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"content": "\u003cp>Pixar’s animators seem willing to go anywhere in pursuit of fresh enchantment. They plunged to the ocean’s depths in \u003cem>Finding Nemo\u003c/em>, took to the sky with helium balloons in \u003cem>Up\u003c/em> and entered a child’s mind in \u003cem>Inside Out\u003c/em>. Now, in the movie Coco, they — and we — are visiting the afterlife.\u003c/p>\n\u003cp>We get there alongside young Miguel (voiced by Anthony Gonzalez), who lives with his shoemaking family in a Mexican village. He’s a happy kid, except for one thing: His family has lived an entirely music-free existence for three generations. His grandmother (Renee Victor) has forbidden it all — no blowing into soda bottles, no listening to passing car radios and absolutely \u003cem>no \u003c/em>mariachis.\u003c/p>\n\u003cp>Miguel knows why. Years ago, his musical great-great-grandfather grabbed his guitar and left, never to return. On Dia de Muertos — the Day of the Dead — when it’s said the deceased return to visit their families, no one so much as mentions great-great-granddad. Which means Miguel gets a bit of a shock when he strums a guitar in a cemetery on that day and finds himself and his street puppy Dante — get it? — transported to the land of the dead.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Rvr68u6k5sI\u003c/p>\n\u003cp>It’s an eye-popping and lively sort of Hades, with streets paved in fluorescent flower petals and skeletons performing production numbers about dancing papaya seeds.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The plot, arguably, comes packed with more complications and psychedelic spirit-critters than it really needs. But you can’t blame Pixar’s animators for having a field day with the film’s imagery, which speaks so centrally to the studio’s preoccupation with the concept of family.\u003c/p>\n\u003cp>The Coco of the title, I should mention, is Miguel’s great-grandmother, the child of that musical great-great-grandfather who never came back. She anchors the film as you’d expect a matriarch to do. She also figures in a moment that will reduce audiences to tears as surely as did that passage in \u003cem>Up a\u003c/em>bout the grumpy old man losing his wife.\u003c/p>\n\u003cp>In both cases, the tears are joyous — they’re about the memories that can unite families and even transcend death. And while \u003cem>Coco \u003c/em>strikes plenty of dutiful comic kid-flick poses, it’s no accident that its big song is called “Remember Me,” or that its plot centers on Mexico’s Day of the Dead.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The final credits end with a note that Dia de Muertos is a tradition rooted in the lore of Indigenous peoples. “To learn more,” says a legend on the screen, “visit your local library.” I bet a lot of folks will — after they call their grandmothers.\u003c/p>\n\n",
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"title": "At the Opera: A People's History of the Gold Rush",
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"content": "\u003cp>Berkeley composer John Adams and director/writer Peter Sellars are old hands at opera as contemporary history, including \u003cem>Nixon in China\u003c/em>, \u003cem>The Death of Klinghoffer\u003c/em> and \u003cem>Doctor Atomic.\u003c/em> Now they’re looking further back in time, to the California gold rush, in the world premiere of \u003cem>Girls of the Golden West\u003c/em> at San Francisco Opera. This is a revisionist history of the era that focuses on the wives and the prostitutes in the gold camps, the wagon driver who’s a runaway slave, the Californians who lost everything when the US annexed the state, plus stories about vigilante injustice and racism. Sellars has drawn the libretto from historical sources, and he told me certainly it’s a story about the past, but also the present. \u003c/p>\n\u003cp>“We’re here in a new gold rush in Silicon Valley,” Sellars said, “with astounding fortunes made overnight. And meanwhile, the politics of who has how much citizenship, and how economic participation has been organized, all those things are completely to the point of the moment.”\u003c/p>\n\u003cp>My co-host Jamedra Brown Fleischman wondered if it would be appropriate to wear a pussy hat to see this show. I think Adams and Sellars would say that was the perfect headgear, even at the San Francisco Opera. \u003ca href=\"https://sfopera.com/1718season/201718-season/goldenwest/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Berkeley composer John Adams and director/writer Peter Sellars are old hands at opera as contemporary history, including \u003cem>Nixon in China\u003c/em>, \u003cem>The Death of Klinghoffer\u003c/em> and \u003cem>Doctor Atomic.\u003c/em> Now they’re looking further back in time, to the California gold rush, in the world premiere of \u003cem>Girls of the Golden West\u003c/em> at San Francisco Opera. This is a revisionist history of the era that focuses on the wives and the prostitutes in the gold camps, the wagon driver who’s a runaway slave, the Californians who lost everything when the US annexed the state, plus stories about vigilante injustice and racism. Sellars has drawn the libretto from historical sources, and he told me certainly it’s a story about the past, but also the present. \u003c/p>\n\u003cp>“We’re here in a new gold rush in Silicon Valley,” Sellars said, “with astounding fortunes made overnight. And meanwhile, the politics of who has how much citizenship, and how economic participation has been organized, all those things are completely to the point of the moment.”\u003c/p>\n\u003cp>My co-host Jamedra Brown Fleischman wondered if it would be appropriate to wear a pussy hat to see this show. I think Adams and Sellars would say that was the perfect headgear, even at the San Francisco Opera. \u003ca href=\"https://sfopera.com/1718season/201718-season/goldenwest/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The Tubbs fire completely destroyed the home of the Peanuts cartoon strip creator. But while the flames came close to the \u003ca href=\"https://schulzmuseum.org\" target=\"_blank\" rel=\"noopener\">Charles M. Schulz Museum\u003c/a>, they did not damage it.\u003c/p>\n\u003cp>The gallery and education space dedicated to the famous cartoonist’s work was able to reopen its doors on Sunday. \u003c/p>\n\u003cp>“We were evacuated and lost power, but otherwise the building was OK,” says museum marketing director Tracey Pugh. \u003c/p>\n\u003cp>Pugh says more than 160 people visited the museum opening day and that she and her colleagues are now focusing on their first major post-fire event, happening next Sunday, Nov. 12. “It’ll feature Snoopy and Peanuts,” Pugh says.\u003c/p>\n\u003cp>Also in Santa Rosa, \u003ca href=\"https://lutherburbankcenter.org\" target=\"_blank\" rel=\"noopener\">the Luther Burbank Center for the Arts\u003c/a> is returning to programming this Thursday, with \u003cem>\u003ca href=\"http://www.shopkinslive.com/\" target=\"_blank\" rel=\"noopener\">Shopkins Live\u003c/a>!\u003c/em> — a family-friendly musical based on the popular children’s toy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=k2rWs7TWhlI\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And elsewhere in wine country, the \u003ca href=\"http://www.nvff.org/\" target=\"_blank\" rel=\"noopener\">Napa Valley Film Festival\u003c/a> is going ahead. The annual cultural event happening this week is one of the region’s biggest, as well as one of the first of its size to occur since the fire. The nonprofit festival plans to donate 10 percent of past sales to the \u003ca href=\"http://www.napavalleycf.org/supporting-napa-county-fire-relief-efforts/\" target=\"_blank\" rel=\"noopener\">Napa Valley Community Foundation Disaster Relief Fund.\u003c/a> And a festival sponsor is planning to donate 1,000 free movie tickets to fire victims.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fall is film festival season, if you hadn’t noticed. Indeed, this weekend is so loaded with explosive sound and images that it resembles the climactic (and overwhelming) barrage of a fireworks show. If you can’t find something to suit your taste, friend, you just don’t like movies. Film buffs, for their part, are in worse straits, fretting over how to possibly catch every movie they want — excuse me, need — to see.\u003c/p>\n\u003cp>The \u003ca href=\"http://www.aifisf.com\" rel=\"noopener\" target=\"_blank\">American Indian Film Festival\u003c/a> is already in full swing, and continues through Saturday, Nov. 11 at the Brava Theater Center in the Mission. \u003ca href=\"http://newitaliancinema.org/2017/\" rel=\"noopener\" target=\"_blank\">New Italian Cinema\u003c/a> unspools Nov. 8-12 at the Castro (opening night) and the Vogue, while \u003ca href=\"http://www.goethe.de/ins/us/saf/prj/bby/fil/asc/enindex.htm\" rel=\"noopener\" target=\"_blank\">Berlin & Beyond Autumn Showcase\u003c/a> screens Nov. 9 at the Roxie and Nov. 10-11 at the Goethe-Institut. Joining the party is the first annual \u003ca href=\"https://cinematografofilmfestival.com\" rel=\"noopener\" target=\"_blank\">Cinematografo International Film Festival\u003c/a>, spotlighting Filipino and Filipino-American filmmakers Nov. 9-12 at the AMC Dine-In Kabuki.\u003c/p>\n\u003cfigure id=\"attachment_13813815\" class=\"wp-caption aligncenter\" style=\"max-width: 959px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Abu-Animation1.jpg\" alt=\"Still from 'Abu,' screening at this year's 3rd i International South Asian Film Festival.\" width=\"959\" height=\"536\" class=\"size-full wp-image-13813815\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Abu-Animation1.jpg 959w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Abu-Animation1-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Abu-Animation1-800x447.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Abu-Animation1-768x429.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Abu-Animation1-240x134.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Abu-Animation1-375x210.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Abu-Animation1-520x291.jpg 520w\" sizes=\"(max-width: 959px) 100vw, 959px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Abu,’ screening at this year’s 3rd i International South Asian Film Festival. \u003ccite>(Courtesy of Larsen Associates)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And that’s not all. The \u003ca href=\"https://www.thirdi.org\" rel=\"noopener\" target=\"_blank\">3rd i International South Asian Film Festival\u003c/a> turns 15 Nov. 9, 10 and 12 at the New People Cinema, Nov. 11 at the Castro and Nov. 18 at the CineArts in Palo Alto. Filmmaker Arshad Kahn raises the curtain with his first-person documentary, \u003cem>\u003ca href=\"https://www.thirdi.org/event/abu-father/\" rel=\"noopener\" target=\"_blank\">Abu\u003c/a>\u003c/em> (\u003cem>Father\u003c/em>), a rich reminiscence of growing up gay in Pakistan and Canada that was a hit at this year’s Frameline festival. The wildly talented composer and double violinist Gingger Shankar also mines family history — the pioneering musical contributions of her mother and grandmother — in a live multimedia performance of her Sundance sensation, \u003cem>\u003ca href=\"https://www.thirdi.org/event/nari-woman/\" rel=\"noopener\" target=\"_blank\">Nari: The Unsung Story of the Women from India’s First Family of Music\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>The revival of a Bollywood smash is a 3rd i tradition, and a darn popular one. This year’s rocker-rafter is \u003cem>\u003ca href=\"https://www.thirdi.org/event/om-shanti-om/\" rel=\"noopener\" target=\"_blank\">Om Shanti Om\u003c/a>\u003c/em> (Nov. 11) on its 10th anniversary, starring the irrepressible (and mighty handsome) Shah Rukh Khan. Bring your dancing shoes — and, if you’re racing to or from another festival, wear your running shoes.\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>\u003c/div>",
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"content": "\u003cp>The first time I talked to Stephen Parr, it felt like a test. I’d been referred to him as a lead to hard-to-find footage of the Velvet Underground while researching films for a book on the group. At our first meeting, Parr asked me whether it was true that noted avant-garde filmmaker/musician Tony Conrad had been an original member. I had to explain at some length that this wasn’t the case, though Conrad had indeed played with John Cale and Lou Reed before the Velvets formed. My explanation wasn’t enough for Parr, who proceeded to jab me with questions and make me justify myself. \u003c/p>\n\u003cp>Satisfied after several minutes that I did indeed know my Velvet Underground, he went to some lengths to help me view rare footage of the group through contacts at the Andy Warhol museum. Several years after that, he invited me to give a Velvet Underground film night of sorts at his small funky theater of sorts at the Oddball Films archive, near Capp and 18th Streets in the Mission. I presented several other screenings of rare rock films at Oddball over the past few years, and on multiple occasions I witnessed Stephen’s generally pessimistic view give way to fanboy enthusiasm when lights dimmed and the show got underway.\u003c/p>\n\u003cp>The last time I saw him this spring, he had no apparent physical problems, so it came as a shock to myself and the entire Bay Area film community when he died Oct. 24 at 63 years old. According to those close to him, Parr died from complications related to Parkinson’s disease.\u003c/p>\n\u003cp>https://vimeo.com/175884766\u003cbr>\n\u003c/p>\n\u003cp>For the past three decades or so, Parr ran Oddball Films and its massive archive that preserved the kind of footage most other film repositories overlook or even disdain. Educational shorts, industrial movies and early punk performances all found a home at Oddball. He even collected actual home movies, all obtained during “home movie days” when the originals would be given to the archive in exchange for higher-tech copies. Clients who licensed footage ranged from mainstream media corporations like ABC, HBO, and MTV to independent filmmakers struggling to complete their first feature.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Steve was down with the underground. There were people approaching him that were advertising agencies, and he would charge them a good amount of money. There were other people who approached him who were, like, some independent filmmaker who lived in the Mission and didn’t really have any money, and he’d work with that,” said filmmaker Sam Green. \u003c/p>\n\u003cp>Green used some of Oddball’s footage in \u003cem>The Weather Underground\u003c/em>, his acclaimed documentary on radical activists the Weathermen. “Steve understood that there were artists were making art, and they didn’t necessarily have the budgets of the ad agencies,” he said. \u003c/p>\n\u003cp>And while Parr could be prickly while you were getting to know him, those who worked with Oddball stress that once he was convinced of the worthiness of your enterprise, he’d go to great lengths to help. \u003c/p>\n\u003cp>“It is a crazy thing to do, film collecting. And there are generally only dribs and drabs of revenue that come in. Without him handling my footage I never would have been able to get it out into the world like that,” director and LGBT film historian Jenni Olson said. Olson’s collection of vintage trailers and 16mm/35mm prints was stored, transferred, and licensed by Oddball.\u003c/p>\n\u003cfigure id=\"attachment_13813547\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Oddball-Films-inside-800x600.jpg\" alt=\"Inside Oddball Films\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13813547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Oddball-Films-inside.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Oddball-Films-inside-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Oddball-Films-inside-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Oddball-Films-inside-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Oddball-Films-inside-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Oddball-Films-inside-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Inside Oddball Films \u003ccite>(Jenni Olson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Thanks to Stephen and his colleagues at Oddball — especially Robert Chehoski — my footage was licensed for dozens of documentaries, including films like \u003ci>I Am Divine\u003c/i>, \u003ci>After Stonewall\u003c/i>, \u003ci>The Battle of AmFAR\u003c/i>, and \u003ci>Regarding Susan Sontag\u003c/i>.”\u003c/p>\n\u003cp>At Oddball, “you never knew what excitement was gonna get thrown at you” during a regular day, said Chehoski, who worked with Parr as Oddball’s project director for 13 years, beginning in 1998. Chehoski handled licensing and client requests — “the business stuff” as Chehoski called it — so Parr could concentrate on collecting.\u003c/p>\n\u003cp>“What made Stephen tick was collecting,” Chehoski said. “He was so skilled at obtaining that kind of stuff because he was relentless. He would literally haunt people until he got what he wanted.”\u003c/p>\n\u003cp>The thousands of reels of films at Oddball — stacked on dozens of shelves, rising dozens of feet high — formed aisles you walked through when attending Parr’s periodic screenings at the archive’s Capp Street headquarters. It was those same reels that Parr mined for the screenings at Oddball, which showcased the simultaneously eclectic and obscure. They ranged from new work by local filmmakers to vintage Asian-American rock performances.\u003c/p>\n\u003cfigure id=\"attachment_13813581\" class=\"wp-caption alignright\" style=\"max-width: 579px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Stephen-Parr-CAke-1.jpg\" alt=\"A rare photo of Parr smiling on his birthday\" width=\"579\" height=\"872\" class=\"size-full wp-image-13813581\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Stephen-Parr-CAke-1.jpg 579w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Stephen-Parr-CAke-1-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Stephen-Parr-CAke-1-240x361.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Stephen-Parr-CAke-1-375x565.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Stephen-Parr-CAke-1-520x783.jpg 520w\" sizes=\"(max-width: 579px) 100vw, 579px\">\u003cfigcaption class=\"wp-caption-text\">A rare photo of Parr smiling on his birthday \u003ccite>(Robert Chehoski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“His film screenings were the playful side of Stephen,” Chehoski said. \u003c/p>\n\u003cp>The Bay Area is blessed with several venues showing offbeat films, but arguably none could compare with Oddball what had to offer. And though plenty of Oddball’s films could send those with conservative tastes running for the hills, not everything Parr showed was sexy or shocking. For example, for one of my rare rock clip nights, he unearthed excerpts from the forgotten 1970 TV series \u003ci>Something Else,\u003c/i> which showed the singer Melanie and political folksinger Phil Ochs miming in impossibly industrial settings.\u003c/p>\n\u003cp>“Stephen had a great affection for the most unusual vintage films and footage — both obviously appealing campy things, but also materials that were deceptively mundane but deserved our attention,” Olson said.\u003c/p>\n\u003cp>Chehoski said it was when he showed those films that folks saw the best side of Parr.\u003c/p>\n\u003cp>“The first time I saw him onstage, talking about some films he was gonna show, he was so articulate and so well spoken, he just captivated everybody,” Chehoski said. “When he was in his element and it was something that he loved, he was incredible.”\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_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium 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": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first time I talked to Stephen Parr, it felt like a test. I’d been referred to him as a lead to hard-to-find footage of the Velvet Underground while researching films for a book on the group. At our first meeting, Parr asked me whether it was true that noted avant-garde filmmaker/musician Tony Conrad had been an original member. I had to explain at some length that this wasn’t the case, though Conrad had indeed played with John Cale and Lou Reed before the Velvets formed. My explanation wasn’t enough for Parr, who proceeded to jab me with questions and make me justify myself. \u003c/p>\n\u003cp>Satisfied after several minutes that I did indeed know my Velvet Underground, he went to some lengths to help me view rare footage of the group through contacts at the Andy Warhol museum. Several years after that, he invited me to give a Velvet Underground film night of sorts at his small funky theater of sorts at the Oddball Films archive, near Capp and 18th Streets in the Mission. I presented several other screenings of rare rock films at Oddball over the past few years, and on multiple occasions I witnessed Stephen’s generally pessimistic view give way to fanboy enthusiasm when lights dimmed and the show got underway.\u003c/p>\n\u003cp>The last time I saw him this spring, he had no apparent physical problems, so it came as a shock to myself and the entire Bay Area film community when he died Oct. 24 at 63 years old. According to those close to him, Parr died from complications related to Parkinson’s disease.\u003c/p>\n\u003cp>https://vimeo.com/175884766\u003cbr>\n\u003c/p>\n\u003cp>For the past three decades or so, Parr ran Oddball Films and its massive archive that preserved the kind of footage most other film repositories overlook or even disdain. Educational shorts, industrial movies and early punk performances all found a home at Oddball. He even collected actual home movies, all obtained during “home movie days” when the originals would be given to the archive in exchange for higher-tech copies. Clients who licensed footage ranged from mainstream media corporations like ABC, HBO, and MTV to independent filmmakers struggling to complete their first feature.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Steve was down with the underground. There were people approaching him that were advertising agencies, and he would charge them a good amount of money. There were other people who approached him who were, like, some independent filmmaker who lived in the Mission and didn’t really have any money, and he’d work with that,” said filmmaker Sam Green. \u003c/p>\n\u003cp>Green used some of Oddball’s footage in \u003cem>The Weather Underground\u003c/em>, his acclaimed documentary on radical activists the Weathermen. “Steve understood that there were artists were making art, and they didn’t necessarily have the budgets of the ad agencies,” he said. \u003c/p>\n\u003cp>And while Parr could be prickly while you were getting to know him, those who worked with Oddball stress that once he was convinced of the worthiness of your enterprise, he’d go to great lengths to help. \u003c/p>\n\u003cp>“It is a crazy thing to do, film collecting. And there are generally only dribs and drabs of revenue that come in. Without him handling my footage I never would have been able to get it out into the world like that,” director and LGBT film historian Jenni Olson said. Olson’s collection of vintage trailers and 16mm/35mm prints was stored, transferred, and licensed by Oddball.\u003c/p>\n\u003cfigure id=\"attachment_13813547\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Oddball-Films-inside-800x600.jpg\" alt=\"Inside Oddball Films\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13813547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Oddball-Films-inside.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Oddball-Films-inside-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Oddball-Films-inside-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Oddball-Films-inside-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Oddball-Films-inside-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Oddball-Films-inside-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Inside Oddball Films \u003ccite>(Jenni Olson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Thanks to Stephen and his colleagues at Oddball — especially Robert Chehoski — my footage was licensed for dozens of documentaries, including films like \u003ci>I Am Divine\u003c/i>, \u003ci>After Stonewall\u003c/i>, \u003ci>The Battle of AmFAR\u003c/i>, and \u003ci>Regarding Susan Sontag\u003c/i>.”\u003c/p>\n\u003cp>At Oddball, “you never knew what excitement was gonna get thrown at you” during a regular day, said Chehoski, who worked with Parr as Oddball’s project director for 13 years, beginning in 1998. Chehoski handled licensing and client requests — “the business stuff” as Chehoski called it — so Parr could concentrate on collecting.\u003c/p>\n\u003cp>“What made Stephen tick was collecting,” Chehoski said. “He was so skilled at obtaining that kind of stuff because he was relentless. He would literally haunt people until he got what he wanted.”\u003c/p>\n\u003cp>The thousands of reels of films at Oddball — stacked on dozens of shelves, rising dozens of feet high — formed aisles you walked through when attending Parr’s periodic screenings at the archive’s Capp Street headquarters. It was those same reels that Parr mined for the screenings at Oddball, which showcased the simultaneously eclectic and obscure. They ranged from new work by local filmmakers to vintage Asian-American rock performances.\u003c/p>\n\u003cfigure id=\"attachment_13813581\" class=\"wp-caption alignright\" style=\"max-width: 579px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Stephen-Parr-CAke-1.jpg\" alt=\"A rare photo of Parr smiling on his birthday\" width=\"579\" height=\"872\" class=\"size-full wp-image-13813581\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Stephen-Parr-CAke-1.jpg 579w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Stephen-Parr-CAke-1-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Stephen-Parr-CAke-1-240x361.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Stephen-Parr-CAke-1-375x565.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Stephen-Parr-CAke-1-520x783.jpg 520w\" sizes=\"(max-width: 579px) 100vw, 579px\">\u003cfigcaption class=\"wp-caption-text\">A rare photo of Parr smiling on his birthday \u003ccite>(Robert Chehoski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“His film screenings were the playful side of Stephen,” Chehoski said. \u003c/p>\n\u003cp>The Bay Area is blessed with several venues showing offbeat films, but arguably none could compare with Oddball what had to offer. And though plenty of Oddball’s films could send those with conservative tastes running for the hills, not everything Parr showed was sexy or shocking. For example, for one of my rare rock clip nights, he unearthed excerpts from the forgotten 1970 TV series \u003ci>Something Else,\u003c/i> which showed the singer Melanie and political folksinger Phil Ochs miming in impossibly industrial settings.\u003c/p>\n\u003cp>“Stephen had a great affection for the most unusual vintage films and footage — both obviously appealing campy things, but also materials that were deceptively mundane but deserved our attention,” Olson said.\u003c/p>\n\u003cp>Chehoski said it was when he showed those films that folks saw the best side of Parr.\u003c/p>\n\u003cp>“The first time I saw him onstage, talking about some films he was gonna show, he was so articulate and so well spoken, he just captivated everybody,” Chehoski said. “When he was in his element and it was something that he loved, he was incredible.”\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_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium 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\u003c/div>\u003c/p>",
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"content": "\u003cp>The recovery is just beginning for residents in Napa, Sonoma and Mendocino counties, and once again we’re highlighting ways to support the arts and raise funds for the North Bay. As my co-host A-lan Holt, a playwright and associate director at Stanford’s Institute for Diversity in the Arts, says, “We support you. We support you. We support you.”\u003c/p>\n\u003cp>On the Do List this week, we had fun, too, talking about a Day of the Dead opera at Brava in San Francisco, a jazz salute to Japanese American veterans at the Presidio, and two hot singers: Son Little and Lizzo.\u003c/p>\n\u003cp>\u003cstrong>Nov. 3: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VXtx\" target=\"_blank\" rel=\"noopener\">An army of skeletons fights colonialism in a Day of the Dead opera\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 3:\u003c/strong> \u003ca href=\"http://www.jamcellarsballroom.com/event/tw-eventinfo/Fire+Relief+Fundraiser+%28unplugged%29%3ALeann+Rimes%2CZZ+Ward%2CAll+American+Rejects%2BMORE/7816595/\" target=\"_blank\" rel=\"noopener\">A Napa fundraiser for fire relief featuring LeAnn Rimes at the Margrit Mondavi Theater in the JaM Cellars Ballroom\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 4–6: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VXun\" target=\"_blank\" rel=\"noopener\">The Santa Rosa Symphony explores the power of music to heal and transform, with free tickets for those who’ve lost their homes\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Nov. 8–12: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VXtO\" target=\"_blank\" rel=\"noopener\">The Napa Film Festival goes on, also with free tickets for those who’ve lost their homes\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 11: \u003c/strong>\u003ca href=\"http://www.zspace.org/how-a-mountain-was-made\" target=\"_blank\" rel=\"noopener\">Theater company Word for Word presents a show for kids, \u003cem>How a Mountain Was Made\u003c/em>, a performance of California Indian tales written by Sonoma County resident and tribal leader Greg Sarris at Z Space in a benefit for North Bay fire relief\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 18:\u003c/strong> \u003ca href=\"https://www.facebook.com/events/2114999345402113/\" target=\"_blank\" rel=\"noopener\">The folks at BottleRock present \u003cem>For the Love of Sonoma: A Benefit Concert to Support the North Bay Fire Relief Efforts\u003c/em> featuring Counting Crows\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 4 and 11\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/11/01/a-salute-to-the-go-for-broke-regiment/\" target=\"_blank\" rel=\"noopener\">Anthony Brown’s Asian American Orchestra presents a salute to Japanese American vets\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 10–Dec. 16:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VXuK\" target=\"_blank\" rel=\"noopener\">A festival of ideas and performance in Oakland\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 8:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VXvf\" target=\"_blank\" rel=\"noopener\">Son Little communes with a gospel singer from the past\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 9:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VXvj\" target=\"_blank\" rel=\"noopener\">Lizzo, a voice for female empowerment, performs at the Fillmore\u003c/a>.\u003c/p>\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",
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"excerpt": "Cy Musiker and A-lan Holt feature benefits for North Bay fire relief, with a festival of big ideas, a jazz band, Tchaikovsky, and two hot new singers.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The recovery is just beginning for residents in Napa, Sonoma and Mendocino counties, and once again we’re highlighting ways to support the arts and raise funds for the North Bay. As my co-host A-lan Holt, a playwright and associate director at Stanford’s Institute for Diversity in the Arts, says, “We support you. We support you. We support you.”\u003c/p>\n\u003cp>On the Do List this week, we had fun, too, talking about a Day of the Dead opera at Brava in San Francisco, a jazz salute to Japanese American veterans at the Presidio, and two hot singers: Son Little and Lizzo.\u003c/p>\n\u003cp>\u003cstrong>Nov. 3: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VXtx\" target=\"_blank\" rel=\"noopener\">An army of skeletons fights colonialism in a Day of the Dead opera\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 3:\u003c/strong> \u003ca href=\"http://www.jamcellarsballroom.com/event/tw-eventinfo/Fire+Relief+Fundraiser+%28unplugged%29%3ALeann+Rimes%2CZZ+Ward%2CAll+American+Rejects%2BMORE/7816595/\" target=\"_blank\" rel=\"noopener\">A Napa fundraiser for fire relief featuring LeAnn Rimes at the Margrit Mondavi Theater in the JaM Cellars Ballroom\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 4–6: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VXun\" target=\"_blank\" rel=\"noopener\">The Santa Rosa Symphony explores the power of music to heal and transform, with free tickets for those who’ve lost their homes\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>Nov. 8–12: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VXtO\" target=\"_blank\" rel=\"noopener\">The Napa Film Festival goes on, also with free tickets for those who’ve lost their homes\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 11: \u003c/strong>\u003ca href=\"http://www.zspace.org/how-a-mountain-was-made\" target=\"_blank\" rel=\"noopener\">Theater company Word for Word presents a show for kids, \u003cem>How a Mountain Was Made\u003c/em>, a performance of California Indian tales written by Sonoma County resident and tribal leader Greg Sarris at Z Space in a benefit for North Bay fire relief\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 18:\u003c/strong> \u003ca href=\"https://www.facebook.com/events/2114999345402113/\" target=\"_blank\" rel=\"noopener\">The folks at BottleRock present \u003cem>For the Love of Sonoma: A Benefit Concert to Support the North Bay Fire Relief Efforts\u003c/em> featuring Counting Crows\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 4 and 11\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/11/01/a-salute-to-the-go-for-broke-regiment/\" target=\"_blank\" rel=\"noopener\">Anthony Brown’s Asian American Orchestra presents a salute to Japanese American vets\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 10–Dec. 16:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VXuK\" target=\"_blank\" rel=\"noopener\">A festival of ideas and performance in Oakland\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 8:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VXvf\" target=\"_blank\" rel=\"noopener\">Son Little communes with a gospel singer from the past\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 9:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VXvj\" target=\"_blank\" rel=\"noopener\">Lizzo, a voice for female empowerment, performs at the Fillmore\u003c/a>.\u003c/p>\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": "The Napa Film Fest Goes on, Despite the Fires",
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"content": "\u003cp>Since 2009, Brenda and Marc Lhormer have built the four-day Napa Valley Film Festival with the offer of good times, good food, and good wine to filmmakers and actors, and a mission to present the very best independent films of the year. “We tell people, ‘Open at Sundance and finish the festival season at Napa,'” Brenda Lhormer tells me by phone. But this year, the North Bay fires hit just as festival preparations were kicking into high gear. \u003cspan style=\"font-weight: 400\">“All of us left town,” Lhormer says, “and some of our seasonal staff lost their homes, so there were two days of frantic texting.” \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13813351\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13813351 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/31780340850_c3ea2f5d19_k-800x1199.jpg\" alt=\"Courtesy of Napa Valley Film Festival\" width=\"800\" height=\"1199\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/31780340850_c3ea2f5d19_k-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/31780340850_c3ea2f5d19_k-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/31780340850_c3ea2f5d19_k-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/31780340850_c3ea2f5d19_k-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/31780340850_c3ea2f5d19_k-1180x1769.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/31780340850_c3ea2f5d19_k-960x1439.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/31780340850_c3ea2f5d19_k-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/31780340850_c3ea2f5d19_k-375x562.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/31780340850_c3ea2f5d19_k-520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/31780340850_c3ea2f5d19_k.jpg 1366w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from the Napa Valley Film Festival in 2016 \u003ccite>(Photo: Courtesy of Napa Valley Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the smoke cleared, the staff gathered to decide whether to go ahead with the festival. “And we sat around the table, lots of tears in our eyes,” Lhormer said. “And we all went around the table one by one, and said, we think the community is going to need this more than ever. So then we took the next two days and emailed everyone, and every single one of our partners and venues were fine. And we took a big sigh, and we said, ‘We’ve got to do this.'”\u003c/p>\n\u003cp>Lhormer says there were lots of cancellations from out-of-town attendees, so the festival is depending on Bay Area residents to pick up the slack. Ten percent of all proceeds will go to fire relief, and the festival is donating 1,000 tickets to those who’ve lost their homes. \u003ca href=\"http://www.nvff.org/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Since 2009, Brenda and Marc Lhormer have built the four-day Napa Valley Film Festival with the offer of good times, good food, and good wine to filmmakers and actors, and a mission to present the very best independent films of the year. “We tell people, ‘Open at Sundance and finish the festival season at Napa,'” Brenda Lhormer tells me by phone. But this year, the North Bay fires hit just as festival preparations were kicking into high gear. \u003cspan style=\"font-weight: 400\">“All of us left town,” Lhormer says, “and some of our seasonal staff lost their homes, so there were two days of frantic texting.” \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13813351\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13813351 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/31780340850_c3ea2f5d19_k-800x1199.jpg\" alt=\"Courtesy of Napa Valley Film Festival\" width=\"800\" height=\"1199\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/31780340850_c3ea2f5d19_k-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/31780340850_c3ea2f5d19_k-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/31780340850_c3ea2f5d19_k-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/31780340850_c3ea2f5d19_k-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/31780340850_c3ea2f5d19_k-1180x1769.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/31780340850_c3ea2f5d19_k-960x1439.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/31780340850_c3ea2f5d19_k-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/31780340850_c3ea2f5d19_k-375x562.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/31780340850_c3ea2f5d19_k-520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/31780340850_c3ea2f5d19_k.jpg 1366w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from the Napa Valley Film Festival in 2016 \u003ccite>(Photo: Courtesy of Napa Valley Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the smoke cleared, the staff gathered to decide whether to go ahead with the festival. “And we sat around the table, lots of tears in our eyes,” Lhormer said. “And we all went around the table one by one, and said, we think the community is going to need this more than ever. So then we took the next two days and emailed everyone, and every single one of our partners and venues were fine. And we took a big sigh, and we said, ‘We’ve got to do this.'”\u003c/p>\n\u003cp>Lhormer says there were lots of cancellations from out-of-town attendees, so the festival is depending on Bay Area residents to pick up the slack. Ten percent of all proceeds will go to fire relief, and the festival is donating 1,000 tickets to those who’ve lost their homes. \u003ca href=\"http://www.nvff.org/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "10-last-minute-movie-inspired-costume-ideas-for-halloween",
"title": "10 Last Minute Movie-Inspired Costume Ideas for Halloween",
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"content": "\u003cp>If you’ve been left scrambling to assemble a Halloween costume in the eleventh hour, consider using your movie knowledge to help you dress to impress. The \u003ca href=\"https://www.facebook.com/FilmSchoolShorts\" target=\"_blank\" rel=\"noopener\">\u003cem>Film School Shorts\u003c/em>\u003c/a> team has curated ten costumes inspired by cinema, ranging from blockbuster hits to the indie arcane, in the hopes of inspiring your Halloween look.\u003c/p>\n\u003cfigure id=\"attachment_13812927\" class=\"wp-caption alignnone\" style=\"max-width: 620px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13812927 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/ghoststory-e1509136603144.jpg\" alt=\"\" width=\"620\" height=\"260\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ghoststory-e1509136603144.jpg 620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ghoststory-e1509136603144-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ghoststory-e1509136603144-240x101.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ghoststory-e1509136603144-375x157.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ghoststory-e1509136603144-520x218.jpg 520w\" sizes=\"(max-width: 620px) 100vw, 620px\">\u003cfigcaption class=\"wp-caption-text\">A Ghost Story (credit: A24)\u003c/figcaption>\u003c/figure>\n\u003ch3>1. \u003ci>A Ghost Story\u003c/i>\u003c/h3>\n\u003cp>Not one to fret the details? Invest in some extra bedding and recreate a time-honored Halloween staple — the bed sheet ghost. The iconic look was used this year in a meditation on grief called \u003ca href=\"https://ww2.kqed.org/arts/2017/07/14/grief-hangs-around-at-home-in-a-ghost-story/\">\u003cem>A Ghost Story\u003c/em>\u003c/a> by David Lowery. All you need is a pair of scissors and a California King white bed sheet. Besides being easy to make, it’s a costume that decorates itself — throughout your night of revelry, you’ll gather the requisite dust and grime to imply you’ve journeyed through the ages.\u003c/p>\n\u003cfigure id=\"attachment_13812928\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13812928 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Ansel-Elgort-in-Baby-Driver-800x400.jpg\" alt=\"\" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Ansel-Elgort-in-Baby-Driver-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Ansel-Elgort-in-Baby-Driver-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Ansel-Elgort-in-Baby-Driver-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Ansel-Elgort-in-Baby-Driver-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Ansel-Elgort-in-Baby-Driver-1180x590.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Ansel-Elgort-in-Baby-Driver-960x480.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Ansel-Elgort-in-Baby-Driver-240x120.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Ansel-Elgort-in-Baby-Driver-375x188.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Ansel-Elgort-in-Baby-Driver-520x260.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Ansel-Elgort-in-Baby-Driver.jpg 1400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ansel Elgort in Baby Driver (credit: Sony Pictures)\u003c/figcaption>\u003c/figure>\n\u003ch3>2. \u003ci>Baby Driver\u003c/i>\u003c/h3>\n\u003cp>Ghouls not your thing? Seize on this year’s smash action flick \u003cem>Baby Driver\u003c/em> by Edgar Wright. Phlegmatic Baby’s look necessitates items that you might already have in your closet: a varsity bomber jacket, dark sunglasses, earbuds and an IDGAF attitude. And if you do plan on driving this Halloween, car insurance.\u003c/p>\n\u003cfigure id=\"attachment_13812929\" class=\"wp-caption alignnone\" style=\"max-width: 780px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13812929\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/it-trailer-2-938x535.jpg\" alt=\"\" width=\"780\" height=\"445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/it-trailer-2-938x535.jpg 780w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/it-trailer-2-938x535-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/it-trailer-2-938x535-768x438.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/it-trailer-2-938x535-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/it-trailer-2-938x535-375x214.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/it-trailer-2-938x535-520x297.jpg 520w\" sizes=\"(max-width: 780px) 100vw, 780px\">\u003cfigcaption class=\"wp-caption-text\">Pennywise in IT (credit: Warner Bros. Pictures)\u003c/figcaption>\u003c/figure>\n\u003ch3>3. \u003ci>IT\u003c/i>\u003c/h3>\n\u003cp>Do you prefer a costume meant to incite true terror? Then look no further than this year’s horror reboot of \u003cem>IT\u003c/em> by Andy Muschietti. Revive the terror induced by last year’s rash of \u003ca href=\"http://time.com/4518456/scary-clown-sighting-attack-craze/\" target=\"_blank\" rel=\"noopener\">creepy clown sightings\u003c/a> around the country as Stephen King’s monstrous clown creation, Pennywise. The key is not to get lost in the details. You’re sure to find a Halloween makeup kit at any drugstore. Then dig up a pair of baggy pajamas and pick up a red helium balloon on the way to the party, and you’re all set for giving your friends nightmares.\u003c/p>\n\u003cfigure id=\"attachment_13812930\" class=\"wp-caption alignnone\" style=\"max-width: 438px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13812930 \" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/pris_blade_runner-e1509135850965.jpg\" alt=\"\" width=\"438\" height=\"565\">\u003cfigcaption class=\"wp-caption-text\">Pris Stratton played by Daryl Hannah in Blade Runner (credit: Warner Bros Pictures)\u003c/figcaption>\u003c/figure>\n\u003ch3>4. \u003ci>Blade Runner\u003c/i>\u003c/h3>\n\u003cp>Another reboot making a resurgence this fall is \u003cem>Blade Runner 2049\u003c/em>, but rather than chasing a trend, take a cue from the original 80’s classic \u003cem>Blade Runner\u003c/em> by Ridley Scott and replicate Pris Stratton – the “basic pleasure model” replicant from the film. If you ever went through a goth phase, your closet already holds the beginnings of this costume. Think black — a black dress, black boots, black choker, black eye makeup and a blond wig are all you need to pull this outfit together.\u003c/p>\n\u003cfigure id=\"attachment_13812931\" class=\"wp-caption alignnone\" style=\"max-width: 430px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-13812931\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/the_birds_tippi_hedren.jpg\" alt=\"\" width=\"430\" height=\"569\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the_birds_tippi_hedren.jpg 302w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the_birds_tippi_hedren-160x212.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the_birds_tippi_hedren-240x318.jpg 240w\" sizes=\"(max-width: 430px) 100vw, 430px\">\u003cfigcaption class=\"wp-caption-text\">Tippi Hedren in The Birds (credit: Universal Pictures)\u003c/figcaption>\u003c/figure>\n\u003ch3>5. \u003ci>The Birds\u003c/i>\u003c/h3>\n\u003cp>No Halloween is complete without an ode to the master of suspense, Alfred Hitchcock. Give a nod to the Bay Area’s own Tippi Hedren this Halloween with a recreation of her iconic turn as Melanie Daniels in \u003cem>The Birds\u003c/em>. All that is required is a pencil skirt and jacket reminiscent of the 1960’s, her iconic french twist up-do and some bird seed to attract some needed accessories. Why bother with fake feathers in your hair when you can cause an even bigger stir by bringing the live birds with you?\u003c/p>\n\u003cfigure id=\"attachment_13812932\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13812932 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/john_wick_puppy-e1509136262895-800x457.jpg\" alt=\"\" width=\"800\" height=\"457\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/john_wick_puppy-e1509136262895-800x457.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/john_wick_puppy-e1509136262895-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/john_wick_puppy-e1509136262895-768x439.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/john_wick_puppy-e1509136262895-1020x583.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/john_wick_puppy-e1509136262895-1920x1097.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/john_wick_puppy-e1509136262895-1180x674.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/john_wick_puppy-e1509136262895-960x548.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/john_wick_puppy-e1509136262895-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/john_wick_puppy-e1509136262895-375x214.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/john_wick_puppy-e1509136262895-520x297.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keanu Reeves in John Wick (credit: Lionsgate)\u003c/figcaption>\u003c/figure>\n\u003ch3>6. \u003ci>John Wick\u003c/i>\u003c/h3>\n\u003cp>Do you have a penchant for vengeance, but a soft spot for cuddly creatures? Look no further for movie inspiration than \u003cem>John Wick\u003c/em> by David Leitch and Chad Stahelski. The best part about this look is its simplicity: A well tailored suit, preferably all in black, and a puppy.\u003c/p>\n\u003cfigure id=\"attachment_13812933\" class=\"wp-caption alignnone\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13812933 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/a-clockwork-orange.jpg\" alt=\"\" width=\"600\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a-clockwork-orange.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a-clockwork-orange-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a-clockwork-orange-240x144.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a-clockwork-orange-375x225.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a-clockwork-orange-520x312.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Malcom McDowell center in A Clockwork Orange (credit: Warner Bros.)\u003c/figcaption>\u003c/figure>\n\u003ch3>7. \u003ci>A Clockwork Orange\u003c/i>\u003c/h3>\n\u003cp>When it comes to movie-inspired costumes, you can’t go wrong with any character from the Stanley Kubrick collection. But we recommend taking a look at \u003cem>A Clockwork Orange\u003c/em> for some Halloween inspiration. Embrace Kubrick’s dystopian future and don the look of the “Droogs” gang with a bowler hat, suspenders, some dramatic eyelashes and a glass of milk because every growing guy or gal needs their calcium. \u003c/p>\n\u003cfigure id=\"attachment_13812934\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13812934\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/the_grady_twins_the_shining-800x400.jpg\" alt=\"\" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the_grady_twins_the_shining-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the_grady_twins_the_shining-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the_grady_twins_the_shining-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the_grady_twins_the_shining-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the_grady_twins_the_shining-1180x590.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the_grady_twins_the_shining-960x480.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the_grady_twins_the_shining-240x120.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the_grady_twins_the_shining-375x188.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the_grady_twins_the_shining-520x260.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the_grady_twins_the_shining.jpg 1220w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Louise and Lisa Burns as the Grady twins in The Shining (credit: Warner Bros.)\u003c/figcaption>\u003c/figure>\n\u003ch3>8. \u003ci>The Shining\u003c/i>\u003c/h3>\n\u003cp>Another Stanley Kubrick gem for Halloween inspiration is \u003cem>The Shining\u003c/em>. While the trending hipster, lumberjack-chic would make copying father-turned-possessed-murderer Jack a cinch, challenge yourself and go as the Grady twins. Don’t get hung up on the wardrobe details with this one. Any frilly, child-like dress with hair clip will do. They key is finding a twin to really make people do a double take. Whether or not you go for blood is up to you.\u003c/p>\n\u003cfigure id=\"attachment_13812935\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13812935\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/creep_mark_duplass-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/creep_mark_duplass-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/creep_mark_duplass-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/creep_mark_duplass-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/creep_mark_duplass.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/creep_mark_duplass-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/creep_mark_duplass-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/creep_mark_duplass-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mark Duplass in Creep (credit: Blumhouse Productions)\u003c/figcaption>\u003c/figure>\n\u003ch3>9. \u003ci>Creep\u003c/i>\u003c/h3>\n\u003cp>If you’re aiming for the prize of “most esoteric costume ever,” take on the role of Josef from \u003cem>Creep\u003c/em> by Patrick Brice. This modern cult horror film just stepped into the franchise arena with \u003cem>Creep 2\u003c/em> this year and it’s already garnering attention on the indie scene. Mark Duplass’s goofy, grinning villain keeps the costuming simple with a black zip-up jacket, dad jeans and a very well-maned werewolf mask. Add a few unsettling hip gyrations à la \u003ca href=\"https://www.youtube.com/watch?v=vWu_6Vlrzhg\" target=\"_blank\" rel=\"noopener\">the scene seen\u003c/a> around the world and people might not know who you are, but they won’t want to stand next to you. If you really want to go the extra mile, you can \u003ca href=\"https://www.youtube.com/watch?v=sAm8QoSyA6A\">learn the song\u003c/a> too.\u003c/p>\n\u003cfigure id=\"attachment_13812936\" class=\"wp-caption alignnone\" style=\"max-width: 680px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13812936\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Rebecca-Enid-From-Ghost-World.jpeg\" alt=\"\" width=\"680\" height=\"463\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rebecca-Enid-From-Ghost-World.jpeg 680w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rebecca-Enid-From-Ghost-World-160x109.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rebecca-Enid-From-Ghost-World-240x163.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rebecca-Enid-From-Ghost-World-375x255.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rebecca-Enid-From-Ghost-World-520x354.jpeg 520w\" sizes=\"(max-width: 680px) 100vw, 680px\">\u003cfigcaption class=\"wp-caption-text\">Scarlett Johansson and Thora Birch in Ghost World (credit: United Artists)\u003c/figcaption>\u003c/figure>\n\u003ch3>10. \u003ci>Ghost World\u003c/i>\u003c/h3>\n\u003cp>The 90’s are having a resurgence. My 20-something roommates listen to nothing but Green Day and Nirvana, and everyone has a wallet chain again. With that in mind, nothing says 90’s like Terry Zwigoff’s cult hit \u003cem>Ghost World,\u003c/em> which stars a young Thora Birch and Scarlett Johansson. Bust out the best in the bottom of your closet to recreate this iconic look. With a mini-skirt, comic t-shirt, combat boots and glasses, people might just think you’re on trend and not in costume. Be sure to make reference to your obscure vinyl collection repeatedly at any event.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>These costumes are totally doable, last minute get-ups. We’ve even done some ourselves!\u003c/p>\n\u003cfigure id=\"attachment_13812953\" class=\"wp-caption alignnone\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13812953 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/KQED_costumes-e1509139846840.jpg\" alt=\"\" width=\"600\" height=\"678\">\u003cfigcaption class=\"wp-caption-text\">Carly Severn as Pris and Julia Shackelford as Josef (credit: Zaldy Serrano and Anna Oh)\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Happy haunting this Halloween season movie lovers!\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’ve been left scrambling to assemble a Halloween costume in the eleventh hour, consider using your movie knowledge to help you dress to impress. The \u003ca href=\"https://www.facebook.com/FilmSchoolShorts\" target=\"_blank\" rel=\"noopener\">\u003cem>Film School Shorts\u003c/em>\u003c/a> team has curated ten costumes inspired by cinema, ranging from blockbuster hits to the indie arcane, in the hopes of inspiring your Halloween look.\u003c/p>\n\u003cfigure id=\"attachment_13812927\" class=\"wp-caption alignnone\" style=\"max-width: 620px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13812927 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/ghoststory-e1509136603144.jpg\" alt=\"\" width=\"620\" height=\"260\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ghoststory-e1509136603144.jpg 620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ghoststory-e1509136603144-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ghoststory-e1509136603144-240x101.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ghoststory-e1509136603144-375x157.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ghoststory-e1509136603144-520x218.jpg 520w\" sizes=\"(max-width: 620px) 100vw, 620px\">\u003cfigcaption class=\"wp-caption-text\">A Ghost Story (credit: A24)\u003c/figcaption>\u003c/figure>\n\u003ch3>1. \u003ci>A Ghost Story\u003c/i>\u003c/h3>\n\u003cp>Not one to fret the details? Invest in some extra bedding and recreate a time-honored Halloween staple — the bed sheet ghost. The iconic look was used this year in a meditation on grief called \u003ca href=\"https://ww2.kqed.org/arts/2017/07/14/grief-hangs-around-at-home-in-a-ghost-story/\">\u003cem>A Ghost Story\u003c/em>\u003c/a> by David Lowery. All you need is a pair of scissors and a California King white bed sheet. Besides being easy to make, it’s a costume that decorates itself — throughout your night of revelry, you’ll gather the requisite dust and grime to imply you’ve journeyed through the ages.\u003c/p>\n\u003cfigure id=\"attachment_13812928\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13812928 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Ansel-Elgort-in-Baby-Driver-800x400.jpg\" alt=\"\" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Ansel-Elgort-in-Baby-Driver-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Ansel-Elgort-in-Baby-Driver-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Ansel-Elgort-in-Baby-Driver-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Ansel-Elgort-in-Baby-Driver-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Ansel-Elgort-in-Baby-Driver-1180x590.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Ansel-Elgort-in-Baby-Driver-960x480.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Ansel-Elgort-in-Baby-Driver-240x120.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Ansel-Elgort-in-Baby-Driver-375x188.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Ansel-Elgort-in-Baby-Driver-520x260.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Ansel-Elgort-in-Baby-Driver.jpg 1400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ansel Elgort in Baby Driver (credit: Sony Pictures)\u003c/figcaption>\u003c/figure>\n\u003ch3>2. \u003ci>Baby Driver\u003c/i>\u003c/h3>\n\u003cp>Ghouls not your thing? Seize on this year’s smash action flick \u003cem>Baby Driver\u003c/em> by Edgar Wright. Phlegmatic Baby’s look necessitates items that you might already have in your closet: a varsity bomber jacket, dark sunglasses, earbuds and an IDGAF attitude. And if you do plan on driving this Halloween, car insurance.\u003c/p>\n\u003cfigure id=\"attachment_13812929\" class=\"wp-caption alignnone\" style=\"max-width: 780px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13812929\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/it-trailer-2-938x535.jpg\" alt=\"\" width=\"780\" height=\"445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/it-trailer-2-938x535.jpg 780w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/it-trailer-2-938x535-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/it-trailer-2-938x535-768x438.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/it-trailer-2-938x535-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/it-trailer-2-938x535-375x214.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/it-trailer-2-938x535-520x297.jpg 520w\" sizes=\"(max-width: 780px) 100vw, 780px\">\u003cfigcaption class=\"wp-caption-text\">Pennywise in IT (credit: Warner Bros. Pictures)\u003c/figcaption>\u003c/figure>\n\u003ch3>3. \u003ci>IT\u003c/i>\u003c/h3>\n\u003cp>Do you prefer a costume meant to incite true terror? Then look no further than this year’s horror reboot of \u003cem>IT\u003c/em> by Andy Muschietti. Revive the terror induced by last year’s rash of \u003ca href=\"http://time.com/4518456/scary-clown-sighting-attack-craze/\" target=\"_blank\" rel=\"noopener\">creepy clown sightings\u003c/a> around the country as Stephen King’s monstrous clown creation, Pennywise. The key is not to get lost in the details. You’re sure to find a Halloween makeup kit at any drugstore. Then dig up a pair of baggy pajamas and pick up a red helium balloon on the way to the party, and you’re all set for giving your friends nightmares.\u003c/p>\n\u003cfigure id=\"attachment_13812930\" class=\"wp-caption alignnone\" style=\"max-width: 438px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13812930 \" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/pris_blade_runner-e1509135850965.jpg\" alt=\"\" width=\"438\" height=\"565\">\u003cfigcaption class=\"wp-caption-text\">Pris Stratton played by Daryl Hannah in Blade Runner (credit: Warner Bros Pictures)\u003c/figcaption>\u003c/figure>\n\u003ch3>4. \u003ci>Blade Runner\u003c/i>\u003c/h3>\n\u003cp>Another reboot making a resurgence this fall is \u003cem>Blade Runner 2049\u003c/em>, but rather than chasing a trend, take a cue from the original 80’s classic \u003cem>Blade Runner\u003c/em> by Ridley Scott and replicate Pris Stratton – the “basic pleasure model” replicant from the film. If you ever went through a goth phase, your closet already holds the beginnings of this costume. Think black — a black dress, black boots, black choker, black eye makeup and a blond wig are all you need to pull this outfit together.\u003c/p>\n\u003cfigure id=\"attachment_13812931\" class=\"wp-caption alignnone\" style=\"max-width: 430px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-13812931\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/the_birds_tippi_hedren.jpg\" alt=\"\" width=\"430\" height=\"569\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the_birds_tippi_hedren.jpg 302w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the_birds_tippi_hedren-160x212.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the_birds_tippi_hedren-240x318.jpg 240w\" sizes=\"(max-width: 430px) 100vw, 430px\">\u003cfigcaption class=\"wp-caption-text\">Tippi Hedren in The Birds (credit: Universal Pictures)\u003c/figcaption>\u003c/figure>\n\u003ch3>5. \u003ci>The Birds\u003c/i>\u003c/h3>\n\u003cp>No Halloween is complete without an ode to the master of suspense, Alfred Hitchcock. Give a nod to the Bay Area’s own Tippi Hedren this Halloween with a recreation of her iconic turn as Melanie Daniels in \u003cem>The Birds\u003c/em>. All that is required is a pencil skirt and jacket reminiscent of the 1960’s, her iconic french twist up-do and some bird seed to attract some needed accessories. Why bother with fake feathers in your hair when you can cause an even bigger stir by bringing the live birds with you?\u003c/p>\n\u003cfigure id=\"attachment_13812932\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13812932 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/john_wick_puppy-e1509136262895-800x457.jpg\" alt=\"\" width=\"800\" height=\"457\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/john_wick_puppy-e1509136262895-800x457.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/john_wick_puppy-e1509136262895-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/john_wick_puppy-e1509136262895-768x439.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/john_wick_puppy-e1509136262895-1020x583.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/john_wick_puppy-e1509136262895-1920x1097.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/john_wick_puppy-e1509136262895-1180x674.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/john_wick_puppy-e1509136262895-960x548.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/john_wick_puppy-e1509136262895-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/john_wick_puppy-e1509136262895-375x214.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/john_wick_puppy-e1509136262895-520x297.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keanu Reeves in John Wick (credit: Lionsgate)\u003c/figcaption>\u003c/figure>\n\u003ch3>6. \u003ci>John Wick\u003c/i>\u003c/h3>\n\u003cp>Do you have a penchant for vengeance, but a soft spot for cuddly creatures? Look no further for movie inspiration than \u003cem>John Wick\u003c/em> by David Leitch and Chad Stahelski. The best part about this look is its simplicity: A well tailored suit, preferably all in black, and a puppy.\u003c/p>\n\u003cfigure id=\"attachment_13812933\" class=\"wp-caption alignnone\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13812933 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/a-clockwork-orange.jpg\" alt=\"\" width=\"600\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a-clockwork-orange.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a-clockwork-orange-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a-clockwork-orange-240x144.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a-clockwork-orange-375x225.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a-clockwork-orange-520x312.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Malcom McDowell center in A Clockwork Orange (credit: Warner Bros.)\u003c/figcaption>\u003c/figure>\n\u003ch3>7. \u003ci>A Clockwork Orange\u003c/i>\u003c/h3>\n\u003cp>When it comes to movie-inspired costumes, you can’t go wrong with any character from the Stanley Kubrick collection. But we recommend taking a look at \u003cem>A Clockwork Orange\u003c/em> for some Halloween inspiration. Embrace Kubrick’s dystopian future and don the look of the “Droogs” gang with a bowler hat, suspenders, some dramatic eyelashes and a glass of milk because every growing guy or gal needs their calcium. \u003c/p>\n\u003cfigure id=\"attachment_13812934\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13812934\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/the_grady_twins_the_shining-800x400.jpg\" alt=\"\" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the_grady_twins_the_shining-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the_grady_twins_the_shining-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the_grady_twins_the_shining-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the_grady_twins_the_shining-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the_grady_twins_the_shining-1180x590.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the_grady_twins_the_shining-960x480.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the_grady_twins_the_shining-240x120.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the_grady_twins_the_shining-375x188.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the_grady_twins_the_shining-520x260.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the_grady_twins_the_shining.jpg 1220w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Louise and Lisa Burns as the Grady twins in The Shining (credit: Warner Bros.)\u003c/figcaption>\u003c/figure>\n\u003ch3>8. \u003ci>The Shining\u003c/i>\u003c/h3>\n\u003cp>Another Stanley Kubrick gem for Halloween inspiration is \u003cem>The Shining\u003c/em>. While the trending hipster, lumberjack-chic would make copying father-turned-possessed-murderer Jack a cinch, challenge yourself and go as the Grady twins. Don’t get hung up on the wardrobe details with this one. Any frilly, child-like dress with hair clip will do. They key is finding a twin to really make people do a double take. Whether or not you go for blood is up to you.\u003c/p>\n\u003cfigure id=\"attachment_13812935\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13812935\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/creep_mark_duplass-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/creep_mark_duplass-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/creep_mark_duplass-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/creep_mark_duplass-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/creep_mark_duplass.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/creep_mark_duplass-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/creep_mark_duplass-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/creep_mark_duplass-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mark Duplass in Creep (credit: Blumhouse Productions)\u003c/figcaption>\u003c/figure>\n\u003ch3>9. \u003ci>Creep\u003c/i>\u003c/h3>\n\u003cp>If you’re aiming for the prize of “most esoteric costume ever,” take on the role of Josef from \u003cem>Creep\u003c/em> by Patrick Brice. This modern cult horror film just stepped into the franchise arena with \u003cem>Creep 2\u003c/em> this year and it’s already garnering attention on the indie scene. Mark Duplass’s goofy, grinning villain keeps the costuming simple with a black zip-up jacket, dad jeans and a very well-maned werewolf mask. Add a few unsettling hip gyrations à la \u003ca href=\"https://www.youtube.com/watch?v=vWu_6Vlrzhg\" target=\"_blank\" rel=\"noopener\">the scene seen\u003c/a> around the world and people might not know who you are, but they won’t want to stand next to you. If you really want to go the extra mile, you can \u003ca href=\"https://www.youtube.com/watch?v=sAm8QoSyA6A\">learn the song\u003c/a> too.\u003c/p>\n\u003cfigure id=\"attachment_13812936\" class=\"wp-caption alignnone\" style=\"max-width: 680px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13812936\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Rebecca-Enid-From-Ghost-World.jpeg\" alt=\"\" width=\"680\" height=\"463\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rebecca-Enid-From-Ghost-World.jpeg 680w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rebecca-Enid-From-Ghost-World-160x109.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rebecca-Enid-From-Ghost-World-240x163.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rebecca-Enid-From-Ghost-World-375x255.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rebecca-Enid-From-Ghost-World-520x354.jpeg 520w\" sizes=\"(max-width: 680px) 100vw, 680px\">\u003cfigcaption class=\"wp-caption-text\">Scarlett Johansson and Thora Birch in Ghost World (credit: United Artists)\u003c/figcaption>\u003c/figure>\n\u003ch3>10. \u003ci>Ghost World\u003c/i>\u003c/h3>\n\u003cp>The 90’s are having a resurgence. My 20-something roommates listen to nothing but Green Day and Nirvana, and everyone has a wallet chain again. With that in mind, nothing says 90’s like Terry Zwigoff’s cult hit \u003cem>Ghost World,\u003c/em> which stars a young Thora Birch and Scarlett Johansson. Bust out the best in the bottom of your closet to recreate this iconic look. With a mini-skirt, comic t-shirt, combat boots and glasses, people might just think you’re on trend and not in costume. Be sure to make reference to your obscure vinyl collection repeatedly at any event.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>These costumes are totally doable, last minute get-ups. We’ve even done some ourselves!\u003c/p>\n\u003cfigure id=\"attachment_13812953\" class=\"wp-caption alignnone\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13812953 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/KQED_costumes-e1509139846840.jpg\" alt=\"\" width=\"600\" height=\"678\">\u003cfigcaption class=\"wp-caption-text\">Carly Severn as Pris and Julia Shackelford as Josef (credit: Zaldy Serrano and Anna Oh)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Happy haunting this Halloween season movie lovers!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! Doc Stories More Than Just the Facts, Ma'am",
"headTitle": "Now Playing! Doc Stories More Than Just the Facts, Ma’am | KQED",
"content": "\u003cp>A lot of factors have fueled the ascendance and acceptance of documentaries in recent years, but entertainment value is near the top of the list. Forget those ponderous educational films you were forced to watch in school. Nowadays, the average doc boasts weirdly fascinating characters, a narrative trajectory, eye-pleasing camerawork, snazzy editing and wall-to-wall music.\u003c/p>\n\u003cp>More documentaries than you would imagine chart a course between reality TV (without the cynically manufactured drama) and Hollywood movies (ditto the skillfully contrived melodrama). They seek to amuse intelligent people, while providing the recommended daily amount of fiber.\u003c/p>\n\u003cfigure id=\"attachment_13813055\" class=\"wp-caption aligncenter\" style=\"max-width: 767px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/ArthurMillerWriter_767x576px.jpg\" alt=\"Still from 'Arthur Miller: Writer.'\" width=\"767\" height=\"576\" class=\"size-full wp-image-13813055\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ArthurMillerWriter_767x576px.jpg 767w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ArthurMillerWriter_767x576px-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ArthurMillerWriter_767x576px-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ArthurMillerWriter_767x576px-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ArthurMillerWriter_767x576px-520x391.jpg 520w\" sizes=\"(max-width: 767px) 100vw, 767px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Arthur Miller: Writer.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That said, I’m surprised that this year’s \u003ca href=\"https://www.sffilm.org/screenings-and-events/year-round-series/doc-stories-2017\" target=\"_blank\" rel=\"noopener\">Doc Stories\u003c/a> (Nov. 2-5 at the Vogue) is so tilted toward pop culture subjects and away from social issues. Portraits of Kubrick aide Leon Vitali (\u003ca href=\"https://www.sffilm.org/screenings-and-events/filmworker\" target=\"_blank\" rel=\"noopener\">\u003cem>Filmworker\u003c/em>\u003c/a>) and ace tennis coach Nick Bolletierri (\u003ca href=\"https://www.sffilm.org/screenings-and-events/love-means-zero\" target=\"_blank\" rel=\"noopener\">\u003cem>Love Means Zero\u003c/em>\u003c/a>) dot the lineup, along with Rebecca Miller’s study of her father (\u003ca href=\"https://www.sffilm.org/screenings-and-events/arthur-miller-writer\" target=\"_blank\" rel=\"noopener\">\u003cem>Arthur Miller: Writer\u003c/em>\u003c/a>) and \u003ca href=\"https://www.sffilm.org/screenings-and-events/voyeur\" target=\"_blank\" rel=\"noopener\">\u003cem>Voyeur\u003c/em>\u003c/a>, which digs into the sensational tales that Colorado motel owner Gerald Foos peddled to author Gay Talese.\u003c/p>\n\u003cp>Adding to the pop/celebrity vibe, the SFFILM series opens with the first half of \u003ca href=\"https://www.sffilm.org/screenings-and-events/rolling-stone-stories-from-the-edge-part-1\" target=\"_blank\" rel=\"noopener\">\u003cem>Rolling Stone: Stories from the Edge\u003c/em>\u003c/a>, Alex Gibney’s two-part history of Jann Wenner’s San Francisco-centered rock ‘n’ roll baby. (There had better be a segment devoted to the late, great Ralph J. Gleason.) On the back end, the weekend wraps with Chris Smith’s obsessive immersion in Andy Kaufman, Jim Carrey and \u003cem>Man on the Moon\u003c/em>, entitled \u003ca href=\"https://www.sffilm.org/jim-and-andy\" target=\"_blank\" rel=\"noopener\">\u003cem>Jim & Andy: The Great Beyond—Featuring a Very Special, Contractually Obligated Mention of Tony Clifton\u003c/em>\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13813054\" class=\"wp-caption aligncenter\" style=\"max-width: 767px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13813054\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/TheFinalYear_767x576px.jpg\" alt=\"Still from 'The Final Year.'\" width=\"767\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/TheFinalYear_767x576px.jpg 767w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/TheFinalYear_767x576px-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/TheFinalYear_767x576px-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/TheFinalYear_767x576px-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/TheFinalYear_767x576px-520x391.jpg 520w\" sizes=\"(max-width: 767px) 100vw, 767px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Final Year.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All of these films are well made and raise important themes — from journalistic integrity to the cost of uncompromising artistry to the price of loyalty. Most of the filmmakers are scheduled to attend, and they will surely expound on their docs’ loftier aspirations. But a couple other films may resonate with moviegoers the longest, because their stakes are so high: Sonja Sohn’s \u003ca href=\"https://www.sffilm.org/screenings-and-events/baltimore-rising\" target=\"_blank\" rel=\"noopener\">\u003cem>Baltimore Rising\u003c/em>\u003c/a> documents the aftermath of Freddie Gray’s death in police custody, while Greg Barker’s \u003ca href=\"https://www.sffilm.org/screenings-and-events/the-final-year\" target=\"_blank\" rel=\"noopener\">\u003cem>The Final Year\u003c/em>\u003c/a> follows President Barack Obama’s foreign policy triad of Samantha Power, John Kerry and Ben Rhodes. It’s hard to top real-world drama with global consequences.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\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\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A lot of factors have fueled the ascendance and acceptance of documentaries in recent years, but entertainment value is near the top of the list. Forget those ponderous educational films you were forced to watch in school. Nowadays, the average doc boasts weirdly fascinating characters, a narrative trajectory, eye-pleasing camerawork, snazzy editing and wall-to-wall music.\u003c/p>\n\u003cp>More documentaries than you would imagine chart a course between reality TV (without the cynically manufactured drama) and Hollywood movies (ditto the skillfully contrived melodrama). They seek to amuse intelligent people, while providing the recommended daily amount of fiber.\u003c/p>\n\u003cfigure id=\"attachment_13813055\" class=\"wp-caption aligncenter\" style=\"max-width: 767px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/ArthurMillerWriter_767x576px.jpg\" alt=\"Still from 'Arthur Miller: Writer.'\" width=\"767\" height=\"576\" class=\"size-full wp-image-13813055\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ArthurMillerWriter_767x576px.jpg 767w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ArthurMillerWriter_767x576px-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ArthurMillerWriter_767x576px-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ArthurMillerWriter_767x576px-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ArthurMillerWriter_767x576px-520x391.jpg 520w\" sizes=\"(max-width: 767px) 100vw, 767px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Arthur Miller: Writer.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That said, I’m surprised that this year’s \u003ca href=\"https://www.sffilm.org/screenings-and-events/year-round-series/doc-stories-2017\" target=\"_blank\" rel=\"noopener\">Doc Stories\u003c/a> (Nov. 2-5 at the Vogue) is so tilted toward pop culture subjects and away from social issues. Portraits of Kubrick aide Leon Vitali (\u003ca href=\"https://www.sffilm.org/screenings-and-events/filmworker\" target=\"_blank\" rel=\"noopener\">\u003cem>Filmworker\u003c/em>\u003c/a>) and ace tennis coach Nick Bolletierri (\u003ca href=\"https://www.sffilm.org/screenings-and-events/love-means-zero\" target=\"_blank\" rel=\"noopener\">\u003cem>Love Means Zero\u003c/em>\u003c/a>) dot the lineup, along with Rebecca Miller’s study of her father (\u003ca href=\"https://www.sffilm.org/screenings-and-events/arthur-miller-writer\" target=\"_blank\" rel=\"noopener\">\u003cem>Arthur Miller: Writer\u003c/em>\u003c/a>) and \u003ca href=\"https://www.sffilm.org/screenings-and-events/voyeur\" target=\"_blank\" rel=\"noopener\">\u003cem>Voyeur\u003c/em>\u003c/a>, which digs into the sensational tales that Colorado motel owner Gerald Foos peddled to author Gay Talese.\u003c/p>\n\u003cp>Adding to the pop/celebrity vibe, the SFFILM series opens with the first half of \u003ca href=\"https://www.sffilm.org/screenings-and-events/rolling-stone-stories-from-the-edge-part-1\" target=\"_blank\" rel=\"noopener\">\u003cem>Rolling Stone: Stories from the Edge\u003c/em>\u003c/a>, Alex Gibney’s two-part history of Jann Wenner’s San Francisco-centered rock ‘n’ roll baby. (There had better be a segment devoted to the late, great Ralph J. Gleason.) On the back end, the weekend wraps with Chris Smith’s obsessive immersion in Andy Kaufman, Jim Carrey and \u003cem>Man on the Moon\u003c/em>, entitled \u003ca href=\"https://www.sffilm.org/jim-and-andy\" target=\"_blank\" rel=\"noopener\">\u003cem>Jim & Andy: The Great Beyond—Featuring a Very Special, Contractually Obligated Mention of Tony Clifton\u003c/em>\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13813054\" class=\"wp-caption aligncenter\" style=\"max-width: 767px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13813054\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/TheFinalYear_767x576px.jpg\" alt=\"Still from 'The Final Year.'\" width=\"767\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/TheFinalYear_767x576px.jpg 767w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/TheFinalYear_767x576px-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/TheFinalYear_767x576px-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/TheFinalYear_767x576px-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/TheFinalYear_767x576px-520x391.jpg 520w\" sizes=\"(max-width: 767px) 100vw, 767px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Final Year.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All of these films are well made and raise important themes — from journalistic integrity to the cost of uncompromising artistry to the price of loyalty. Most of the filmmakers are scheduled to attend, and they will surely expound on their docs’ loftier aspirations. But a couple other films may resonate with moviegoers the longest, because their stakes are so high: Sonja Sohn’s \u003ca href=\"https://www.sffilm.org/screenings-and-events/baltimore-rising\" target=\"_blank\" rel=\"noopener\">\u003cem>Baltimore Rising\u003c/em>\u003c/a> documents the aftermath of Freddie Gray’s death in police custody, while Greg Barker’s \u003ca href=\"https://www.sffilm.org/screenings-and-events/the-final-year\" target=\"_blank\" rel=\"noopener\">\u003cem>The Final Year\u003c/em>\u003c/a> follows President Barack Obama’s foreign policy triad of Samantha Power, John Kerry and Ben Rhodes. It’s hard to top real-world drama with global consequences.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Yorgos Lanthimos Animates Divine Vengeance in 'A Sacred Deer'",
"headTitle": "Yorgos Lanthimos Animates Divine Vengeance in ‘A Sacred Deer’ | KQED",
"content": "\u003cp>The dramatic weight of what’s shown on screen in \u003cem>The Killing of a Sacred Deer\u003c/em> is equal to what director Yorgos Lanthimos withholds. Having established his ability to disguise ancient tragedy in contemporary clothing with his first English-language film \u003cem>The Lobster\u003c/em> (2015), the Greek director’s mise en scène is even more assured here. \u003cem>Sacred Deer\u003c/em> convicts its hero, Dr. Steven Murphy (Colin Farrell), three years before the film even begins. How his punishment is meted out is what differentiates a Lanthimos film from ordinary films within the thriller genre.\u003c/p>\n\u003cp>Steven is a heart surgeon who shares a comfortable house in the Cincinnati suburbs with his nuclear family. His wife Anna (Nicole Kidman) is an ophthalmologist fretting over plans to redecorate her office. Kim (Raffey Cassidy) and Bob (Sunny Suljic) are their beautiful, healthy children. Their shared, if latent, dysfunction manifests itself upon the arrival of an older teenage boy named Martin (Barry Keoghan) who insinuates himself into their lives.\u003c/p>\n\u003cfigure id=\"attachment_13812772\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13812772\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_05486_rgb.jpg\" alt=\"Colin Farrell and Barry Keoghan in 'The Killing of a Sacred Deer.'\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_05486_rgb.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_05486_rgb-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_05486_rgb-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_05486_rgb-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_05486_rgb-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_05486_rgb-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_05486_rgb-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_05486_rgb-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_05486_rgb-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_05486_rgb-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Colin Farrell and Barry Keoghan in ‘The Killing of a Sacred Deer.’ \u003ccite>(JIMA (Atsushi Nishijima); courtesy of A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Martin’s pockmarked face is red with pimples. His head and neck are in constant motion — they circle and shake, ever tremulous. He can’t keep his demons still. At first glance, Steven’s connection with this weird, angry boy appears to be inappropriate (they meet in parking lots and a dimly lit diner). Even after we see the Murphys eating together at their dinner table, it’s unclear whether or not Martin is Steven’s illegitimate son or something else implicitly untoward.\u003c/p>\n\u003cp>Lanthimos expertly creates room on screen for these psychological gray areas to thrive. Like a modern-day oracle, the director is communicating a message to the audience from some troubled god, yet he refuses to explain away our uncertainty. The director is only willing to give us glimpses inside the Murphys’ domestic routine and the resultant anomie. We’re meant to draw our own conclusions from scenes like the one in which the Drs. Murphy play a pre-coital game called “general anesthesia.”\u003c/p>\n\u003cp>As an imperious yet helpless mother, Kidman allows a breathtaking ugliness into her performance. It saturates the character’s facial expressions that well up from whatever’s left of her soul. She’s exquisite as a woman who’s grown complicit in and compliant with her husband’s moral decline.\u003c/p>\n\u003cfigure id=\"attachment_13812773\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13812773\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_02198_rgb.jpg\" alt=\"Nicole Kidman in 'The Killing of a Sacred Deer.'\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_02198_rgb.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_02198_rgb-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_02198_rgb-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_02198_rgb-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_02198_rgb-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_02198_rgb-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_02198_rgb-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_02198_rgb-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_02198_rgb-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_02198_rgb-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Nicole Kidman in ‘The Killing of a Sacred Deer.’ \u003ccite>(JIMA (Atsushi Nishijima); courtesy of A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But this is, by and large, Farrell’s film, and his second with Lanthimos after \u003cem>The Lobster.\u003c/em> His Dr. Murphy hides his features with a full beard and mustache. He’s ashamed of looking anyone in the eyes for long, if he will at all. At 41, Farrell’s youthful bravado is gone. It’s been replaced by something better — his willingness to embody human failure.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Here he is tasked, like Orestes before him, with facing down the Furies. It’s not an exact parallel, nor is comparing his David in \u003cem>The Lobster\u003c/em> to Oedipus, but this Greek director isn’t against making allusions to those classical protagonists. Steven Murphy meets his nemesis in Martin, who does more than ask that the doctor be held accountable for a past wrongdoing. He demands it in incantatory speeches, and then, somehow, he’s rewarded by inexplicable, unseen forces.\u003c/p>\n\u003cp>Last year in May, Lanthimos was in San Francisco to discuss \u003cem>The Lobster,\u003c/em> which played at the San Francisco International Film Festival. He parried my questions about the use of cruelty in his films with non-answers: “I never know what to say about that.” Without revealing any details, \u003cem>Sacred Deer\u003c/em> ups the ante on the cruelty quotient. The previews and plot summaries alone will send some potential moviegoers to other theaters. But after a second and third attempt at rephrasing the question, the director did expand on his initial, vague response.\u003c/p>\n\u003cp>Lanthimos said, “I’m interested in exploring situations that are not functioning properly. There’s trouble in them. Obviously that’s a very conscious choice: I’m not making a film about a very happy family where everything is perfect.”\u003c/p>\n\u003cp>After watching \u003cem>Sacred Deer\u003c/em>, no one would accuse him of being interested in the Murphy family’s sense of happiness. Their story provided him with an opportunity to bring plausible life back to Nemesis, the Greek goddess of divine vengeance. By default, her involvement means that justice was done, leaving the director absolved of having made them suffer a terrible punishment.\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>\u003cem>‘The Killing of a Sacred Deer’ is showing at the Alamo Drafthouse Cinema in San Francisco. For more information, \u003ca href=\"https://drafthouse.com/sf/show/the-killing-of-a-sacred-deer\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The dramatic weight of what’s shown on screen in \u003cem>The Killing of a Sacred Deer\u003c/em> is equal to what director Yorgos Lanthimos withholds. Having established his ability to disguise ancient tragedy in contemporary clothing with his first English-language film \u003cem>The Lobster\u003c/em> (2015), the Greek director’s mise en scène is even more assured here. \u003cem>Sacred Deer\u003c/em> convicts its hero, Dr. Steven Murphy (Colin Farrell), three years before the film even begins. How his punishment is meted out is what differentiates a Lanthimos film from ordinary films within the thriller genre.\u003c/p>\n\u003cp>Steven is a heart surgeon who shares a comfortable house in the Cincinnati suburbs with his nuclear family. His wife Anna (Nicole Kidman) is an ophthalmologist fretting over plans to redecorate her office. Kim (Raffey Cassidy) and Bob (Sunny Suljic) are their beautiful, healthy children. Their shared, if latent, dysfunction manifests itself upon the arrival of an older teenage boy named Martin (Barry Keoghan) who insinuates himself into their lives.\u003c/p>\n\u003cfigure id=\"attachment_13812772\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13812772\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_05486_rgb.jpg\" alt=\"Colin Farrell and Barry Keoghan in 'The Killing of a Sacred Deer.'\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_05486_rgb.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_05486_rgb-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_05486_rgb-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_05486_rgb-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_05486_rgb-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_05486_rgb-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_05486_rgb-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_05486_rgb-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_05486_rgb-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_05486_rgb-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Colin Farrell and Barry Keoghan in ‘The Killing of a Sacred Deer.’ \u003ccite>(JIMA (Atsushi Nishijima); courtesy of A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Martin’s pockmarked face is red with pimples. His head and neck are in constant motion — they circle and shake, ever tremulous. He can’t keep his demons still. At first glance, Steven’s connection with this weird, angry boy appears to be inappropriate (they meet in parking lots and a dimly lit diner). Even after we see the Murphys eating together at their dinner table, it’s unclear whether or not Martin is Steven’s illegitimate son or something else implicitly untoward.\u003c/p>\n\u003cp>Lanthimos expertly creates room on screen for these psychological gray areas to thrive. Like a modern-day oracle, the director is communicating a message to the audience from some troubled god, yet he refuses to explain away our uncertainty. The director is only willing to give us glimpses inside the Murphys’ domestic routine and the resultant anomie. We’re meant to draw our own conclusions from scenes like the one in which the Drs. Murphy play a pre-coital game called “general anesthesia.”\u003c/p>\n\u003cp>As an imperious yet helpless mother, Kidman allows a breathtaking ugliness into her performance. It saturates the character’s facial expressions that well up from whatever’s left of her soul. She’s exquisite as a woman who’s grown complicit in and compliant with her husband’s moral decline.\u003c/p>\n\u003cfigure id=\"attachment_13812773\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13812773\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_02198_rgb.jpg\" alt=\"Nicole Kidman in 'The Killing of a Sacred Deer.'\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_02198_rgb.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_02198_rgb-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_02198_rgb-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_02198_rgb-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_02198_rgb-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_02198_rgb-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_02198_rgb-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_02198_rgb-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_02198_rgb-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_02198_rgb-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Nicole Kidman in ‘The Killing of a Sacred Deer.’ \u003ccite>(JIMA (Atsushi Nishijima); courtesy of A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But this is, by and large, Farrell’s film, and his second with Lanthimos after \u003cem>The Lobster.\u003c/em> His Dr. Murphy hides his features with a full beard and mustache. He’s ashamed of looking anyone in the eyes for long, if he will at all. At 41, Farrell’s youthful bravado is gone. It’s been replaced by something better — his willingness to embody human failure.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Here he is tasked, like Orestes before him, with facing down the Furies. It’s not an exact parallel, nor is comparing his David in \u003cem>The Lobster\u003c/em> to Oedipus, but this Greek director isn’t against making allusions to those classical protagonists. Steven Murphy meets his nemesis in Martin, who does more than ask that the doctor be held accountable for a past wrongdoing. He demands it in incantatory speeches, and then, somehow, he’s rewarded by inexplicable, unseen forces.\u003c/p>\n\u003cp>Last year in May, Lanthimos was in San Francisco to discuss \u003cem>The Lobster,\u003c/em> which played at the San Francisco International Film Festival. He parried my questions about the use of cruelty in his films with non-answers: “I never know what to say about that.” Without revealing any details, \u003cem>Sacred Deer\u003c/em> ups the ante on the cruelty quotient. The previews and plot summaries alone will send some potential moviegoers to other theaters. But after a second and third attempt at rephrasing the question, the director did expand on his initial, vague response.\u003c/p>\n\u003cp>Lanthimos said, “I’m interested in exploring situations that are not functioning properly. There’s trouble in them. Obviously that’s a very conscious choice: I’m not making a film about a very happy family where everything is perfect.”\u003c/p>\n\u003cp>After watching \u003cem>Sacred Deer\u003c/em>, no one would accuse him of being interested in the Murphy family’s sense of happiness. Their story provided him with an opportunity to bring plausible life back to Nemesis, the Greek goddess of divine vengeance. By default, her involvement means that justice was done, leaving the director absolved of having made them suffer a terrible punishment.\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>\u003cem>‘The Killing of a Sacred Deer’ is showing at the Alamo Drafthouse Cinema in San Francisco. For more information, \u003ca href=\"https://drafthouse.com/sf/show/the-killing-of-a-sacred-deer\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Actress Ashley Judd described disgraced film mogul Harvey Weinstein’s sexual advances toward her, which she said she escaped by making a deal.\u003c/p>\n\u003cp>She was a rising young actress two decades ago who had arrived at the hotel suite of this powerful film mogul for what she thought would be a business meeting.\u003c/p>\n\u003cp>It wasn’t, she said in her first on-camera recounting of the incident, which aired Thursday on \u003cem>Good Morning America\u003c/em> (GMA). Judd’s account of the incident three weeks ago in The New York Times was a key factor in Weinstein’s downfall, and opened the door to an avalanche of harassment allegations against Weinstein and others and a broader cultural discussion of how women are treated in the workplace and beyond.\u003c/p>\n\u003cp>NBC suspended Mark Halperin on Thursday after CNN reported on the claims of five women who said the political journalist harassed them while he was an ABC News executive. Halperin, who co-authored the best-seller \u003cem>Game Change\u003c/em>, apologized Wednesday for what he called inappropriate behavior. And former Fox News host and best-selling author Bill O’Reilly, who was forced out of the network in April after sexual harassment allegations, saw his literary agency cut ties with him.\u003c/p>\n\u003cp>Fallout continues to Weinstein and the film production company he co-founded. The Lexus luxury vehicle brand said Thursday it was ending its partnership with The Weinstein Co., which included sponsorship and product placement in company’s \u003cem>Project Runway\u003c/em> television show.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Weinstein has been fired from the company he co-founded with his brother and is now facing criminal investigations in London, New York and Los Angeles.\u003c/p>\n\u003cp>ABC is spreading its interview with Judd throughout its programming Thursday, with segments expected to air during its nightly newscast and its “Nightline” late-night show.\u003c/p>\n\u003cp>In the “GMA” interview, Judd said the business meeting in Weinstein’s hotel room turned into a negotiation not about work, but about things the producer wanted the actress to do to him.\u003c/p>\n\u003cp>Weinstein first offered to give her a massage, then, when she demurred, asked her to give him one, she said.\u003c/p>\n\u003cp>“I fought with this volley of no’s,” she said.\u003c/p>\n\u003cp>Then she made a “deal.” She said she agreed to submit to him, but only “when I win an Oscar in one of your movies — OK?”\u003c/p>\n\u003cp>“When you get NOMINATED,” Weinstein counter-offered.\u003c/p>\n\u003cp>“And I said, ‘No. When I WIN an Oscar.’ And then I just fled.”\u003c/p>\n\u003cp>Judd said she remains of two minds about how she handled the shocking situation.\u003c/p>\n\u003cp>“Am I proud of that? . The part that shames myself says, ‘No.’ The part of me that understands the way shame works says, ‘That was absolutely brilliant. Good job, kid, you got out of there. Well done!'”\u003c/p>\n\u003cp>Judd said a couple of years after the hotel encounter she was seated across from Weinstein at a dinner. She said he brought up “that little agreement we made,” and claimed he was “looking around for the material.”\u003c/p>\n\u003cp>Then he looked at her and said, “You know, Ashley, I’m going to let you out of that little agreement that we made.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Judd said by then “I had come into my own, I had come into my power, I had found my voice. And I said, ‘You do that, Harvey. You DO that.’\u003cbr>\n“And he has spat my name at me ever since.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Actress Ashley Judd described disgraced film mogul Harvey Weinstein’s sexual advances toward her, which she said she escaped by making a deal.\u003c/p>\n\u003cp>She was a rising young actress two decades ago who had arrived at the hotel suite of this powerful film mogul for what she thought would be a business meeting.\u003c/p>\n\u003cp>It wasn’t, she said in her first on-camera recounting of the incident, which aired Thursday on \u003cem>Good Morning America\u003c/em> (GMA). Judd’s account of the incident three weeks ago in The New York Times was a key factor in Weinstein’s downfall, and opened the door to an avalanche of harassment allegations against Weinstein and others and a broader cultural discussion of how women are treated in the workplace and beyond.\u003c/p>\n\u003cp>NBC suspended Mark Halperin on Thursday after CNN reported on the claims of five women who said the political journalist harassed them while he was an ABC News executive. Halperin, who co-authored the best-seller \u003cem>Game Change\u003c/em>, apologized Wednesday for what he called inappropriate behavior. And former Fox News host and best-selling author Bill O’Reilly, who was forced out of the network in April after sexual harassment allegations, saw his literary agency cut ties with him.\u003c/p>\n\u003cp>Fallout continues to Weinstein and the film production company he co-founded. The Lexus luxury vehicle brand said Thursday it was ending its partnership with The Weinstein Co., which included sponsorship and product placement in company’s \u003cem>Project Runway\u003c/em> television show.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Weinstein has been fired from the company he co-founded with his brother and is now facing criminal investigations in London, New York and Los Angeles.\u003c/p>\n\u003cp>ABC is spreading its interview with Judd throughout its programming Thursday, with segments expected to air during its nightly newscast and its “Nightline” late-night show.\u003c/p>\n\u003cp>In the “GMA” interview, Judd said the business meeting in Weinstein’s hotel room turned into a negotiation not about work, but about things the producer wanted the actress to do to him.\u003c/p>\n\u003cp>Weinstein first offered to give her a massage, then, when she demurred, asked her to give him one, she said.\u003c/p>\n\u003cp>“I fought with this volley of no’s,” she said.\u003c/p>\n\u003cp>Then she made a “deal.” She said she agreed to submit to him, but only “when I win an Oscar in one of your movies — OK?”\u003c/p>\n\u003cp>“When you get NOMINATED,” Weinstein counter-offered.\u003c/p>\n\u003cp>“And I said, ‘No. When I WIN an Oscar.’ And then I just fled.”\u003c/p>\n\u003cp>Judd said she remains of two minds about how she handled the shocking situation.\u003c/p>\n\u003cp>“Am I proud of that? . The part that shames myself says, ‘No.’ The part of me that understands the way shame works says, ‘That was absolutely brilliant. Good job, kid, you got out of there. Well done!'”\u003c/p>\n\u003cp>Judd said a couple of years after the hotel encounter she was seated across from Weinstein at a dinner. She said he brought up “that little agreement we made,” and claimed he was “looking around for the material.”\u003c/p>\n\u003cp>Then he looked at her and said, “You know, Ashley, I’m going to let you out of that little agreement that we made.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Judd said by then “I had come into my own, I had come into my power, I had found my voice. And I said, ‘You do that, Harvey. You DO that.’\u003cbr>\n“And he has spat my name at me ever since.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"order": 1
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
"site": "radio",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
"title": "Freakonomics Radio",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"meta": {
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
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