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"content": "\u003cp>In the sensational 2018 thriller \u003ca href=\"https://www.npr.org/2018/04/05/598796456/a-quiet-place-will-leave-you-shhhhhhaken\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>A Quiet Place\u003c/em>\u003c/a>, humanity has been ravaged by hideous alien predators with extraordinary powers of hearing. The story follows the Abbotts, a family of survivors who must stay quiet at all times, unable to talk or sneeze or step on a creaky floorboard or they’ll likely be dead.\u003c/p>\n\u003cp>It was a killer word-of-mouth hook: Here was a movie you \u003cem>had\u003c/em> to watch in a theater in your own state of silence, with no slurping or popcorn crunching allowed.\u003c/p>\n\u003cp>\u003cem>A Quiet Place \u003c/em>became a huge success, and its filmmaker and star, John Krasinski, wrote and directed a sequel that was supposed to open in March 2020. But then the COVID-19 pandemic forced theaters to close, and the movie’s release was postponed.\u003c/p>\n\u003cp>[aside postid='pop_110691']Now, more than a year later, theaters have reopened, and \u003cem>A Quiet Place Part II \u003c/em>is drawing large audiences. Is it too soon to go back to theaters, with the pandemic not yet fully subsided? I wondered as much when I watched the film at a recent media screening. I felt pretty safe: I was wearing a mask in a nearly empty theater and had been fully vaccinated weeks earlier. But I also felt privileged to be seeing a film on a big screen with strict precautions in place.\u003c/p>\n\u003cp>Whether you go to see it now or wait until it begins streaming, \u003cem>A Quiet Place Part II \u003c/em>is likely to make you a little jumpy. It doesn’t have the same claustrophobic intensity as its predecessor, but it’s just as taut, suspenseful and beautifully made.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BpdDN9d9Jio\u003c/p>\n\u003cp>As before, Krasinski doesn’t explain why the aliens are here in the first place. But he does give us an opening flashback to the terrible day they arrived, laying waste to the Abbotts’ small town in upstate New York—and other towns and cities all over the globe. Many people die, but the Abbotts survive, mainly because they’re quick to realize that the monsters hunt by sound.\u003c/p>\n\u003cp>Then the movie flashes forward many months, picking up right after the events of the first film. Krasinski’s character, Lee Abbott, has been tragically killed, leaving behind his wife, Evelyn, played by a fierce \u003ca href=\"https://www.npr.org/2014/12/21/372117734/desperate-to-speak-how-emily-blunt-found-her-voice\" target=\"_blank\" rel=\"noopener noreferrer\">Emily Blunt\u003c/a>, and their children. (Krasinski and Blunt are married in real life.)\u003c/p>\n\u003cp>The family is shaken but resilient: They’ve finally discovered the aliens’ fatal weakness, and they’re curious about making contact with other survivors. And so they set out from their farmhouse and make their way across an overgrown post-apocalyptic landscape where danger lurks around every corner.\u003c/p>\n\u003cp>The fact that the characters can’t speak out loud is one reason the \u003cem>Quiet Place\u003c/em> movies are so effective: Not being able to fall back on verbal exposition has forced Krasinski to become a ruthlessly efficient visual storyteller. It’s often said that Alfred Hitchcock’s movies are so sharply directed, you could turn the sound off and still follow the action—a truth that applies to these movies as well.\u003c/p>\n\u003cp>[aside postid='pop_6114']It helps that the Abbotts are fluent in American Sign Language since their oldest child, Regan, is deaf—as is the actor who plays her, the remarkable Millicent Simmonds. As in the first film, Regan emerges as the story’s truest hero: She’s tough, courageous and determined to help as many other people as she can. Less eager to take action is her traumatized younger brother, Marcus, heartbreakingly played by Noah Jupe.\u003c/p>\n\u003cp>Eventually the Abbotts take temporary shelter in an abandoned steel factory where they reunite with an old family friend, Emmett, played by a grave Cillian Murphy. Emmett is grieving the loss of his family and has become deeply cynical about humanity, at one point saying, “The people that are left … they’re not worth saving.” Regan disagrees; not only are people worth saving, she says, but if enough of them join forces, they might be able to fight back against the aliens.\u003c/p>\n\u003cp>The movie seems to think they both have a point. As Regan and Emmett embark on a perilous journey in search of survivors, they find themselves in situations that give rise to both hope and despair. Some of the people they meet are as predatory as the monsters; others are as brave and compassionate as Regan. That makes \u003cem>A Quiet Place Part II\u003c/em> an unexpectedly resonant film for the present moment as this country slowly emerges from a crisis that—while surely less terrifying than an alien apocalypse—has revealed humanity at its best and its worst.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The movie ends on an inconclusive note, leaving the door open for another sequel, which is both frustrating and heartening. I’m already looking forward to finding out what happens next—hopefully in a dark theater, watching as quietly as I can.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/BpdDN9d9Jio'\n title='//www.youtube.com/embed/BpdDN9d9Jio'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As before, Krasinski doesn’t explain why the aliens are here in the first place. But he does give us an opening flashback to the terrible day they arrived, laying waste to the Abbotts’ small town in upstate New York—and other towns and cities all over the globe. Many people die, but the Abbotts survive, mainly because they’re quick to realize that the monsters hunt by sound.\u003c/p>\n\u003cp>Then the movie flashes forward many months, picking up right after the events of the first film. Krasinski’s character, Lee Abbott, has been tragically killed, leaving behind his wife, Evelyn, played by a fierce \u003ca href=\"https://www.npr.org/2014/12/21/372117734/desperate-to-speak-how-emily-blunt-found-her-voice\" target=\"_blank\" rel=\"noopener noreferrer\">Emily Blunt\u003c/a>, and their children. (Krasinski and Blunt are married in real life.)\u003c/p>\n\u003cp>The family is shaken but resilient: They’ve finally discovered the aliens’ fatal weakness, and they’re curious about making contact with other survivors. And so they set out from their farmhouse and make their way across an overgrown post-apocalyptic landscape where danger lurks around every corner.\u003c/p>\n\u003cp>The fact that the characters can’t speak out loud is one reason the \u003cem>Quiet Place\u003c/em> movies are so effective: Not being able to fall back on verbal exposition has forced Krasinski to become a ruthlessly efficient visual storyteller. It’s often said that Alfred Hitchcock’s movies are so sharply directed, you could turn the sound off and still follow the action—a truth that applies to these movies as well.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It helps that the Abbotts are fluent in American Sign Language since their oldest child, Regan, is deaf—as is the actor who plays her, the remarkable Millicent Simmonds. As in the first film, Regan emerges as the story’s truest hero: She’s tough, courageous and determined to help as many other people as she can. Less eager to take action is her traumatized younger brother, Marcus, heartbreakingly played by Noah Jupe.\u003c/p>\n\u003cp>Eventually the Abbotts take temporary shelter in an abandoned steel factory where they reunite with an old family friend, Emmett, played by a grave Cillian Murphy. Emmett is grieving the loss of his family and has become deeply cynical about humanity, at one point saying, “The people that are left … they’re not worth saving.” Regan disagrees; not only are people worth saving, she says, but if enough of them join forces, they might be able to fight back against the aliens.\u003c/p>\n\u003cp>The movie seems to think they both have a point. As Regan and Emmett embark on a perilous journey in search of survivors, they find themselves in situations that give rise to both hope and despair. Some of the people they meet are as predatory as the monsters; others are as brave and compassionate as Regan. That makes \u003cem>A Quiet Place Part II\u003c/em> an unexpectedly resonant film for the present moment as this country slowly emerges from a crisis that—while surely less terrifying than an alien apocalypse—has revealed humanity at its best and its worst.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The movie ends on an inconclusive note, leaving the door open for another sequel, which is both frustrating and heartening. I’m already looking forward to finding out what happens next—hopefully in a dark theater, watching as quietly as I can.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Listen+Carefully%3A+The+Tense+%27Quiet+Place%27+Sequel+Speaks+To+Our+Present+Time&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The HBO series \u003cem>Lovecraft Country\u003c/em> takes the real horrors of the Black experience in the 1950s and adds to it the supernatural terrors of the horror genre.\u003c/p>\n\u003cp>Series creator Misha Green says she sees the show—and the novel by Matt Ruff upon which it is based—as a chance to reclaim “the genre space for people of color and for people who had usually been left out of it.” [aside postid='arts_13884889']\u003c/p>\n\u003cp>“Horror, which is my favorite genre, works best for me when there’s a metaphor,” Green says. “One of my themes I keep coming back to is: What are people willing to do for metaphorical and physical survival? And that’s always the stuff that scares me.”\u003c/p>\n\u003cp>One episode explores the theme of white privilege through the lens of Ruby, a Black woman who becomes white after taking a potion. After some discussion of what Ruby would do as a white woman, the writers decided that she would enjoy a mundane day at the park.\u003c/p>\n\u003cp>“That is really what part of the privilege of being white is: You get to live your life uninterrupted,” Green says. “A person of color in America has so many moments daily where they’re interrupted because of their skin color.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>We don’t know yet if there will be a second season of \u003cem>Lovecraft Country\u003c/em>, but if there is, Green knows what she’d call it: “This would be the title of it—\u003cem>Lovecraft Country: Supremacy\u003c/em>.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=eEvK1Zwi9XY\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On why she loves horror \u003c/strong>\u003c/p>\n\u003cp>I just like to be scared. I think it’s also one of the reasons I feel like we go to drama in the first place, to live vicariously through something. So you get to live your fears on screen and then you go, “OK, I can tackle that, maybe.” You get a little braver in life. … When I was a kid, like watching \u003cem>It,\u003c/em> watching \u003cem>Alien\u003c/em>, watching those kinds of movies, I was like, “OK, I’m terrified. But now I feel a little braver.” Afterwards, I feel like I can go and tackle the real horrors a little bit more.\u003c/p>\n\u003cp>\u003cstrong>On Black representation in genre fiction \u003c/strong>\u003c/p>\n\u003cp>I feel like one of my absolute favorites is the original \u003cem>Night of the Living Dead\u003c/em> and then \u003cem>The People Under the Stairs \u003c/em>[and]\u003cem> Candyman\u003c/em>. So there [were] spaces for Black horror, they just weren’t rampant. I feel like that’s all of Black art right now. People are like, “We’re in this huge renaissance!” and I’m like, “I remember in the ’90s I could go on TV and see more all-Black casts than I can see now.” So I feel like it’s always been there, but you have to seek it out. And the mainstream—definitely when it comes to horror, sci-fi and all of these genre fantasy spaces—are all white in a way. And so that was exciting to me, to have this kind of show that could jump to all the places and be like, “Yeah, we can be here and we don’t have to die first, guys.”\u003c/p>\n\u003cp>\u003cstrong>On developing the sound for \u003c/strong>\u003cem>\u003cstrong>Lovecraft Country,\u003c/strong>\u003c/em>\u003cstrong> which sources audio from different moments in culture, like a Nike Ad or the poem “Whitey on the Moon”\u003c/strong>\u003c/p>\n\u003cp>I wanted to do something different than I had done on \u003cem>Underground\u003c/em> with sound. We used contemporary music on [the WGN America show] \u003cem>Underground\u003c/em> [which Green co-created] and it was very successful in kind of bringing the past into the present and I wanted to build on that. I want to come in with an audio viewpoint on the show. [aside postid='arts_13853443']\u003c/p>\n\u003cp>One of the things that we were talking a lot about with the show was this idea of it being out of time, that they’re going and doing things, they’re going to space, they’re going back in the past, so how do we break that up? And then that idea of “scource” as we called it, which is source and score, came to me of using these pieces. I had been soaking in things like Beyoncé’s \u003ca href=\"https://www.npr.org/sections/therecord/2016/04/26/475629479/close-to-home-a-conversation-about-beyonc-s-lemonade\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Lemonade\u003c/em> \u003c/a>and \u003cem>I Am Not Your Negro\u003c/em>. And it was hearing those voices in those poems and [James] Baldwin’s voice. And I was going, “Oh, can we do that in \u003cem>Lovecraft Country\u003c/em>?” So that was kind of our big audio swing, was this idea of taking found footage audio and placing it wholesale over scenes and using it as [a] score.\u003c/p>\n\u003cp>\u003cstrong>On her priorities for developing her own writer’s room \u003c/strong>\u003c/p>\n\u003cp>Diversity and younger writers, I think that it was important to me. It’s one of the things that I said to HBO is that I don’t want upper-level writers. They were really pushing upper-level writers, which was understandable, because it’s a very big, ambitious show, an intricate show. But for me, I was like, I want new voices. Hollywood is the biggest storytelling machine there is and we all live our lives through stories, so it is giving us a story on how to live our lives, and right now it’s a monolith of white men. And I think it’s very important to change that. So when I had my own room, I knew that it was not going to look like the rooms I had been in before and that it was going to be a struggle, too, because I think in a lot of rooms, the minority voices are not there to actually be heard. So figuring out how to encourage everybody to be like, “You have a platform here, speak up! Speak up! Let’s talk. Let’s figure it out.” [That] was also an interesting new turn for me.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Heidi Saman and Kayla Lattimore produced and edited the audio of this interview. Bridget Bentz, Molly Seavy-Nesper and Meghan Sullivan adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Lovecraft+Country%27+Creator+Aims+To+Reclaim+The+Horror+Genre+For+People+Of+Color+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The HBO series \u003cem>Lovecraft Country\u003c/em> takes the real horrors of the Black experience in the 1950s and adds to it the supernatural terrors of the horror genre.\u003c/p>\n\u003cp>Series creator Misha Green says she sees the show—and the novel by Matt Ruff upon which it is based—as a chance to reclaim “the genre space for people of color and for people who had usually been left out of it.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Horror, which is my favorite genre, works best for me when there’s a metaphor,” Green says. “One of my themes I keep coming back to is: What are people willing to do for metaphorical and physical survival? And that’s always the stuff that scares me.”\u003c/p>\n\u003cp>One episode explores the theme of white privilege through the lens of Ruby, a Black woman who becomes white after taking a potion. After some discussion of what Ruby would do as a white woman, the writers decided that she would enjoy a mundane day at the park.\u003c/p>\n\u003cp>“That is really what part of the privilege of being white is: You get to live your life uninterrupted,” Green says. “A person of color in America has so many moments daily where they’re interrupted because of their skin color.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We don’t know yet if there will be a second season of \u003cem>Lovecraft Country\u003c/em>, but if there is, Green knows what she’d call it: “This would be the title of it—\u003cem>Lovecraft Country: Supremacy\u003c/em>.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/eEvK1Zwi9XY'\n title='//www.youtube.com/embed/eEvK1Zwi9XY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On why she loves horror \u003c/strong>\u003c/p>\n\u003cp>I just like to be scared. I think it’s also one of the reasons I feel like we go to drama in the first place, to live vicariously through something. So you get to live your fears on screen and then you go, “OK, I can tackle that, maybe.” You get a little braver in life. … When I was a kid, like watching \u003cem>It,\u003c/em> watching \u003cem>Alien\u003c/em>, watching those kinds of movies, I was like, “OK, I’m terrified. But now I feel a little braver.” Afterwards, I feel like I can go and tackle the real horrors a little bit more.\u003c/p>\n\u003cp>\u003cstrong>On Black representation in genre fiction \u003c/strong>\u003c/p>\n\u003cp>I feel like one of my absolute favorites is the original \u003cem>Night of the Living Dead\u003c/em> and then \u003cem>The People Under the Stairs \u003c/em>[and]\u003cem> Candyman\u003c/em>. So there [were] spaces for Black horror, they just weren’t rampant. I feel like that’s all of Black art right now. People are like, “We’re in this huge renaissance!” and I’m like, “I remember in the ’90s I could go on TV and see more all-Black casts than I can see now.” So I feel like it’s always been there, but you have to seek it out. And the mainstream—definitely when it comes to horror, sci-fi and all of these genre fantasy spaces—are all white in a way. And so that was exciting to me, to have this kind of show that could jump to all the places and be like, “Yeah, we can be here and we don’t have to die first, guys.”\u003c/p>\n\u003cp>\u003cstrong>On developing the sound for \u003c/strong>\u003cem>\u003cstrong>Lovecraft Country,\u003c/strong>\u003c/em>\u003cstrong> which sources audio from different moments in culture, like a Nike Ad or the poem “Whitey on the Moon”\u003c/strong>\u003c/p>\n\u003cp>I wanted to do something different than I had done on \u003cem>Underground\u003c/em> with sound. We used contemporary music on [the WGN America show] \u003cem>Underground\u003c/em> [which Green co-created] and it was very successful in kind of bringing the past into the present and I wanted to build on that. I want to come in with an audio viewpoint on the show. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One of the things that we were talking a lot about with the show was this idea of it being out of time, that they’re going and doing things, they’re going to space, they’re going back in the past, so how do we break that up? And then that idea of “scource” as we called it, which is source and score, came to me of using these pieces. I had been soaking in things like Beyoncé’s \u003ca href=\"https://www.npr.org/sections/therecord/2016/04/26/475629479/close-to-home-a-conversation-about-beyonc-s-lemonade\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Lemonade\u003c/em> \u003c/a>and \u003cem>I Am Not Your Negro\u003c/em>. And it was hearing those voices in those poems and [James] Baldwin’s voice. And I was going, “Oh, can we do that in \u003cem>Lovecraft Country\u003c/em>?” So that was kind of our big audio swing, was this idea of taking found footage audio and placing it wholesale over scenes and using it as [a] score.\u003c/p>\n\u003cp>\u003cstrong>On her priorities for developing her own writer’s room \u003c/strong>\u003c/p>\n\u003cp>Diversity and younger writers, I think that it was important to me. It’s one of the things that I said to HBO is that I don’t want upper-level writers. They were really pushing upper-level writers, which was understandable, because it’s a very big, ambitious show, an intricate show. But for me, I was like, I want new voices. Hollywood is the biggest storytelling machine there is and we all live our lives through stories, so it is giving us a story on how to live our lives, and right now it’s a monolith of white men. And I think it’s very important to change that. So when I had my own room, I knew that it was not going to look like the rooms I had been in before and that it was going to be a struggle, too, because I think in a lot of rooms, the minority voices are not there to actually be heard. So figuring out how to encourage everybody to be like, “You have a platform here, speak up! Speak up! Let’s talk. Let’s figure it out.” [That] was also an interesting new turn for me.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Terrific New Thrillers 'Amulet' and 'Relic' Explore Terrors Lurking in the Home",
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"content": "\u003cp>Given how much time some of us are spending at home these days, there might be something a little perverse about watching a movie that takes place in a haunted house. That’s especially true of two terrific thrillers, \u003cem>Amulet\u003c/em> and \u003cem>Relic\u003c/em>, in which the characters’ living spaces are infected with dark spirits and become inescapable prisons.\u003c/p>\n\u003cp>The wilder and crazier of the two is \u003cem>Amulet\u003c/em>, a strikingly assured writing and directing debut from the actress Romola Garai, known for her work in English period pieces like \u003cem>Atonement\u003c/em> and the BBC series \u003cem>Emma\u003c/em>. \u003cem>Amulet\u003c/em>, an intensely creepy supernatural freakout heavily influenced by the Italian horror master Dario Argento, is a rather less well-behaved affair. It stars the charismatic Romanian actor Alec Secareanu as Tomaz, a man from an unspecified European country who’s now living in London. Tomaz suffers from PTSD, and he spends his days doing construction jobs and his nights sleeping in a refugee shelter.\u003c/p>\n\u003cp>One day, a kind nun, Sister Claire (Imelda Staunton), offers to help Tomaz and leads him to the nearby home of a woman named Magda. The house is practically a ruin: The walls are decrepit, the rooms are filthy, and Tomaz can hear loud wailing—the sound of Magda’s mother—coming from upstairs.\u003c/p>\n\u003cp>Magda’s mother lives on the top floor of the house and isn’t long for this world. Magda is tasked with the sole responsibility of her care, but it’s a tremendous strain—especially as her mother doesn’t like Magda to socialize.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=uV_lUlOc4mQ\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Imelda Staunton’s delightfully mischievous performance as Sister Claire is an immediate sign that all is not as it seems. But that’s true of Tomaz, too. Throughout the film, Garai keeps cutting back to troubling scenes from Tomaz’s past, specifically his time as a soldier in some distant conflict. She undermines our instinct to sympathize with him and assume that he’s the hero of this story.\u003c/p>\n\u003cp>Tomaz agrees to stay and help Magda with odd jobs around the house, in exchange for room and board. But some jobs turn out to be odder than others. It’s not long before Tomaz makes a ghastly discovery while cleaning out the bathroom, in perhaps the creepiest backed-up-toilet scene since \u003ca href=\"https://www.npr.org/2016/11/15/502250244/to-make-the-godfather-his-way-francis-ford-coppola-waged-a-studio-battle\" target=\"_blank\" rel=\"noopener noreferrer\">Francis Ford Coppola\u003c/a>‘s \u003cem>The Conversation\u003c/em>.\u003c/p>\n\u003cp>But \u003cem>Amulet\u003c/em> is more than the sum of its visual frights. Garai sets you up to expect one kind of movie, but she’s made something else entirely: a nightmarish story of male violence that becomes an immensely satisfying story of female retribution. \u003cem>Amulet\u003c/em> is hardly the first revenge thriller to come along in recent years, but it left me admiring its fantastical moral logic: Given the reality of the world we live in, it might take an act of supernatural will to bring about justice.\u003c/p>\n\u003cp>\u003cem>Relic\u003c/em> isn’t quite as ferocious as \u003cem>Amulet\u003c/em>, but its brooding restraint may be even more effective. The Japanese Australian director Natalie Erika James, who co-wrote the script with Christian White, has crafted a slow-burning story about three generations of women brought together under the same roof.\u003c/p>\n\u003cp>Emily Mortimer and Bella Heathcote play Kay and Sam, a mother and daughter traveling from Melbourne to the countryside home of Edna, Kay’s mother. Edna, who’s dealing with the onset of dementia, went mysteriously missing a few days ago. A police search is under way, and Kay and Sam are desperate to find her and make sure she’s okay.\u003c/p>\n\u003cp>The condition of the house suggests that she isn’t: The place is a mess and the walls are covered with a strange, dark mold. They find little notes that Edna has scribbled to herself, which suggest she’s being haunted by something far worse than memory loss. And things don’t get any better when Edna, played by Robyn Nevin, suddenly reappears, alive but far from well.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XWhZDQkq0bw\u003c/p>\n\u003cp>There are no shocking twists or contrivances in store in \u003cem>Relic\u003c/em>, and not a lot of gore, either. James excels at mining dread and tension from ordinary conversation, and she uses thriller conventions to get at something simple but shattering: the horror of watching a parent slowly deteriorate. The occasional flickers of tenderness that Edna shows Kay and Sam quickly give way to deep, implacable anger, some but not all of it rooted in past arguments and resentments. More often it stems from the fact that Edna no longer recognizes her daughter and granddaughter.\u003c/p>\n\u003cp>In the movie’s scariest and most ingenious sequence, Kay and Sam find themselves trapped in an ever-shifting maze of corridors and hidden passageways, as the house itself seems to mirror Edna’s increasingly unstable grip on reality.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But as impressed as I was by the craftiness of \u003cem>Relic\u003c/em>, I wasn’t prepared for how moving it would be. It’s not an easy thing for a director to pull off terror \u003cem>and\u003c/em> grief, to let these two emotional registers coexist rather than fighting each other. But that’s exactly what James does here. She’s made a disturbing and ultimately devastating movie about what it means to love someone unconditionally, even when they’ve lost the power to love you back.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Terrific+New+Thrillers+%27Amulet%27+And+%27Relic%27+Explore+Terrors+Lurking+Within+The+Home&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Given how much time some of us are spending at home these days, there might be something a little perverse about watching a movie that takes place in a haunted house. That’s especially true of two terrific thrillers, \u003cem>Amulet\u003c/em> and \u003cem>Relic\u003c/em>, in which the characters’ living spaces are infected with dark spirits and become inescapable prisons.\u003c/p>\n\u003cp>The wilder and crazier of the two is \u003cem>Amulet\u003c/em>, a strikingly assured writing and directing debut from the actress Romola Garai, known for her work in English period pieces like \u003cem>Atonement\u003c/em> and the BBC series \u003cem>Emma\u003c/em>. \u003cem>Amulet\u003c/em>, an intensely creepy supernatural freakout heavily influenced by the Italian horror master Dario Argento, is a rather less well-behaved affair. It stars the charismatic Romanian actor Alec Secareanu as Tomaz, a man from an unspecified European country who’s now living in London. Tomaz suffers from PTSD, and he spends his days doing construction jobs and his nights sleeping in a refugee shelter.\u003c/p>\n\u003cp>One day, a kind nun, Sister Claire (Imelda Staunton), offers to help Tomaz and leads him to the nearby home of a woman named Magda. The house is practically a ruin: The walls are decrepit, the rooms are filthy, and Tomaz can hear loud wailing—the sound of Magda’s mother—coming from upstairs.\u003c/p>\n\u003cp>Magda’s mother lives on the top floor of the house and isn’t long for this world. Magda is tasked with the sole responsibility of her care, but it’s a tremendous strain—especially as her mother doesn’t like Magda to socialize.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/uV_lUlOc4mQ'\n title='//www.youtube.com/embed/uV_lUlOc4mQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Imelda Staunton’s delightfully mischievous performance as Sister Claire is an immediate sign that all is not as it seems. But that’s true of Tomaz, too. Throughout the film, Garai keeps cutting back to troubling scenes from Tomaz’s past, specifically his time as a soldier in some distant conflict. She undermines our instinct to sympathize with him and assume that he’s the hero of this story.\u003c/p>\n\u003cp>Tomaz agrees to stay and help Magda with odd jobs around the house, in exchange for room and board. But some jobs turn out to be odder than others. It’s not long before Tomaz makes a ghastly discovery while cleaning out the bathroom, in perhaps the creepiest backed-up-toilet scene since \u003ca href=\"https://www.npr.org/2016/11/15/502250244/to-make-the-godfather-his-way-francis-ford-coppola-waged-a-studio-battle\" target=\"_blank\" rel=\"noopener noreferrer\">Francis Ford Coppola\u003c/a>‘s \u003cem>The Conversation\u003c/em>.\u003c/p>\n\u003cp>But \u003cem>Amulet\u003c/em> is more than the sum of its visual frights. Garai sets you up to expect one kind of movie, but she’s made something else entirely: a nightmarish story of male violence that becomes an immensely satisfying story of female retribution. \u003cem>Amulet\u003c/em> is hardly the first revenge thriller to come along in recent years, but it left me admiring its fantastical moral logic: Given the reality of the world we live in, it might take an act of supernatural will to bring about justice.\u003c/p>\n\u003cp>\u003cem>Relic\u003c/em> isn’t quite as ferocious as \u003cem>Amulet\u003c/em>, but its brooding restraint may be even more effective. The Japanese Australian director Natalie Erika James, who co-wrote the script with Christian White, has crafted a slow-burning story about three generations of women brought together under the same roof.\u003c/p>\n\u003cp>Emily Mortimer and Bella Heathcote play Kay and Sam, a mother and daughter traveling from Melbourne to the countryside home of Edna, Kay’s mother. Edna, who’s dealing with the onset of dementia, went mysteriously missing a few days ago. A police search is under way, and Kay and Sam are desperate to find her and make sure she’s okay.\u003c/p>\n\u003cp>The condition of the house suggests that she isn’t: The place is a mess and the walls are covered with a strange, dark mold. They find little notes that Edna has scribbled to herself, which suggest she’s being haunted by something far worse than memory loss. And things don’t get any better when Edna, played by Robyn Nevin, suddenly reappears, alive but far from well.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/XWhZDQkq0bw'\n title='//www.youtube.com/embed/XWhZDQkq0bw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There are no shocking twists or contrivances in store in \u003cem>Relic\u003c/em>, and not a lot of gore, either. James excels at mining dread and tension from ordinary conversation, and she uses thriller conventions to get at something simple but shattering: the horror of watching a parent slowly deteriorate. The occasional flickers of tenderness that Edna shows Kay and Sam quickly give way to deep, implacable anger, some but not all of it rooted in past arguments and resentments. More often it stems from the fact that Edna no longer recognizes her daughter and granddaughter.\u003c/p>\n\u003cp>In the movie’s scariest and most ingenious sequence, Kay and Sam find themselves trapped in an ever-shifting maze of corridors and hidden passageways, as the house itself seems to mirror Edna’s increasingly unstable grip on reality.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But as impressed as I was by the craftiness of \u003cem>Relic\u003c/em>, I wasn’t prepared for how moving it would be. It’s not an easy thing for a director to pull off terror \u003cem>and\u003c/em> grief, to let these two emotional registers coexist rather than fighting each other. But that’s exactly what James does here. She’s made a disturbing and ultimately devastating movie about what it means to love someone unconditionally, even when they’ve lost the power to love you back.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Terrific+New+Thrillers+%27Amulet%27+And+%27Relic%27+Explore+Terrors+Lurking+Within+The+Home&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Lockdown Movie Musts: 1950s B-Movies, Underwater Monster Edition",
"headTitle": "Lockdown Movie Musts: 1950s B-Movies, Underwater Monster Edition | KQED",
"content": "\u003cp>Welcome to week five of \u003ca href=\"https://www.kqed.org/arts/tag/lockdown-movie-musts\" target=\"_blank\" rel=\"noopener noreferrer\">Lockdown Movie Musts\u003c/a>! Featuring weird subgenres of yore that’ll take your mind off, well, (*smashes head on wall*) you know…\u003c/p>\n\u003cp>This week, we’re creepin’ and crawlin’ through swamps and a surprising amount of radiation to get better acquainted with the underwater creatures of 1950s B-movies. [aside postid='arts_13877955']\u003c/p>\n\u003cp>The rational place to start, of course, is with the most famous of them all: 1954’s\u003cem> \u003ca href=\"https://www.imdb.com/title/tt0046876/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">Creature From the Black Lagoon\u003c/a>\u003c/em>. It’s a movie that starts with lofty ideas (a depiction of the Big Bang!) and descends quickly into racist nonsense (why do all these indigenous people have hair like \u003ca href=\"http://www.americanmythology.net/gallery?lightbox=image_1x15\" target=\"_blank\" rel=\"noopener noreferrer\">Moe from the \u003cem>Three Stooges\u003c/em>\u003c/a>?). Then come a series of appearances by the aforementioned creature that revolve entirely around his webbed hand. (It reaches out of the water in a claw position! It touches the riverbank in slow motion for no reason! And, faced with the sight of a Moe haircut, it attacks!)\u003c/p>\n\u003cp>The plot involves a team of explorers who are hanging out in the Amazon investigating a fossilized version of The Webbed Hand that presumably came from the creature’s great-grandad. What follows is a gratuitous amount of scuba diving (presumably because it was only \u003ca href=\"https://blog.padi.com/2014/01/27/jacques-cousteau-the-father-of-scuba-diving/\" target=\"_blank\" rel=\"noopener noreferrer\">invented\u003c/a> 12 years before this movie came out) and human behavior that is increasingly hard to justify.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ariuokNFhSw\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There the creature is, just swimming around, trying to deal with his woeful inability to successfully grab women’s ankles. Meanwhile, the humans are casually tossing cigarette butts into his lagoon and wondering why their repeated attempts to hurt or trap him are making him angry. It’s impossible not to side with the creature on this one. The moral of the story is clear: humans are \u003cem>awful\u003c/em>. [aside postid='arts_13878444']\u003c/p>\n\u003cp>1957’s \u003ca href=\"https://www.imdb.com/title/tt0050147/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Attack of the Crab Monsters\u003c/em>\u003c/a> makes for far less emotional viewing because it makes absolutely no sense. Sure, radiation has made a bunch of giant googly-eyed crabs. And sure, a team of humans wants to investigate. But get this! In this movie—and please bear with me—when a human gets eaten by a crab, the crab then magically absorbs the personality of the human and can suddenly transmit their voice and thoughts. Long-distance, sometimes!\u003c/p>\n\u003cp>Yeah.\u003c/p>\n\u003cp>At one point, an on-screen botanist tries to make sense of this by saying: “Once they were men, now they are land crabs.” Sure, bro, but what’s with the ghost-in-the-crustacean stuff?\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=S68QJFheZaw\u003c/p>\n\u003cp>Also on the confusing front—and this is definitely a side-note—there is only one woman on the team of explorers here and her eyebrows appear to have been stolen from a ventriloquist’s dummy.\u003c/p>\n\u003cp>Who did this to you, \u003ca href=\"https://www.imdb.com/name/nm0242056/?ref_=fn_al_nm_1\" target=\"_blank\" rel=\"noopener noreferrer\">Pamela Duncan\u003c/a>?\u003c/p>\n\u003cfigure id=\"attachment_13879057\" class=\"wp-caption aligncenter\" style=\"max-width: 446px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879057\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Screen-Shot-2020-04-22-at-12.01.52-AM.png\" alt=\"Martha stressing about her weird eyebrows (probably) in 'Attack of the Crab Monsters.'\" width=\"446\" height=\"301\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-22-at-12.01.52-AM.png 446w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-22-at-12.01.52-AM-160x108.png 160w\" sizes=\"(max-width: 446px) 100vw, 446px\">\u003cfigcaption class=\"wp-caption-text\">Martha stressing about her weird eyebrows (probably) in ‘Attack of the Crab Monsters.’\u003c/figcaption>\u003c/figure>\n\u003cp>Anyway, just like those eyebrows, \u003cem>Attack of the Crab Monsters\u003c/em> tries way, way too hard to justify itself. It could learn a thing or two from our next pick, a 1959 movie that answers the question: What would it look like if a man turned into an alligator, but still managed to keep his snazzy, high-waisted, 1950s pants on? It’s \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0052549/\" target=\"_blank\" rel=\"noopener noreferrer\">The Alligator People\u003c/a>\u003c/em>!\u003c/p>\n\u003cp>It all begins with Joyce, a woman whose husband, Paul, ditches her literally an hour into their honeymoon. She responds to this by going on a cross-country hunt to track him down. (Have some pride, woman! Just get an annulment and put on some \u003ca href=\"https://www.youtube.com/watch?v=gl1aHhXnN1k\" target=\"_blank\" rel=\"noopener noreferrer\">Ariana Grande\u003c/a>, already!)\u003c/p>\n\u003cp>After arriving in the butt crack of Louisiana, Joyce casually jumps into the truck of a man with a hook hand who enjoys running over alligators and saying menacing things about swamps and quicksand.\u003c/p>\n\u003cp>(Can we just take a timeout here to talk about the fact that, if you were a child growing up anytime between 1920 and 1990, quicksand was presented in popular culture as a constant, imminent threat. Why don’t we ever hear about quicksand anymore? It used to be freakin’ \u003cem>everywhere\u003c/em>.)\u003c/p>\n\u003cp>After arriving totally unannounced at Paul’s family’s house (rude much, Joyce?), Joyce meets Paul’s mom, who has an accent that can’t make up its mind about whether it wants to be Southern, British or Mrs. Doubtfire. Also, Joyce finds a local doctor who dresses like Colonel Sanders and has been doing dodgy experiments on gravely injured people using radiation and alligator DNA. Turns out—*dun-dun-duuuuun!*—Paul is one of them! And now his face is falling off! Or getting scaley! Or both depending on the makeup that day!\u003c/p>\n\u003cp>I don’t want to spoil the ending, but \u003ca href=\"https://www.imdb.com/name/nm0307500/?ref_=tt_cl_t1\" target=\"_blank\" rel=\"noopener noreferrer\">Beverly Garland\u003c/a> has to do a surprising amount of stunt work with living, snapping alligators, and the alligator-man in the pants is a thing of majestic beauty that you’ll never forget.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=w-lv3OxnnG4\u003c/p>\n\u003cp>Until next week, stay safe and keep sheltering.\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\u003cp>\u003c/p>\n\u003cp>\u003cem>For other Lockdown Movie Musts, click \u003ca href=\"https://www.kqed.org/arts/tag/lockdown-movie-musts\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Welcome to week five of \u003ca href=\"https://www.kqed.org/arts/tag/lockdown-movie-musts\" target=\"_blank\" rel=\"noopener noreferrer\">Lockdown Movie Musts\u003c/a>! Featuring weird subgenres of yore that’ll take your mind off, well, (*smashes head on wall*) you know…\u003c/p>\n\u003cp>This week, we’re creepin’ and crawlin’ through swamps and a surprising amount of radiation to get better acquainted with the underwater creatures of 1950s B-movies. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The rational place to start, of course, is with the most famous of them all: 1954’s\u003cem> \u003ca href=\"https://www.imdb.com/title/tt0046876/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">Creature From the Black Lagoon\u003c/a>\u003c/em>. It’s a movie that starts with lofty ideas (a depiction of the Big Bang!) and descends quickly into racist nonsense (why do all these indigenous people have hair like \u003ca href=\"http://www.americanmythology.net/gallery?lightbox=image_1x15\" target=\"_blank\" rel=\"noopener noreferrer\">Moe from the \u003cem>Three Stooges\u003c/em>\u003c/a>?). Then come a series of appearances by the aforementioned creature that revolve entirely around his webbed hand. (It reaches out of the water in a claw position! It touches the riverbank in slow motion for no reason! And, faced with the sight of a Moe haircut, it attacks!)\u003c/p>\n\u003cp>The plot involves a team of explorers who are hanging out in the Amazon investigating a fossilized version of The Webbed Hand that presumably came from the creature’s great-grandad. What follows is a gratuitous amount of scuba diving (presumably because it was only \u003ca href=\"https://blog.padi.com/2014/01/27/jacques-cousteau-the-father-of-scuba-diving/\" target=\"_blank\" rel=\"noopener noreferrer\">invented\u003c/a> 12 years before this movie came out) and human behavior that is increasingly hard to justify.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ariuokNFhSw'\n title='//www.youtube.com/embed/ariuokNFhSw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There the creature is, just swimming around, trying to deal with his woeful inability to successfully grab women’s ankles. Meanwhile, the humans are casually tossing cigarette butts into his lagoon and wondering why their repeated attempts to hurt or trap him are making him angry. It’s impossible not to side with the creature on this one. The moral of the story is clear: humans are \u003cem>awful\u003c/em>. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>1957’s \u003ca href=\"https://www.imdb.com/title/tt0050147/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Attack of the Crab Monsters\u003c/em>\u003c/a> makes for far less emotional viewing because it makes absolutely no sense. Sure, radiation has made a bunch of giant googly-eyed crabs. And sure, a team of humans wants to investigate. But get this! In this movie—and please bear with me—when a human gets eaten by a crab, the crab then magically absorbs the personality of the human and can suddenly transmit their voice and thoughts. Long-distance, sometimes!\u003c/p>\n\u003cp>Yeah.\u003c/p>\n\u003cp>At one point, an on-screen botanist tries to make sense of this by saying: “Once they were men, now they are land crabs.” Sure, bro, but what’s with the ghost-in-the-crustacean stuff?\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/S68QJFheZaw'\n title='//www.youtube.com/embed/S68QJFheZaw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Also on the confusing front—and this is definitely a side-note—there is only one woman on the team of explorers here and her eyebrows appear to have been stolen from a ventriloquist’s dummy.\u003c/p>\n\u003cp>Who did this to you, \u003ca href=\"https://www.imdb.com/name/nm0242056/?ref_=fn_al_nm_1\" target=\"_blank\" rel=\"noopener noreferrer\">Pamela Duncan\u003c/a>?\u003c/p>\n\u003cfigure id=\"attachment_13879057\" class=\"wp-caption aligncenter\" style=\"max-width: 446px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879057\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Screen-Shot-2020-04-22-at-12.01.52-AM.png\" alt=\"Martha stressing about her weird eyebrows (probably) in 'Attack of the Crab Monsters.'\" width=\"446\" height=\"301\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-22-at-12.01.52-AM.png 446w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-22-at-12.01.52-AM-160x108.png 160w\" sizes=\"(max-width: 446px) 100vw, 446px\">\u003cfigcaption class=\"wp-caption-text\">Martha stressing about her weird eyebrows (probably) in ‘Attack of the Crab Monsters.’\u003c/figcaption>\u003c/figure>\n\u003cp>Anyway, just like those eyebrows, \u003cem>Attack of the Crab Monsters\u003c/em> tries way, way too hard to justify itself. It could learn a thing or two from our next pick, a 1959 movie that answers the question: What would it look like if a man turned into an alligator, but still managed to keep his snazzy, high-waisted, 1950s pants on? It’s \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0052549/\" target=\"_blank\" rel=\"noopener noreferrer\">The Alligator People\u003c/a>\u003c/em>!\u003c/p>\n\u003cp>It all begins with Joyce, a woman whose husband, Paul, ditches her literally an hour into their honeymoon. She responds to this by going on a cross-country hunt to track him down. (Have some pride, woman! Just get an annulment and put on some \u003ca href=\"https://www.youtube.com/watch?v=gl1aHhXnN1k\" target=\"_blank\" rel=\"noopener noreferrer\">Ariana Grande\u003c/a>, already!)\u003c/p>\n\u003cp>After arriving in the butt crack of Louisiana, Joyce casually jumps into the truck of a man with a hook hand who enjoys running over alligators and saying menacing things about swamps and quicksand.\u003c/p>\n\u003cp>(Can we just take a timeout here to talk about the fact that, if you were a child growing up anytime between 1920 and 1990, quicksand was presented in popular culture as a constant, imminent threat. Why don’t we ever hear about quicksand anymore? It used to be freakin’ \u003cem>everywhere\u003c/em>.)\u003c/p>\n\u003cp>After arriving totally unannounced at Paul’s family’s house (rude much, Joyce?), Joyce meets Paul’s mom, who has an accent that can’t make up its mind about whether it wants to be Southern, British or Mrs. Doubtfire. Also, Joyce finds a local doctor who dresses like Colonel Sanders and has been doing dodgy experiments on gravely injured people using radiation and alligator DNA. Turns out—*dun-dun-duuuuun!*—Paul is one of them! And now his face is falling off! Or getting scaley! Or both depending on the makeup that day!\u003c/p>\n\u003cp>I don’t want to spoil the ending, but \u003ca href=\"https://www.imdb.com/name/nm0307500/?ref_=tt_cl_t1\" target=\"_blank\" rel=\"noopener noreferrer\">Beverly Garland\u003c/a> has to do a surprising amount of stunt work with living, snapping alligators, and the alligator-man in the pants is a thing of majestic beauty that you’ll never forget.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/w-lv3OxnnG4'\n title='//www.youtube.com/embed/w-lv3OxnnG4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Until next week, stay safe and keep sheltering.\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\u003cp>\u003c/p>\n\u003cp>\u003cem>For other Lockdown Movie Musts, click \u003ca href=\"https://www.kqed.org/arts/tag/lockdown-movie-musts\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "POSTPONED: Embrace the Creepy and the Kooky at the Oddities & Curiosities Expo",
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"content": "\u003cp>\u003cstrong>\u003cem>NOTE: This show has been \u003ca href=\"https://odditiesandcuriositiesexpo.com/events\" rel=\"noopener noreferrer\" target=\"_blank\">postponed\u003c/a> to Oct. 31 due to coronavirus restrictions.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Though you can undoubtedly let your freak flag fly year-round in San Francisco, it’s not every day there’s a collection of mysterious and spooky arts, crafts and antiques gathered under one roof in celebration of it.\u003c/p>\n\u003cp>Enter the Oddities & Curiosities Expo, a traveling circus of alternative vendors, collectors, taxidermists and artists who want to assist you in embracing everything weird and wonderful under the \u003cspan style=\"text-decoration: line-through\">sun\u003c/span> moon.\u003c/p>\n\u003cp>The Expo was born in Tulsa, Oklahoma in 2017, the brainchild of husband and wife team Michelle and Tony Cozzaglio. They took it to eight cities in 2018, 16 in 2019, and this year, they’ll hit 22. The “San Francisco” date (being held in San Mateo) currently has \u003ca href=\"https://www.facebook.com/events/506252336636085/\" target=\"_blank\" rel=\"noopener noreferrer\">138 confirmed vendors\u003c/a> and is expecting more.\u003c/p>\n\u003cp>For an extra $180 (on top of the $10 entry fee), visitors can take a four-hour \u003ca href=\"https://odditiesandcuriositiesexpo.com/classes\" target=\"_blank\" rel=\"noopener noreferrer\">taxidermy class\u003c/a> in which they’ll create their very own jackalope. (All materials and tools—including rabbit specimen and resin antlers—will be provided.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Expo’s growing popularity lies in its ability to appeal to an all-ages crowd, across a spectrum of peculiarity. “We have the stuff for real oddities collectors so you can buy animal skulls and preserved specimens, human skulls, whatever, but not everybody is into that,” Michelle told \u003ca href=\"https://qcnerve.com/local-artists-join-traveling-expo-of-the-bizarre/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Queen City Nerve\u003c/em>\u003c/a> last year. “Someone else can go and grab a really cool piece of original art or some jewelry that’s Halloween-themed. We really try to have a little something for everyone.” —\u003cem>Rae Alexandra\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>\u003cem>NOTE: This show has been \u003ca href=\"https://odditiesandcuriositiesexpo.com/events\" rel=\"noopener noreferrer\" target=\"_blank\">postponed\u003c/a> to Oct. 31 due to coronavirus restrictions.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Though you can undoubtedly let your freak flag fly year-round in San Francisco, it’s not every day there’s a collection of mysterious and spooky arts, crafts and antiques gathered under one roof in celebration of it.\u003c/p>\n\u003cp>Enter the Oddities & Curiosities Expo, a traveling circus of alternative vendors, collectors, taxidermists and artists who want to assist you in embracing everything weird and wonderful under the \u003cspan style=\"text-decoration: line-through\">sun\u003c/span> moon.\u003c/p>\n\u003cp>The Expo was born in Tulsa, Oklahoma in 2017, the brainchild of husband and wife team Michelle and Tony Cozzaglio. They took it to eight cities in 2018, 16 in 2019, and this year, they’ll hit 22. The “San Francisco” date (being held in San Mateo) currently has \u003ca href=\"https://www.facebook.com/events/506252336636085/\" target=\"_blank\" rel=\"noopener noreferrer\">138 confirmed vendors\u003c/a> and is expecting more.\u003c/p>\n\u003cp>For an extra $180 (on top of the $10 entry fee), visitors can take a four-hour \u003ca href=\"https://odditiesandcuriositiesexpo.com/classes\" target=\"_blank\" rel=\"noopener noreferrer\">taxidermy class\u003c/a> in which they’ll create their very own jackalope. (All materials and tools—including rabbit specimen and resin antlers—will be provided.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "HBO's Adaptation of Stephen King's 'The Outsider' is Full of Frightening Promise",
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"content": "\u003cp>The first thing you should know about HBO’s new limited series\u003cem> \u003c/em>is that it makes Jason Bateman’s role in \u003ca href=\"https://www.imdb.com/title/tt5071412/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Ozark\u003c/em>\u003c/a> look like \u003cem>Peppa Pig\u003c/em>. It’s difficult to overstate the shock of seeing this clean-cut American treasure emerging from a forest, drenched in blood and holding a stare that could prompt hell to freeze over—but it does give you some idea of the unrelenting nature of \u003cem>The Outsider\u003c/em>.\u003c/p>\n\u003cp>The 10-part adaptation of Stephen King’s best-selling 2018 novel premieres Jan. 12. And judging from a press preview screening of the first two episodes, it’s seeped in all that makes King’s literature so beloved: small town wholesomeness rubbing up against a seedy underworld, mundane family life invaded by frightening forces and calm, rational adults trying to wrestle with deeply mysterious circumstances.\u003c/p>\n\u003cp>At the center of \u003cem>The Outsider\u003c/em> is the gruesome murder of a child, and a suspect standing next to a mountain of evidence that simultaneously exonerates him and confirms his guilt. Can someone be in two places at once? Do doppelgängers exist? Or is a supernatural third party involved? \u003cem>The Outsider\u003c/em> sets up these questions early on and leaves them hanging tantalizingly in the air.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=eNDKWr3Xmjk\u003c/p>\n\u003cp>Searing scenes from the two episodes further hammer home the King-ian dichotomies at play. A mom smashes up a table of quaint finger foods with a baseball bat; an average Joe dog-walker finds a scene of abject, bloody horror in the woods; a sweet-faced little girl stares into the corner of her empty room and insists a man is there. These kinds of juxtapositions set a tone that is both deeply unsettling and thoroughly compelling.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Further enhancing these visuals are classic themes, and nods to the original texts they came from. In the first two hours alone, as tragedy keeps begetting tragedy, it’s impossible not to think of \u003cem>Hamlet\u003c/em>. Lest we fail to notice the thematic resemblance, a character quotes the Shakespearean text directly. (“There are more things in heaven and Earth, Horatio, than are dreamt of in your philosophy,” District Attorney Bill Samuels tells Detective Ralph Anderson,)\u003c/p>\n\u003cp>There are also nods to 1955’s \u003ca href=\"https://en.wikipedia.org/wiki/The_Night_of_the_Hunter_(film)\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Night of the Hunter\u003c/em>\u003c/a>, with its aggrieved widow, stalked children and mysterious, shadowy killer. The parallels between \u003cem>Night\u003c/em>‘s killer with his “Love” and “Hate” knuckle tattoos and \u003cem>The Outsider\u003c/em>‘s recovering addict with “Must” and “Can’t” tattooed on his knuckles doesn’t feel like a coincidence.\u003c/p>\n\u003cp>What remains to be seen is if HBO can maintain this exquisite momentum for the rest of the series. Hulu’s Stephen King series \u003cem>Castle Rock \u003c/em>started in similarly brilliant form, then promptly \u003ca href=\"https://www.kqed.org/pop/105585/the-castle-rock-finale-is-probably-going-to-disappoint-us-all\" target=\"_blank\" rel=\"noopener noreferrer\">fell apart in spectacular style\u003c/a> at the end of Season 1. \u003cem>Castle Rock\u003c/em> was focused on an outsider who prompted death and mayhem wherever he went, and\u003cem> The Outsider\u003c/em> has a hooded figure who appears to do the same.\u003c/p>\n\u003cp>With that in mind, viewers will have to hope against hope that HBO can provide a more satisfying explanation and ending to their King story than Hulu did in 2018. If \u003cem>The Outsider\u003c/em> can successfully maintain what it’s done in these two episodes, there’ll be no stopping it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>HBO’s\u003c/em> The Outsider \u003cem>premieres Sunday, Jan. 12 at 9pm.\u003c/em>\u003c/p>\n\n",
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"excerpt": "KQED Arts watched the first two episodes of 'The Outsider' and—so far at least—it's everything fans could want from a Stephen King adaptation. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first thing you should know about HBO’s new limited series\u003cem> \u003c/em>is that it makes Jason Bateman’s role in \u003ca href=\"https://www.imdb.com/title/tt5071412/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Ozark\u003c/em>\u003c/a> look like \u003cem>Peppa Pig\u003c/em>. It’s difficult to overstate the shock of seeing this clean-cut American treasure emerging from a forest, drenched in blood and holding a stare that could prompt hell to freeze over—but it does give you some idea of the unrelenting nature of \u003cem>The Outsider\u003c/em>.\u003c/p>\n\u003cp>The 10-part adaptation of Stephen King’s best-selling 2018 novel premieres Jan. 12. And judging from a press preview screening of the first two episodes, it’s seeped in all that makes King’s literature so beloved: small town wholesomeness rubbing up against a seedy underworld, mundane family life invaded by frightening forces and calm, rational adults trying to wrestle with deeply mysterious circumstances.\u003c/p>\n\u003cp>At the center of \u003cem>The Outsider\u003c/em> is the gruesome murder of a child, and a suspect standing next to a mountain of evidence that simultaneously exonerates him and confirms his guilt. Can someone be in two places at once? Do doppelgängers exist? Or is a supernatural third party involved? \u003cem>The Outsider\u003c/em> sets up these questions early on and leaves them hanging tantalizingly in the air.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/eNDKWr3Xmjk'\n title='//www.youtube.com/embed/eNDKWr3Xmjk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Searing scenes from the two episodes further hammer home the King-ian dichotomies at play. A mom smashes up a table of quaint finger foods with a baseball bat; an average Joe dog-walker finds a scene of abject, bloody horror in the woods; a sweet-faced little girl stares into the corner of her empty room and insists a man is there. These kinds of juxtapositions set a tone that is both deeply unsettling and thoroughly compelling.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Further enhancing these visuals are classic themes, and nods to the original texts they came from. In the first two hours alone, as tragedy keeps begetting tragedy, it’s impossible not to think of \u003cem>Hamlet\u003c/em>. Lest we fail to notice the thematic resemblance, a character quotes the Shakespearean text directly. (“There are more things in heaven and Earth, Horatio, than are dreamt of in your philosophy,” District Attorney Bill Samuels tells Detective Ralph Anderson,)\u003c/p>\n\u003cp>There are also nods to 1955’s \u003ca href=\"https://en.wikipedia.org/wiki/The_Night_of_the_Hunter_(film)\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Night of the Hunter\u003c/em>\u003c/a>, with its aggrieved widow, stalked children and mysterious, shadowy killer. The parallels between \u003cem>Night\u003c/em>‘s killer with his “Love” and “Hate” knuckle tattoos and \u003cem>The Outsider\u003c/em>‘s recovering addict with “Must” and “Can’t” tattooed on his knuckles doesn’t feel like a coincidence.\u003c/p>\n\u003cp>What remains to be seen is if HBO can maintain this exquisite momentum for the rest of the series. Hulu’s Stephen King series \u003cem>Castle Rock \u003c/em>started in similarly brilliant form, then promptly \u003ca href=\"https://www.kqed.org/pop/105585/the-castle-rock-finale-is-probably-going-to-disappoint-us-all\" target=\"_blank\" rel=\"noopener noreferrer\">fell apart in spectacular style\u003c/a> at the end of Season 1. \u003cem>Castle Rock\u003c/em> was focused on an outsider who prompted death and mayhem wherever he went, and\u003cem> The Outsider\u003c/em> has a hooded figure who appears to do the same.\u003c/p>\n\u003cp>With that in mind, viewers will have to hope against hope that HBO can provide a more satisfying explanation and ending to their King story than Hulu did in 2018. If \u003cem>The Outsider\u003c/em> can successfully maintain what it’s done in these two episodes, there’ll be no stopping it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>HBO’s\u003c/em> The Outsider \u003cem>premieres Sunday, Jan. 12 at 9pm.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Shudder Puts the Screaming in Streaming Video",
"headTitle": "Shudder Puts the Screaming in Streaming Video | KQED",
"content": "\u003cp>How mainstream is horror today? Frighteningly mainstream. Let’s just look at some of the biggest smash hits recently on television and streaming video: Shows like \u003cem>Stranger Things\u003c/em>, \u003cem>American Horror Story\u003c/em> and \u003cem>The Walking Dead\u003c/em> all fit into to this once-maligned genre.\u003c/p>\n\u003cp>To feed this hunger for horror, AMC—the channel behind \u003cem>The Walking Dead\u003c/em>—decided to create a dedicated streaming service called Shudder, featuring horror movies, shows, even documentaries. Craig Engler is the general manager for Shudder, and he says the service is taking off because horror has lots of fans, it’s a bargain to make, and more people like it than they realize. “People think horror is just the \u003cem>Halloween\u003c/em> movies, or \u003cem>Friday the 13th\u003c/em>,” he says. And you will find those classics on Shudder—but also original programming like the wildly successful series C\u003cem>reepshow\u003c/em>, inspired by the stories of Stephen King.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=inzsKlVR_N8\u003c/p>\n\u003cp>Had AMC put \u003cem>Creepshow\u003c/em> on cable, it would’ve doubtless attracted thousands, if not millions, more eyeballs, but the idea was to lure viewers into the next evolution of media. Audiences are gravitating away from old-fashioned cable channels and towards streaming video—that’s why Disney, HBO, Apple and every other massive media company on the planet is adding or expanding streaming services right now. Over the past few years, AMC has launched several streaming services—including Shudder.\u003c/p>\n\u003cp>“One of the intentions with \u003cem>Creepshow\u003c/em> was to draw people to Shudder,” says Greg Nicotero, the executive producer of both \u003cem>Creepshow\u003c/em> and \u003cem>The Walking Dead\u003c/em>. Luring horror fans with a familiar and beloved Stephen King property was the first step, he says, towards convincing them to stick around for thousands of hours of smart, interestingly curated horror, ranging from an Indonesian box office hit called \u003cem>Satan’s Slaves\u003c/em> (“It was so crazy good, and I loved it so much!” he says) to a feminist rape-revenge movie by French filmmaker Coralie Fargeat called, well, \u003cem>Revenge\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Revenge\u003c/em> is Fargeat’s first feature film. And even though Shudder’s a relatively small streaming service, she says it was in some ways a better place for her movie than Netflix. “You have so many movies and so many algorithms that make you appear or disappear,” she observes about Netflix—but Shudder’s movies appear in front of audiences invested in seeing them.\u003c/p>\n\u003cp>Shudder was founded in 2015. Four years later, the service has the top three best reviewed horror movies of the year so far, \u003ca href=\"https://editorial.rottentomatoes.com/guide/best-horror-movies-of-2019/\">according to Rotten Tomatoes\u003c/a>, and you can only watch them on Shudder. (One of them, \u003cem>Tigers Are Not Afraid\u003c/em>, was made by Issa López, another female director. Based in Mexico City, \u003ca href=\"https://www.npr.org/2019/08/25/753877130/in-tigers-are-not-afraid-a-dark-fantasy-amid-mexico-s-drug-war\">she spoke to NPR this summer\u003c/a> about her darkly thoughtful fairy tale of children orphaned—and literally haunted—by Mexican drug cartels.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KyoE0mSJXO8\u003c/p>\n\u003cp>“Horror travels super well,” says Shudder general manager Craig Engler. “The things we’re afraid of are universal.” Exactly how universal would be more clear if Shudder released its subscription information—but those numbers remain shrouded in mystery, per company policy. “Which is a shame,” Engler says, “because the metrics are awesome. We are growing by leaps and bounds. Almost every month, we set new records in terms of viewership, in terms of subscriber acquisition.”\u003c/p>\n\u003cp>That doesn’t surprise Laura Martin, a media analyst for Needham, “because,” she says, “the fans are so rabid.” Forget competing with giant services like Netflix, Martin says. It’s smarter to focus on enthusiastic fan bases that love relatively cheap content—and promoting it to each other. Martin points to another streaming service owned by AMC, \u003ca href=\"https://acorn.tv/\">Acorn TV\u003c/a>, which enjoys a similarly passionate group of fans. They’re always starving for their preferred content, and essentially advertise it via word of mouth. The difference? Acorn fans are into high-end British television, especially mysteries. “So I actually think this is sort of an inspired choice that AMC is pursuing here,” she says.\u003c/p>\n\u003cp>In the Venn diagram of British mystery-lovers and fans of horror movies there’s another surprising commonality, says Engler: “There’s a huge overlap between Shudder members and people who read books.” It’s a rare demographic admission that gives horror fans an eerily shared interest not only with British TV fans—but also NPR listeners.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Nina Gregory and adapted for the Web by Petra Mayer\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR.\u003c/a>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Shudder+Puts+The+Screaming+In+Streaming+Video&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>How mainstream is horror today? Frighteningly mainstream. Let’s just look at some of the biggest smash hits recently on television and streaming video: Shows like \u003cem>Stranger Things\u003c/em>, \u003cem>American Horror Story\u003c/em> and \u003cem>The Walking Dead\u003c/em> all fit into to this once-maligned genre.\u003c/p>\n\u003cp>To feed this hunger for horror, AMC—the channel behind \u003cem>The Walking Dead\u003c/em>—decided to create a dedicated streaming service called Shudder, featuring horror movies, shows, even documentaries. Craig Engler is the general manager for Shudder, and he says the service is taking off because horror has lots of fans, it’s a bargain to make, and more people like it than they realize. “People think horror is just the \u003cem>Halloween\u003c/em> movies, or \u003cem>Friday the 13th\u003c/em>,” he says. And you will find those classics on Shudder—but also original programming like the wildly successful series C\u003cem>reepshow\u003c/em>, inspired by the stories of Stephen King.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/inzsKlVR_N8'\n title='//www.youtube.com/embed/inzsKlVR_N8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Had AMC put \u003cem>Creepshow\u003c/em> on cable, it would’ve doubtless attracted thousands, if not millions, more eyeballs, but the idea was to lure viewers into the next evolution of media. Audiences are gravitating away from old-fashioned cable channels and towards streaming video—that’s why Disney, HBO, Apple and every other massive media company on the planet is adding or expanding streaming services right now. Over the past few years, AMC has launched several streaming services—including Shudder.\u003c/p>\n\u003cp>“One of the intentions with \u003cem>Creepshow\u003c/em> was to draw people to Shudder,” says Greg Nicotero, the executive producer of both \u003cem>Creepshow\u003c/em> and \u003cem>The Walking Dead\u003c/em>. Luring horror fans with a familiar and beloved Stephen King property was the first step, he says, towards convincing them to stick around for thousands of hours of smart, interestingly curated horror, ranging from an Indonesian box office hit called \u003cem>Satan’s Slaves\u003c/em> (“It was so crazy good, and I loved it so much!” he says) to a feminist rape-revenge movie by French filmmaker Coralie Fargeat called, well, \u003cem>Revenge\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Revenge\u003c/em> is Fargeat’s first feature film. And even though Shudder’s a relatively small streaming service, she says it was in some ways a better place for her movie than Netflix. “You have so many movies and so many algorithms that make you appear or disappear,” she observes about Netflix—but Shudder’s movies appear in front of audiences invested in seeing them.\u003c/p>\n\u003cp>Shudder was founded in 2015. Four years later, the service has the top three best reviewed horror movies of the year so far, \u003ca href=\"https://editorial.rottentomatoes.com/guide/best-horror-movies-of-2019/\">according to Rotten Tomatoes\u003c/a>, and you can only watch them on Shudder. (One of them, \u003cem>Tigers Are Not Afraid\u003c/em>, was made by Issa López, another female director. Based in Mexico City, \u003ca href=\"https://www.npr.org/2019/08/25/753877130/in-tigers-are-not-afraid-a-dark-fantasy-amid-mexico-s-drug-war\">she spoke to NPR this summer\u003c/a> about her darkly thoughtful fairy tale of children orphaned—and literally haunted—by Mexican drug cartels.)\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/KyoE0mSJXO8'\n title='//www.youtube.com/embed/KyoE0mSJXO8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Horror travels super well,” says Shudder general manager Craig Engler. “The things we’re afraid of are universal.” Exactly how universal would be more clear if Shudder released its subscription information—but those numbers remain shrouded in mystery, per company policy. “Which is a shame,” Engler says, “because the metrics are awesome. We are growing by leaps and bounds. Almost every month, we set new records in terms of viewership, in terms of subscriber acquisition.”\u003c/p>\n\u003cp>That doesn’t surprise Laura Martin, a media analyst for Needham, “because,” she says, “the fans are so rabid.” Forget competing with giant services like Netflix, Martin says. It’s smarter to focus on enthusiastic fan bases that love relatively cheap content—and promoting it to each other. Martin points to another streaming service owned by AMC, \u003ca href=\"https://acorn.tv/\">Acorn TV\u003c/a>, which enjoys a similarly passionate group of fans. They’re always starving for their preferred content, and essentially advertise it via word of mouth. The difference? Acorn fans are into high-end British television, especially mysteries. “So I actually think this is sort of an inspired choice that AMC is pursuing here,” she says.\u003c/p>\n\u003cp>In the Venn diagram of British mystery-lovers and fans of horror movies there’s another surprising commonality, says Engler: “There’s a huge overlap between Shudder members and people who read books.” It’s a rare demographic admission that gives horror fans an eerily shared interest not only with British TV fans—but also NPR listeners.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Nina Gregory and adapted for the Web by Petra Mayer\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR.\u003c/a>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Shudder+Puts+The+Screaming+In+Streaming+Video&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Capes, transformations, amazing entrances—is there anything more queer than classic horror?\u003c/p>\n\u003cp>How about when horror is presented in comics form, a medium with few boundaries and a long history of cultural subversion? Editors William O. Tyler and Justin Hall (\u003cem>No Straight Lines: Four Decades of Queer Comics\u003c/em>) have conjured a rogue’s gallery of queer cartoonists for a brand-new anthology called \u003cem>Theater of Terror: Revenge of the Queers\u003c/em>, celebrated in a launch party Sept. 25.\u003c/p>\n\u003cp>With a cover that recalls ’50s EC Comics like \u003cem>Tales From the Crypt\u003c/em>, the book weighs in at a hefty 272 pages full of gore and glamour. Art imitates life as San Francisco’s favorite midnight movie drag queen impresario Peaches Christ serves as the book’s ghoulish hostess, haunting a post-apocalyptic Castro Theatre where she forces uninvited guests to watch the stories unfold.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/TheaterofTerror-800x450.jpg\" alt=\"Art from "Sanguine," by Emeric Kennard, from 'Theater of Terror: Revenge of the Queers.'\" width=\"800\" height=\"450\" class=\"aligncenter size-medium wp-image-13866695\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/TheaterofTerror-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/TheaterofTerror-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/TheaterofTerror-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/TheaterofTerror.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>In \u003cem>Theater of Terror\u003c/em>, true-life LGBTQ horror, be it cultural oppression or just an especially gnarly date, are transformed into over 30 tales of demons, zombies, and monsters in the closet. Puppy play goes awry during the full moon, a transgender ghost haunts a senator’s estate, and a creepy advance is thwarted with assistance from a Lake Merritt mermaid.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Established and emerging cartoonists alike lend their talents: Howard Cruse (\u003cem>Gay Comix\u003c/em>) Lee Marrs (\u003cem>Wimmens Comix\u003c/em>), Mariko Tamaki (\u003cem>This One Summer\u003c/em>), Jennifer Camper (\u003cem>Juicy Mother\u003c/em>), Ed Luce (\u003cem>Wuvable Oaf\u003c/em>), Sina Grace (\u003cem>Self-Obsessed\u003c/em>), and dozens more.\u003c/p>\n\u003cp>For the Hump Day leading into Folsom Street Fair weekend, (the real) Peaches Christ hosts a free evening of author readings from \u003cem>Theater of Terror\u003c/em>, with a performance by drag king goth boy band Nine Inch Males.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>—Janelle Hessig\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Capes, transformations, amazing entrances—is there anything more queer than classic horror?\u003c/p>\n\u003cp>How about when horror is presented in comics form, a medium with few boundaries and a long history of cultural subversion? Editors William O. Tyler and Justin Hall (\u003cem>No Straight Lines: Four Decades of Queer Comics\u003c/em>) have conjured a rogue’s gallery of queer cartoonists for a brand-new anthology called \u003cem>Theater of Terror: Revenge of the Queers\u003c/em>, celebrated in a launch party Sept. 25.\u003c/p>\n\u003cp>With a cover that recalls ’50s EC Comics like \u003cem>Tales From the Crypt\u003c/em>, the book weighs in at a hefty 272 pages full of gore and glamour. Art imitates life as San Francisco’s favorite midnight movie drag queen impresario Peaches Christ serves as the book’s ghoulish hostess, haunting a post-apocalyptic Castro Theatre where she forces uninvited guests to watch the stories unfold.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/TheaterofTerror-800x450.jpg\" alt=\"Art from "Sanguine," by Emeric Kennard, from 'Theater of Terror: Revenge of the Queers.'\" width=\"800\" height=\"450\" class=\"aligncenter size-medium wp-image-13866695\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/TheaterofTerror-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/TheaterofTerror-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/TheaterofTerror-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/TheaterofTerror.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>In \u003cem>Theater of Terror\u003c/em>, true-life LGBTQ horror, be it cultural oppression or just an especially gnarly date, are transformed into over 30 tales of demons, zombies, and monsters in the closet. Puppy play goes awry during the full moon, a transgender ghost haunts a senator’s estate, and a creepy advance is thwarted with assistance from a Lake Merritt mermaid.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Twenty years ago this week, a strange little movie about a strange little boy hit movie theaters and promptly exploded in a way that no one could have predicted. Despite \u003cem>The Sixth Sense\u003c/em>‘s inherently dark subject matter—child is tortured by ghosts; recently traumatized psychologist tries to help—its appeal proved oddly universal, sitting at the top of the box office for five weeks, grossing $672.8 million in the U.S. alone.\u003c/p>\n\u003cp>Some of the reasons for the movie’s mass appeal were obvious. The jawdropping twist ending was water-cooler fodder for weeks after the movie’s release; Bruce Willis and Haley Joel Osment’s performances were both so authentic, their roles as Dr. Malcolm and Cole Sear became iconic overnight; and the grief-related side-plots (Cole’s mom and Dr. Malcolm’s wife both suffer from recent losses) brought a heart and soul to the proceedings that horror movies sometimes lack. The marks \u003cem>The Sixth Sense\u003c/em> left on pop culture weren’t just immediate, they’ve since proved impossible to erase.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lXO0he1WjYw\u003c/p>\n\u003cp>Against all the odds—and despite the \u003ca href=\"https://www.youtube.com/watch?v=-xKA27kJWmE\" target=\"_blank\" rel=\"noopener\">endless spoofs\u003c/a> it’s spawned over the last two decades—watching \u003cem>The Sixth Sense\u003c/em> today is just as affecting as it was in 1999. That timelessness is thanks in part to its universal themes around life and death, but ultimately the movie’s enduring watchability has far more to do with what Cole’s character really represents.\u003c/p>\n\u003cp>In the movie, Cole is a nine-year-old medium, isolated and bullied by peers because of a general inability to fit in. Cole isn’t picked on because other kids know he’s psychic, he’s picked on simply for being perceptibly different—a predicament painfully familiar to anyone who has suffered through a similarly miserable adolescence. Even when Cole tries his best—as when he recreates a magic trick shown to him by Dr. Malcolm for another child at a birthday party—he is out of step, through no fault of his own.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In its darkest moments, \u003cem>The Sixth Sense\u003c/em> allows Cole to represent not just misfits and minorities, but individuals in the process of surviving abuse. Though he has a loving mother (played stirringly by Toni Collette), Cole is dealing with abuse—both physical and mental—from disturbed spirits. Through his sixth sense he is also exposed to the horrors of domestic violence (\u003ca href=\"https://www.youtube.com/watch?v=7TLLJJllf_Q\" target=\"_blank\" rel=\"noopener\">the ghost\u003c/a> of a bruised and suicidal housewife appears in his kitchen), and the gory and tragic results of households that don’t keep their \u003ca href=\"https://www.youtube.com/watch?v=GK8CrMtyTdk\" target=\"_blank\" rel=\"noopener\">weapons and children separate\u003c/a>. Witnessing these scenes, Cole isn’t just one single kind of abuse survivor—he embodies all of them.\u003c/p>\n\u003cp>Forced to bear witness to these traumas, it’s impossible for him to interact on the same level as his unencumbered peers, and he suffers in silence, as so many real-life survivors do. In his second session with Dr. Malcolm, Cole confesses that after he drew a picture of a man attacking another man, his school held a meeting about it. “Mom started crying,” he says. “I don’t draw like that anymore … They don’t have meetings about rainbows.”\u003c/p>\n\u003cp>While Cole stays quiet to save his mother from getting hurt, to avoid causing disruption in school, and to prevent embarrassing personal scrutiny, he still has moments where the details can’t help but spill out. And he is often punished for this honesty. When he tells his mom he’s not the person who keeps moving a brooch that belonged to his grandmother, she shouts at him and sends him away from the dinner table. When he tells a teacher that their school, originally a courthouse, used to contain a gallows, his teacher tells him in no uncertain terms that it’s not true—despite the fact that Cole has seen otherwise with his own eyes.\u003c/p>\n\u003cp>In these scenes, \u003cem>The Sixth Sense\u003c/em> offers understanding to survivors who are hesitant to speak up, but much of the rest of the film is spent encouraging them to try anyway. Cole’s relationship with Dr. Malcolm—a symbol of rescue, redemption and recovery—is meticulously designed to demonstrate a specific message to abuse survivors: While not everyone will believe or understand what has happened to you, seeking assistance from outside sources remains worthwhile. One person who believes you, \u003cem>The Sixth Sense\u003c/em> tells us, is all it takes to get on the road to healing.\u003c/p>\n\u003cp>Remarkably, the movie also tells viewers, in explicit terms, to believe survivors—a concept that has only found mainstream, widespread acceptance in the age of #MeToo. (“How can you help me if you don’t believe me?” Cole asks at one point.) The tragic figure of Vincent Grey—the psychic man who shoots Dr. Malcolm and himself at the start of the movie—also acts as a stark warning about the damage wrought when survivors are not taken seriously.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ultimately, \u003cem>The Sixth Sense\u003c/em> is about gaining control and ownership over whatever hand you have been dealt. Dr. Malcolm finds personal healing while helping Cole, which, in turn, enables Cole to pay it forward. By accepting assistance, and learning to trust another person with his secrets, Cole stops running away from the things that scare him the most, and figures out how to turn them into a force for good. In the end, \u003cem>The Sixth Sense\u003c/em> is a guidebook on how to transform darkness into light, pain into healing, and trauma into love. Its impact was seismic in 1999, but, 20 years on, we need its lessons more than ever.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Twenty years ago this week, a strange little movie about a strange little boy hit movie theaters and promptly exploded in a way that no one could have predicted. Despite \u003cem>The Sixth Sense\u003c/em>‘s inherently dark subject matter—child is tortured by ghosts; recently traumatized psychologist tries to help—its appeal proved oddly universal, sitting at the top of the box office for five weeks, grossing $672.8 million in the U.S. alone.\u003c/p>\n\u003cp>Some of the reasons for the movie’s mass appeal were obvious. The jawdropping twist ending was water-cooler fodder for weeks after the movie’s release; Bruce Willis and Haley Joel Osment’s performances were both so authentic, their roles as Dr. Malcolm and Cole Sear became iconic overnight; and the grief-related side-plots (Cole’s mom and Dr. Malcolm’s wife both suffer from recent losses) brought a heart and soul to the proceedings that horror movies sometimes lack. The marks \u003cem>The Sixth Sense\u003c/em> left on pop culture weren’t just immediate, they’ve since proved impossible to erase.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/lXO0he1WjYw'\n title='//www.youtube.com/embed/lXO0he1WjYw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Against all the odds—and despite the \u003ca href=\"https://www.youtube.com/watch?v=-xKA27kJWmE\" target=\"_blank\" rel=\"noopener\">endless spoofs\u003c/a> it’s spawned over the last two decades—watching \u003cem>The Sixth Sense\u003c/em> today is just as affecting as it was in 1999. That timelessness is thanks in part to its universal themes around life and death, but ultimately the movie’s enduring watchability has far more to do with what Cole’s character really represents.\u003c/p>\n\u003cp>In the movie, Cole is a nine-year-old medium, isolated and bullied by peers because of a general inability to fit in. Cole isn’t picked on because other kids know he’s psychic, he’s picked on simply for being perceptibly different—a predicament painfully familiar to anyone who has suffered through a similarly miserable adolescence. Even when Cole tries his best—as when he recreates a magic trick shown to him by Dr. Malcolm for another child at a birthday party—he is out of step, through no fault of his own.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In its darkest moments, \u003cem>The Sixth Sense\u003c/em> allows Cole to represent not just misfits and minorities, but individuals in the process of surviving abuse. Though he has a loving mother (played stirringly by Toni Collette), Cole is dealing with abuse—both physical and mental—from disturbed spirits. Through his sixth sense he is also exposed to the horrors of domestic violence (\u003ca href=\"https://www.youtube.com/watch?v=7TLLJJllf_Q\" target=\"_blank\" rel=\"noopener\">the ghost\u003c/a> of a bruised and suicidal housewife appears in his kitchen), and the gory and tragic results of households that don’t keep their \u003ca href=\"https://www.youtube.com/watch?v=GK8CrMtyTdk\" target=\"_blank\" rel=\"noopener\">weapons and children separate\u003c/a>. Witnessing these scenes, Cole isn’t just one single kind of abuse survivor—he embodies all of them.\u003c/p>\n\u003cp>Forced to bear witness to these traumas, it’s impossible for him to interact on the same level as his unencumbered peers, and he suffers in silence, as so many real-life survivors do. In his second session with Dr. Malcolm, Cole confesses that after he drew a picture of a man attacking another man, his school held a meeting about it. “Mom started crying,” he says. “I don’t draw like that anymore … They don’t have meetings about rainbows.”\u003c/p>\n\u003cp>While Cole stays quiet to save his mother from getting hurt, to avoid causing disruption in school, and to prevent embarrassing personal scrutiny, he still has moments where the details can’t help but spill out. And he is often punished for this honesty. When he tells his mom he’s not the person who keeps moving a brooch that belonged to his grandmother, she shouts at him and sends him away from the dinner table. When he tells a teacher that their school, originally a courthouse, used to contain a gallows, his teacher tells him in no uncertain terms that it’s not true—despite the fact that Cole has seen otherwise with his own eyes.\u003c/p>\n\u003cp>In these scenes, \u003cem>The Sixth Sense\u003c/em> offers understanding to survivors who are hesitant to speak up, but much of the rest of the film is spent encouraging them to try anyway. Cole’s relationship with Dr. Malcolm—a symbol of rescue, redemption and recovery—is meticulously designed to demonstrate a specific message to abuse survivors: While not everyone will believe or understand what has happened to you, seeking assistance from outside sources remains worthwhile. One person who believes you, \u003cem>The Sixth Sense\u003c/em> tells us, is all it takes to get on the road to healing.\u003c/p>\n\u003cp>Remarkably, the movie also tells viewers, in explicit terms, to believe survivors—a concept that has only found mainstream, widespread acceptance in the age of #MeToo. (“How can you help me if you don’t believe me?” Cole asks at one point.) The tragic figure of Vincent Grey—the psychic man who shoots Dr. Malcolm and himself at the start of the movie—also acts as a stark warning about the damage wrought when survivors are not taken seriously.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ultimately, \u003cem>The Sixth Sense\u003c/em> is about gaining control and ownership over whatever hand you have been dealt. Dr. Malcolm finds personal healing while helping Cole, which, in turn, enables Cole to pay it forward. By accepting assistance, and learning to trust another person with his secrets, Cole stops running away from the things that scare him the most, and figures out how to turn them into a force for good. In the end, \u003cem>The Sixth Sense\u003c/em> is a guidebook on how to transform darkness into light, pain into healing, and trauma into love. Its impact was seismic in 1999, but, 20 years on, we need its lessons more than ever.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the viscerally unnerving films of Ari Aster, there’s nothing more horrific than the reality of human grief. His haunted-house thriller, \u003ca href=\"https://www.npr.org/2018/06/06/617500062/a-family-moves-from-tragedy-to-terror-in-hereditary\" target=\"_blank\" rel=\"noopener\">\u003cem>Hereditary\u003c/em>\u003c/a>, followed a family rocked by traumas so devastating that the eventual scenes of devil-worshipping naked boogeymen almost came as a relief. Aster’s new movie, \u003cem>Midsommar\u003c/em>, doesn’t pack quite as terrifying a knockout punch, but it casts its own weirdly hypnotic spell. This is a slow-burning and deeply absorbing piece of filmmaking, full of strikingly beautiful images and driven less by shocks than ideas. It’s not interested in frightening you so much as seeping into your nervous system.\u003c/p>\n\u003cp>[aside postID='arts_13834624,pop_112213' label='Ari Aster, Auteur']\u003c/p>\n\u003cp>And like \u003cem>Hereditary\u003c/em>, \u003cem>Midsommar \u003c/em>is very much rooted in loss. It begins with a young American woman named Dani, played by the great English actress Florence Pugh, panicking over a family emergency that moves swiftly toward its worst possible outcome. As she tries to pick up the broken pieces of her life, Dani seeks solace from her boyfriend, Christian, and is surprised to learn that he’s about to go on a trip with some of his grad-school buddies. They’re headed to a remote Swedish commune that is holding a nine-day festival to observe the summer solstice. Dani presses him about why he didn’t tell her earlier, and an argument ensues.\u003c/p>\n\u003cp>The handsome Irish actor Jack Reynor clues you in to the selfishness beneath Christian’s quiet, sensitive-sounding demeanor. Dani doesn’t know that he was about to end their four-year relationship before tragedy struck, and he’s only staying with her now out of a sense of obligation. Christian reluctantly invites her to join him in Sweden, and she accepts, to the irritation of some of his friends, who don’t want his mopey girlfriend along to spoil their fun.\u003c/p>\n\u003cp>They fly to Sweden and, after a few hours’ drive, arrive at a remote, centuries-old village where they are greeted by about 60 men and women wearing white robes embroidered with mysterious symbols. They are known as the Hårga, and they invite their American guests to participate in each day’s festivities, which include lavish feasts, silent meditations, exhausting maypole dances and the consumption of various mind-altering drugs. Aster has a gift for dreaming up fictitious subcultures, and he visualizes these ancient customs and artifacts with an almost anthropological attention to detail. The Hårga seem benevolent enough at first, and there’s something comforting about their strange rituals and their intimate communion with nature.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/1Vnghdsjmd0\u003c/p>\n\u003cp>But then the mood takes a sinister turn and Dani and Christian’s traveling companions start to disappear. The story owes a clear debt to\u003cem> The Wicker Man\u003c/em>, Robin Hardy’s 1973 horror classic about a pagan fertility cult, but \u003cem>Midsommar \u003c/em>is more ambiguous and slower to come into focus. This is a nightmare that unfolds in broad daylight, under a midnight sun that bears down relentlessly on the landscape. The sun could almost be a metaphor for Dani’s grief, something ever-present and all-consuming, especially since Christian seems to take so little interest in consoling her.\u003c/p>\n\u003cp>Aster has said that he was inspired to write \u003cem>Midsommar \u003c/em>after the end of a long-term relationship, and that Dani’s experience is a fictionalized version of his own. Whatever the real-life details, he’s made the ultimate bad-boyfriend movie, a withering portrait of emotional neglect that has nothing nice to say about Christian, his petty-minded friends or, indeed, the state of contemporary American masculinity. \u003c/p>\n\u003cp>Among other things, \u003cem>Midsommar \u003c/em>is a wickedly funny movie about the clash between pagan traditions and the ways of the modern world. One of its more provocative notions is that Dani may in fact be better off with the Hårga, with their seemingly selfless, utopian way of life. Sex and death, a source of so much pain and anxiety in the outside world, are here just part of life’s unending cycle.\u003c/p>\n\u003cp>\u003cem>Midsommar \u003c/em>is in no rush to solve its many mysteries. The third act is full of surreal images of revelry and ritual sacrifice, plus a sex scene that’s as hilarious as it is appalling. What you remember most is Pugh’s quietly mesmerizing performance. Your sympathies are with Dani at every moment, and so are the movie’s. Toward the end she fixes the camera with an extraordinary look of terror and exultation, as she beholds the stunning fate that awaits her. Her story may begin in heartbreak and end in madness, but Aster ensures that she gets the last laugh. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2019 \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener\">Fresh Air\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cp>Fans have been anxiously awaiting Jordan Peele’s next film since the runaway success of 2017’s satirical horror flick \u003cem>Get Out\u003c/em>, and they got their wish on Christmas Day, when the trailer for Peele’s next movie, \u003cem>Us\u003c/em>, premiered.\u003c/p>\n\u003cp>About a family whose vacation to the Santa Cruz Beach Boardwalk gets derailed by zombie-like doppelgangers, the\u003ca href=\"https://www.youtube.com/watch?v=hNCmb-4oXJA&t=2s\" target=\"_blank\" rel=\"noopener\"> trailer\u003c/a> doesn’t reveal the twists Peele undoubtedly has in store. But the guiding motif is Luniz’ 1995 hit “\u003ca href=\"https://www.youtube.com/watch?v=ERtkpnXLrL4\" target=\"_blank\" rel=\"noopener\">I Got Five On It\u003c/a>” from the Oakland duo’s platinum album, \u003cem>Operation Stackola\u003c/em>. The stoner anthem gets an eerie remix, transforming into a high-stakes horror score with spine-tingling strings and thundering, atmospheric bass. [contextly_sidebar id=”WDbc6WgQo3VoKOMFfugoWagim8r5vVTq”]\u003c/p>\n\u003cp>“We hit ’em again,” wrote Luniz’ Numskull on \u003ca href=\"https://www.instagram.com/p/Br0VAkdgN9y/\" target=\"_blank\" rel=\"noopener\">Instagram\u003c/a> when the trailer came out. “You can’t stop a classic.”\u003c/p>\n\u003cp>Peele’s inventive soundtrack choice comes at the end of an unprecedented year for black Bay Area artists in Hollywood, with the success of Ryan Coogler’s \u003cem>Black Panther\u003c/em> and Boots Riley’s \u003cem>Sorry to Bother You\u003c/em>, both set in Oakland. (Peele is from New York, but his wife, comedian Chelsea Peretti, is from Oakland like Riley and Coogler.)\u003c/p>\n\u003cp>We’ll have to wait until \u003cem>Us\u003c/em> comes out in theaters on Mar. 15 to see how this foreboding flip of Luniz’ Town classic factors into Peele’s latest production.\u003c/p>\n\u003cp>https://youtu.be/hNCmb-4oXJA\u003c/p>\n\u003cp>[ad fullwidth]\u003cbr />\n[ad floatright]\u003c/p>\n",
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"title": "With Cunning Casting, 'Hereditary' Dials Up the Horror",
"headTitle": "With Cunning Casting, ‘Hereditary’ Dials Up the Horror | KQED",
"content": "\u003cp>It’s 2:38am and I’m convinced there’s someone, or some-thing, in the attic. I have Ari Aster’s first feature film \u003ci>Hereditary\u003c/i> to thank for the past four nights of anxiety-induced sleeplessness. \u003c/p>\n\u003cp>Admittedly, I’m a lightweight when it comes to horror, susceptible to any number of cinematic scare tactics. I was a kid when \u003ci>Jaws\u003c/i> came out in 1975 but every time I’ve gone swimming in the ocean since then my lizard brain insists on the inevitability of being eaten by a great white shark. Why then would I choose to see a film that’s being called “the scariest movie of 2018”? Two words: Toni Collette.\u003c/p>\n\u003cp>When I first read that Collette was the star, my mind raced back to her Academy Award-nominated performance in \u003ci>The Sixth Sense \u003c/i>. In that M. Night Shyamalan film, she played the devoted mother of wide-eyed Haley Joel Osment, the kid who saw dead people while hanging out with Bruce Willis. \u003c/p>\n\u003cp>The \u003ci>Hereditary\u003c/i> poster features an unsmiling Collette with an equally unsmiling girl, presumably her daughter. This advertisement (mis)leads one to expect a parallel ghost story, a thoughtful sequel of sorts. \u003ci>The Seventh Sense\u003c/i>, if you will. But Aster cast Collette in the role deliberately—and I’m not exaggerating when I say—to turn our expectations of the consistently sympathetic actress upside down and inside out.\u003c/p>\n\u003cfigure id=\"attachment_13834629\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834629\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/hereditary-H_06036_rgb-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-H_06036_rgb.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-H_06036_rgb-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-H_06036_rgb-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-H_06036_rgb-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-H_06036_rgb-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-H_06036_rgb-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Hereditary’ – Toni Collette (Photo by Reid Chavis, courtesy of A24)\u003c/figcaption>\u003c/figure>\n\u003cp>Casting is one of the key factors that lends familiarity and an intimacy to the unsettling world \u003ci>Hereditary\u003c/i> lays out. Annie (Collette) and Steve (Gabriel Byrne) live with their teenage son Peter (Alex Wolff) and daughter Charlie (Milly Shapiro). Their enormous country house is surrounded by tall trees, and isolated by them (the film was shot on location in a pristine suburb of Salt Lake City, Utah). \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Byrne’s best known for portraying laconic, passive men like the brooding psychiatrist he played in the HBO series \u003ci>In Treatment\u003c/i>. Like that character, \u003ci>Hereditary\u003c/i>‘s Steve also deliberates, endlessly, and is acted upon rather than taking action himself. When, despite her escalating moods, Annie begs him to trust her, he folds—as we expect him to do.\u003c/p>\n\u003cp>The film opens on the afternoon of a funeral. Aster establishes a lugubrious atmosphere with an opening shot that slowly pans through a doll’s house, a meticulous reproduction of the family’s own home. The camera stops on what is certainly a doll—but isn’t. Steve enters his son’s room and the doll version of Peter wakes up from under the covers. \u003c/p>\n\u003cp>It’s an unsettling visual sleight indicating a secret and separate life of a house within the house, out of sync with its beautiful façade. And Annie, an artist, is the one who’s built and painted it to look oh-so real. The subtext inherent in the initial camera pan is also too deliberate to ignore: this family is under close observation by unseen eyes.\u003c/p>\n\u003cfigure id=\"attachment_13834632\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834632\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/hereditary-H_01867_rgb-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-H_01867_rgb.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-H_01867_rgb-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-H_01867_rgb-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-H_01867_rgb-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-H_01867_rgb-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-H_01867_rgb-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Hereditary’ – Toni Collette and Ann Dowd (Photo by Reid Chavis, courtesy of A24)\u003c/figcaption>\u003c/figure>\n\u003cp>It’s Annie’s mother who recently died. But when she delivers the eulogy, Annie confesses to years of estrangement between them. \u003ci>Hereditary\u003c/i> begins with people in mourning, but the director, who also wrote the film, maintains and extends that grim tone by troubling the family further—with what feels like an inexhaustible store of grief.\u003c/p>\n\u003cp>This is the third movie released in the past two years that concerns itself with the disintegration of the American nuclear family. Both \u003ca href=\"https://www.kqed.org/arts/13808519/darren-aronofsky-invents-a-bleak-mythology-for-jennifer-lawrence-in-mother\">\u003ci>Mother!\u003c/i>\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13812769/director-yorgos-lanthimos-catches-a-sacred-deer-in-his-headlights\">\u003ci>The Killing of a Sacred Deer\u003c/i>\u003c/a> offered ritualistic pagan sacrifice as a means to assuage, if not cure, a family’s inability to relate to each other and function in the world outside of the home. Despite some occasional cheesy special effects that signal spectral presences, \u003ci><Hereditary\u003c/i> provides yet another testament to the fact that something’s gone wrong deep inside the collective American psyche—an argument that has to go untested here so the ending remains unspoiled.\u003c/p>\n\u003cfigure id=\"attachment_13834633\" class=\"wp-caption alignright\" style=\"max-width: 576px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13834633\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/hereditary-HER_PULL_0404_82_1_rgb.jpg\" alt=\"\" width=\"576\" height=\"357\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-HER_PULL_0404_82_1_rgb.jpg 576w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-HER_PULL_0404_82_1_rgb-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-HER_PULL_0404_82_1_rgb-240x149.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-HER_PULL_0404_82_1_rgb-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-HER_PULL_0404_82_1_rgb-520x322.jpg 520w\" sizes=\"(max-width: 576px) 100vw, 576px\">\u003cfigcaption class=\"wp-caption-text\">‘Hereditary’ – Alex Wolff (Photo courtesy of A24)\u003c/figcaption>\u003c/figure>\n\u003cp>Because they’re relatively unknown to audiences, the movie’s wildcards are the kids, Wolff and Shapiro. Their reactions are unfamiliar to us and they add a destabilizing effect to the narrative. The presence of Ann Dowd as Joan, a newfound friend of Annie’s, does too, but in the way we’ve come to expect from her. In \u003ci>The Leftovers\u003c/i> and \u003ci>The Handmaid’s Tale\u003c/i>, Dowd summons menace with remarkable ease. Given her past relationship with a mother figure, Annie ought to know better than to trust in Joan. When she does, it becomes clear that Collette was cast not only for her association with the supernatural, but because of her role as an unpredictable wife and mother suffering from multiple personalities in \u003ci>The United States of Tara\u003c/i>.\u003c/p>\n\u003cp>\u003ci>Hereditary\u003c/i> banks on the audience’s willingness to trust Collette, hoping we’ll ignore or have forgotten the unpredictable side of the actress. Annie had a bad mother and the genes she inherited from her are turning out to be the dominant ones in her DNA. The film terrifies not because of frightening things in the attic, but because of what those frightening things imply. According to Aster’s design, nature triumphs over nurture. Instead of protecting them from harm, Peter and Charlie’s mother can damage them irreparably, and without any of them ever knowing the reasons why.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Hereditary’ is now playing in San Francisco at the Alamo Drafthouse Cinema, Century San Francisco Centre 9 and AMC Metreon 16.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s 2:38am and I’m convinced there’s someone, or some-thing, in the attic. I have Ari Aster’s first feature film \u003ci>Hereditary\u003c/i> to thank for the past four nights of anxiety-induced sleeplessness. \u003c/p>\n\u003cp>Admittedly, I’m a lightweight when it comes to horror, susceptible to any number of cinematic scare tactics. I was a kid when \u003ci>Jaws\u003c/i> came out in 1975 but every time I’ve gone swimming in the ocean since then my lizard brain insists on the inevitability of being eaten by a great white shark. Why then would I choose to see a film that’s being called “the scariest movie of 2018”? Two words: Toni Collette.\u003c/p>\n\u003cp>When I first read that Collette was the star, my mind raced back to her Academy Award-nominated performance in \u003ci>The Sixth Sense \u003c/i>. In that M. Night Shyamalan film, she played the devoted mother of wide-eyed Haley Joel Osment, the kid who saw dead people while hanging out with Bruce Willis. \u003c/p>\n\u003cp>The \u003ci>Hereditary\u003c/i> poster features an unsmiling Collette with an equally unsmiling girl, presumably her daughter. This advertisement (mis)leads one to expect a parallel ghost story, a thoughtful sequel of sorts. \u003ci>The Seventh Sense\u003c/i>, if you will. But Aster cast Collette in the role deliberately—and I’m not exaggerating when I say—to turn our expectations of the consistently sympathetic actress upside down and inside out.\u003c/p>\n\u003cfigure id=\"attachment_13834629\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834629\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/hereditary-H_06036_rgb-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-H_06036_rgb.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-H_06036_rgb-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-H_06036_rgb-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-H_06036_rgb-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-H_06036_rgb-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-H_06036_rgb-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Hereditary’ – Toni Collette (Photo by Reid Chavis, courtesy of A24)\u003c/figcaption>\u003c/figure>\n\u003cp>Casting is one of the key factors that lends familiarity and an intimacy to the unsettling world \u003ci>Hereditary\u003c/i> lays out. Annie (Collette) and Steve (Gabriel Byrne) live with their teenage son Peter (Alex Wolff) and daughter Charlie (Milly Shapiro). Their enormous country house is surrounded by tall trees, and isolated by them (the film was shot on location in a pristine suburb of Salt Lake City, Utah). \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Byrne’s best known for portraying laconic, passive men like the brooding psychiatrist he played in the HBO series \u003ci>In Treatment\u003c/i>. Like that character, \u003ci>Hereditary\u003c/i>‘s Steve also deliberates, endlessly, and is acted upon rather than taking action himself. When, despite her escalating moods, Annie begs him to trust her, he folds—as we expect him to do.\u003c/p>\n\u003cp>The film opens on the afternoon of a funeral. Aster establishes a lugubrious atmosphere with an opening shot that slowly pans through a doll’s house, a meticulous reproduction of the family’s own home. The camera stops on what is certainly a doll—but isn’t. Steve enters his son’s room and the doll version of Peter wakes up from under the covers. \u003c/p>\n\u003cp>It’s an unsettling visual sleight indicating a secret and separate life of a house within the house, out of sync with its beautiful façade. And Annie, an artist, is the one who’s built and painted it to look oh-so real. The subtext inherent in the initial camera pan is also too deliberate to ignore: this family is under close observation by unseen eyes.\u003c/p>\n\u003cfigure id=\"attachment_13834632\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834632\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/hereditary-H_01867_rgb-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-H_01867_rgb.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-H_01867_rgb-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-H_01867_rgb-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-H_01867_rgb-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-H_01867_rgb-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-H_01867_rgb-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Hereditary’ – Toni Collette and Ann Dowd (Photo by Reid Chavis, courtesy of A24)\u003c/figcaption>\u003c/figure>\n\u003cp>It’s Annie’s mother who recently died. But when she delivers the eulogy, Annie confesses to years of estrangement between them. \u003ci>Hereditary\u003c/i> begins with people in mourning, but the director, who also wrote the film, maintains and extends that grim tone by troubling the family further—with what feels like an inexhaustible store of grief.\u003c/p>\n\u003cp>This is the third movie released in the past two years that concerns itself with the disintegration of the American nuclear family. Both \u003ca href=\"https://www.kqed.org/arts/13808519/darren-aronofsky-invents-a-bleak-mythology-for-jennifer-lawrence-in-mother\">\u003ci>Mother!\u003c/i>\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13812769/director-yorgos-lanthimos-catches-a-sacred-deer-in-his-headlights\">\u003ci>The Killing of a Sacred Deer\u003c/i>\u003c/a> offered ritualistic pagan sacrifice as a means to assuage, if not cure, a family’s inability to relate to each other and function in the world outside of the home. Despite some occasional cheesy special effects that signal spectral presences, \u003ci><Hereditary\u003c/i> provides yet another testament to the fact that something’s gone wrong deep inside the collective American psyche—an argument that has to go untested here so the ending remains unspoiled.\u003c/p>\n\u003cfigure id=\"attachment_13834633\" class=\"wp-caption alignright\" style=\"max-width: 576px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13834633\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/hereditary-HER_PULL_0404_82_1_rgb.jpg\" alt=\"\" width=\"576\" height=\"357\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-HER_PULL_0404_82_1_rgb.jpg 576w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-HER_PULL_0404_82_1_rgb-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-HER_PULL_0404_82_1_rgb-240x149.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-HER_PULL_0404_82_1_rgb-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-HER_PULL_0404_82_1_rgb-520x322.jpg 520w\" sizes=\"(max-width: 576px) 100vw, 576px\">\u003cfigcaption class=\"wp-caption-text\">‘Hereditary’ – Alex Wolff (Photo courtesy of A24)\u003c/figcaption>\u003c/figure>\n\u003cp>Because they’re relatively unknown to audiences, the movie’s wildcards are the kids, Wolff and Shapiro. Their reactions are unfamiliar to us and they add a destabilizing effect to the narrative. The presence of Ann Dowd as Joan, a newfound friend of Annie’s, does too, but in the way we’ve come to expect from her. In \u003ci>The Leftovers\u003c/i> and \u003ci>The Handmaid’s Tale\u003c/i>, Dowd summons menace with remarkable ease. Given her past relationship with a mother figure, Annie ought to know better than to trust in Joan. When she does, it becomes clear that Collette was cast not only for her association with the supernatural, but because of her role as an unpredictable wife and mother suffering from multiple personalities in \u003ci>The United States of Tara\u003c/i>.\u003c/p>\n\u003cp>\u003ci>Hereditary\u003c/i> banks on the audience’s willingness to trust Collette, hoping we’ll ignore or have forgotten the unpredictable side of the actress. Annie had a bad mother and the genes she inherited from her are turning out to be the dominant ones in her DNA. The film terrifies not because of frightening things in the attic, but because of what those frightening things imply. According to Aster’s design, nature triumphs over nurture. Instead of protecting them from harm, Peter and Charlie’s mother can damage them irreparably, and without any of them ever knowing the reasons why.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Hereditary’ is now playing in San Francisco at the Alamo Drafthouse Cinema, Century San Francisco Centre 9 and AMC Metreon 16.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"id": "baycurious",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
},
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"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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"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"order": 15
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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. ",
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"order": 18
},
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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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"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
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