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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. 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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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"excerpt": "Watch with caution: Ari Aster's first feature film known to induce sleeplessness, anxiety-filled thoughts of attics.",
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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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}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"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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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
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},
"link": "/radio/program/bbc-world-service",
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"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
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"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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},
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"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
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"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
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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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"meta": {
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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.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"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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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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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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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
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"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"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"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
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