls of the Golden West\u003c/em> tells a much darker story of greed, racism and environmental destruction. And at the center of the stage is the stump of the Discovery Tree.\u003c/p>\n\u003cp>Sellars first heard about the stump, which is located in \u003ca href=\"http://www.parks.ca.gov/?page_id=551\" target=\"_blank\" rel=\"noopener\">Calaveras Big Trees State Park\u003c/a>, when \u003cem>Girls of the Golden West\u003c/em> composer John Adams emailed him an antique etching of it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The image shows a bunch of well-dressed couples dancing on top of the stump. At around twenty-four feet across — about the size of a small ice rink — it must have made for a bucolic setting for the two-steps and waltzes of wealthy nineteenth century tourists.\u003c/p>\n\u003cp>“I was just stunned because of course it’s a shocking image,” Sellars said.\u003c/p>\n\u003cfigure id=\"attachment_13807065\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807065\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-800x422.jpg\" alt=\"'Girls of the Golden West' Composer John Adams and Librettist Peter Sellars\" width=\"800\" height=\"422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1920x1013.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1180x623.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-960x507.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-240x127.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-375x198.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-520x274.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573.jpg 2039w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Girls of the Golden West’ composer John Adams and librettist/stage director Peter Sellars. \u003ccite>(Photo: Courtesy of San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This incongruous vision of a bunch of humans twirling and stomping all over the dead remains of one of the biggest marvels of the natural world captured Sellars attention. It spoke to the bleak themes of his opera.\u003c/p>\n\u003cp>“The destruction of the natural world; the kind of relentless and heartless progress of this idea that the only thing that matters is money, and the Gold Rush of course epitomized that,” Sellars said.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>The November morning I visited Calaveras Big Trees State Park, no one was dancing on the stump. The air in the grove was crisp and damp. I was entranced by the steam rising off the lofty, chocolate-colored trunks.\u003c/p>\n\u003cp>And then I saw The Stump.\u003c/p>\n\u003cp>The park gets around 200,000 visitors a year, and Big Trees State Park docent Sanders Lamont said 95 percent of them come to see the 1,200-year-old hunk of wood.\u003c/p>\n\u003cfigure id=\"attachment_13816353\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816353\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-800x600.jpg\" alt=\"Calaveras Big Trees State Park docent Sanders Lamont.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Calaveras Big Trees State Park docent Sanders Lamont. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lamont said word got out about the tree in 1852, when a hunter named Augustus T. Dowd came across it while chasing down a bear. But no one believed Dowd about his find at first.\u003c/p>\n\u003cp>“Dowd said, ‘Man, I’ve found the biggest tree in the world,'” Lamont said. “And they said, ‘Shut up and have a drink.'”\u003c/p>\n\u003cp>But Dowd eventually convinced a crew to return to the site with him. They were floored, and news of the Discovery Tree spread fast.\u003c/p>\n\u003cp>“Even in Europe it was a sensation,” Lamont said. “And from there on it becomes a story of typical eighteen-hundreds exploitation.”\u003c/p>\n\u003cp>Lamont says sequoias don’t make for great lumber and firewood. So some enterprising local businessmen quickly realized they could make money from the Discovery Tree another way: by hacking the giant down and turning parts of it into a traveling exhibit.\u003c/p>\n\u003cfigure id=\"attachment_13816358\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816358\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Discovery-Tree-800x600.jpg\" alt=\"The Discovery Tree today\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Discovery Tree today. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The road show failed to make money, in part because the famous impresario P.T. Barnum saw it as competing with his own exhibits in New York City. After Barnum’s claims debunking the tree spectacle in the press, it didn’t attract enough visitors. Eventually it burned in a warehouse fire.\u003c/p>\n\u003cp>Back in California, tourism to the sequoia grove and the Discovery Tree’s stump took off in a big way, especially when the entrepreneurs added a hotel, a bar and even a bowling alley.\u003c/p>\n\u003cp>Those giant sequoias, meanwhile, started to attract scientists’ attention. The eminent naturalist John Muir visited the grove on a couple of occasions, and was one of a number of authors who wrote articles calling for the preservation of the trees. Other voices around the world joined the campaign. Eventually the state park system came into being to protect the large trees.\u003c/p>\n\u003cp>“The outrage over the cutting of this tree sparked the modern environmental movement all around the world,” Lamont said.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>A full-size recreation of the giant stump — made from wood, foam and resin — takes up almost the entire stage in \u003cem>Girls of the Golden West\u003c/em>. It sits front and center for some of the opera’s most cataclysmic moments, including an attempted rape and an angry mob yelling for non-white miners to get out.\u003c/p>\n\u003cfigure id=\"attachment_13816352\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816352\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-800x534.jpg\" alt=\"Davone Tines and Ryan McKinny in a scene of racial abuse in 'Girls of the Golden West'\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Davone Tines and Ryan McKinny in a scene of racial abuse in ‘Girls of the Golden West’ \u003ccite>(Photo: Stefan Cohen courtesy of San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The whole thing ends with a baleful aria describing the mess the miners have made of the landscape.\u003c/p>\n\u003cp>“The whole bar is thickly peppered with empty bottles, oyster cans, sardine boxes,” one of the characters sings in the final scene of the work.\u003c/p>\n\u003cp>But like the role the Discovery Tree played in igniting the public’s conscience about caring for the natural environment, so the opera ends on a slightly positive note — with an image of the fathomless splendor of the California sky.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright 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=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Girls of the Golden West’ runs through Sunday, Dec. 10, at the War Memorial Opera House in San Francisco. More information \u003ca href=\"https://sfopera.com/1718season/201718-season/goldenwest/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the beginning, there was the word. Not the spoken word, mind you, but intertitles, for movies had neither sound nor soundtrack for the first 25 years or so. Musicians filled in that vast space, providing melodies, motifs, emotional cues and even sound effects and ambient noises in conjunction with the flickering images. A century on, film programs featuring live musical accompaniment are back in vogue, with the Bay Area at the forefront of the trend.\u003c/p>\n\u003cp>\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2017-18/Film-North-By-Northwest.aspx\" rel=\"noopener\" target=\"_blank\">The San Francisco Symphony\u003c/a> has hit on a winning formula of pairing a stage full of virtuosos with immortal classics and hometown favorites. The SFS embarks on its fifth series with the endlessly entertaining \u003cem>North by Northwest\u003c/em> (Dec. 1 and 2 at Davies Symphony Hall), Alfred Hitchcock’s 1959 masterpiece which boasts a delicious dining-car pas de deux of double entendres and verbal seduction between Eva Marie Saint and Cary Grant, the wholly implausible and splendidly executed crop-dusting sequence (sans music, incidentally), and the spectacle of Saint’s character being slut-shamed by a high-priced, unapologetic prostitute (Grant’s Madison Ave. advertising exec). All that, and a score by Bernard Herrmann.\u003c/p>\n\u003cfigure id=\"attachment_13815865\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Lady-Windermeres-Fan_1200.jpg\" alt=\"'Lady Windermere's Fan,' 1925 with May McAvoy and Ronald Colman.\" width=\"1200\" height=\"969\" class=\"size-full wp-image-13815865\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Lady-Windermeres-Fan_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Lady-Windermeres-Fan_1200-160x129.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Lady-Windermeres-Fan_1200-800x646.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Lady-Windermeres-Fan_1200-768x620.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Lady-Windermeres-Fan_1200-1020x824.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Lady-Windermeres-Fan_1200-1180x953.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Lady-Windermeres-Fan_1200-960x775.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Lady-Windermeres-Fan_1200-240x194.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Lady-Windermeres-Fan_1200-375x303.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Lady-Windermeres-Fan_1200-520x420.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">‘Lady Windermere’s Fan,’ 1925 with May McAvoy and Ronald Colman. \u003ccite>(Courtesy of SF Silent Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The San Francisco Silent Film Festival packs its off-season marathon, \u003ca href=\"https://prod3.agileticketing.net/websales/pages/list.aspx?epguid=16a0951c-4bb8-43ca-9a27-6330abcf9169&\" rel=\"noopener\" target=\"_blank\">A Day of Silents\u003c/a> (Dec. 2 at the Castro), with something for everyone. Lotte Reininger’s animated \u003cem>The Adventures of Prince Achmed\u003c/em>, accompanied by Philip Carli on the keyboards, will delight children and their lucky escorts. The Mont Alto Motion Picture Orchestra taps into the wit and poignancy of Ernst Lubitsch’s adaptation of Oscar Wilde’s \u003cem>Lady Windermere’s Fan\u003c/em>, then Sascha Jacobsen and the Musical Art Quintet channel the dark alleys and darker impulses of Paris’ criminal element in \u003cem>The Rat\u003c/em>. There’s much more — all offering a respite from human speech.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"onourwatch": {
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"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?",
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"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",
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},
"pbs-newshour": {
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},
"perspectives": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
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