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"content": "\u003cp>San Francisco Mayor London Breed announced a goal to reopen indoor movie theaters in the city starting Wednesday, Oct. 7. \u003c/p>\n\u003cp>Guidelines issued on Tuesday by the San Francisco Department of Public Health state the reopening is contingent on San Francisco remaining in the so-called “orange tier.” If that holds through Oct. 7, cinemas may then reopen at 25 percent capacity or up to 100 people, whichever is less. In addition, the guidelines prohibit the sale of concessions and the consumption of outside food and drinks.\u003c/p>\n\u003cp>San Francisco is the first Bay Area county to enter the orange (“moderate”) tier in California’s color-coded reopening system for businesses and services. \u003c/p>\n\u003cp>“We know this continues to be a challenging time with people struggling economically and emotionally. However, thanks to San Francisco’s commitment to following public health guidance, we are seeing improvements in our numbers, which means we can continue to move forward with reopening,” said Mayor Breed in a statement on Tuesday. \u003c/p>\n\u003cp>The rules around reopening movie theaters vary from county to county. For example, indoor cinemas in Napa County have \u003ca href=\"https://www.kqed.org/arts/13886431/as-some-bay-area-movie-theaters-reopen-local-authorities-exercise-caution\" rel=\"noopener noreferrer\" target=\"_blank\">already been open for business for more than two weeks\u003c/a>. They were allowed to do so while in the more severe “red” tier, and customers have been able to purchase limited concessions. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Even though San Francisco cinemas could soon be reopen, some are not ready to do so just yet. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Having now been closed to the public for over six months, we’ve been taking stock of the challenges facing our eventual reopening,” said Lex Sloan, executive director of The Roxie Theater, an independent movie house in San Francisco’s Mission District. “While we want nothing more than to return to being a physical space where film lovers gather together in communal appreciation of the seventh art, we are not, despite the recent announcement that San Francisco theaters can reopen today, rushing headlong into doing so for the general public.” \u003cem>—Chloe Veltman (\u003ca href=\"https://twitter.com/chloeveltman\" rel=\"noopener noreferrer\" target=\"_blank\">@chloeveltman\u003c/a>)\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco Mayor London Breed announced a goal to reopen indoor movie theaters in the city starting Wednesday, Oct. 7. \u003c/p>\n\u003cp>Guidelines issued on Tuesday by the San Francisco Department of Public Health state the reopening is contingent on San Francisco remaining in the so-called “orange tier.” If that holds through Oct. 7, cinemas may then reopen at 25 percent capacity or up to 100 people, whichever is less. In addition, the guidelines prohibit the sale of concessions and the consumption of outside food and drinks.\u003c/p>\n\u003cp>San Francisco is the first Bay Area county to enter the orange (“moderate”) tier in California’s color-coded reopening system for businesses and services. \u003c/p>\n\u003cp>“We know this continues to be a challenging time with people struggling economically and emotionally. However, thanks to San Francisco’s commitment to following public health guidance, we are seeing improvements in our numbers, which means we can continue to move forward with reopening,” said Mayor Breed in a statement on Tuesday. \u003c/p>\n\u003cp>The rules around reopening movie theaters vary from county to county. For example, indoor cinemas in Napa County have \u003ca href=\"https://www.kqed.org/arts/13886431/as-some-bay-area-movie-theaters-reopen-local-authorities-exercise-caution\" rel=\"noopener noreferrer\" target=\"_blank\">already been open for business for more than two weeks\u003c/a>. They were allowed to do so while in the more severe “red” tier, and customers have been able to purchase limited concessions. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Even though San Francisco cinemas could soon be reopen, some are not ready to do so just yet. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Having now been closed to the public for over six months, we’ve been taking stock of the challenges facing our eventual reopening,” said Lex Sloan, executive director of The Roxie Theater, an independent movie house in San Francisco’s Mission District. “While we want nothing more than to return to being a physical space where film lovers gather together in communal appreciation of the seventh art, we are not, despite the recent announcement that San Francisco theaters can reopen today, rushing headlong into doing so for the general public.” \u003cem>—Chloe Veltman (\u003ca href=\"https://twitter.com/chloeveltman\" rel=\"noopener noreferrer\" target=\"_blank\">@chloeveltman\u003c/a>)\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The thing I remember most about the last time I went to a movie theater before they all shut down in mid-March was the sense of impending doom. \u003ca href=\"https://www.roxie.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Roxie\u003c/a> in San Francisco’s Mission District was almost empty — only two other people were present at the Thursday evening screening of the John Turturro vehicle \u003cem>The Jesus Rolls\u003c/em> — and the staff looked worried and depressed.\u003c/p>\n\u003cp>“Everything’s super subject to change right now,” said box office manager Russell Hartling, handing me my ticket and a sanitizing wipe. “It’s been really hard.”\u003c/p>\n\u003cp>After months of missing the big screen experience and making do with services like Netflix, HBO and Amazon Prime on a small, tinny-sounding TV in my bedroom at home, it was nothing short of thrilling, last weekend, to plop down in a plush seat in front of a Hollywood blockbuster (Christopher Nolan’s sci-fi action movie \u003cem>Tenet\u003c/em>) with a bag of popcorn once again.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.cinemark.com/theatres/ca-napa/century-napa-valley-and-xd\" target=\"_blank\" rel=\"noopener noreferrer\">Century Theater in Napa\u003c/a> is one of few Bay Area cinemas that have been back in business over the past two weeks since California Governor Gavin Newsom announced a new “\u003ca href=\"https://covid19.ca.gov/safer-economy/\" target=\"_blank\" rel=\"noopener noreferrer\">tier system\u003c/a>” for reopening indoor activities and businesses, depending on counties hitting and sustaining prescribed targets for COVID-19 cases.\u003c/p>\n\u003cp>Walking into the brightly lit lobby of the Century felt just like old times — except for a few health and safety-related details.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The soda fountains and condiment stations sat empty. Everyone wore masks. Signs on the floor reminded people to stand six feet apart, and posters on the walls outlined the theater’s new “\u003ca href=\"https://www.cinemasafe.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Cinemasafe\u003c/a>” health and safety guidelines.\u003c/p>\n\u003cp>\u003ca href=\"https://youtu.be/0hMh1sN2O_8\">https://youtu.be/0hMh1sN2O_8\u003c/a>\u003c/p>\n\u003cp>In the auditorium, my nearest neighbors sat at least three seats away from me on all sides, in accordance with state guidelines allowing theaters in counties with low enough COVID-19 rates to reopen at 25% capacity or 100 people, whichever is less.\u003c/p>\n\u003cp>“Our I.T. folks created a seat-buffering technology within our ticketing system that allows us to block seats adjacent to a party once they’ve purchased their tickets,” said Mike Wegner, who oversees operations for 20 California movie theaters owned by the \u003ca href=\"https://www.cinemark.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Cinemark\u003c/a> group, including the one I visited in Napa. “We’ve staggered showtimes to further ensure physical distancing.”\u003c/p>\n\u003cp>Napa is currently one of four Bay Area counties, along with San Francisco, Santa Clara and Marin, where state officials have allowed indoor movie theaters to reopen at reduced capacity.\u003c/p>\n\u003cp>“Napa County has been operating in accordance with state guidelines since the onset of the pandemic,” said Napa County public information officer Janet Upton of her region’s decision to run with the state’s mandate. “We are a small, rural county with barely 140,000 residents, so we continued to follow the state’s mandates and guidance as we have all along.”\u003c/p>\n\u003cp>But even though the state says they can, some local health authorities aren’t prepared to reopen their movie theaters just yet.\u003c/p>\n\u003cp>At a recent public meeting, \u003ca href=\"https://www.sccgov.org/sites/cco/overview/Pages/williams-bio.aspx\" target=\"_blank\" rel=\"noopener noreferrer\">Santa Clara County counsel James R. Williams\u003c/a> said cinemas still pose a risk because they’re indoors, and physical distancing and strict mask-wearing are harder to enforce.\u003c/p>\n\u003cfigure id=\"attachment_13886445\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886445\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/posters-outside-the-napa-theater-showing-safety-protocols-2-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/posters-outside-the-napa-theater-showing-safety-protocols-2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/posters-outside-the-napa-theater-showing-safety-protocols-2-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/posters-outside-the-napa-theater-showing-safety-protocols-2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/posters-outside-the-napa-theater-showing-safety-protocols-2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/posters-outside-the-napa-theater-showing-safety-protocols-2-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/posters-outside-the-napa-theater-showing-safety-protocols-2-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/posters-outside-the-napa-theater-showing-safety-protocols-2-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Posters outlining the new health and safety protocols outside the Century theater in Napa. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There are three areas that may not open under the county risk reduction order. That is: indoor dining, indoor gatherings and indoor movie theaters,” Williams said. “It’s all the more important that we remain really vigilant and on top of trying to keep the case counts here locally as low as possible.”\u003c/p>\n\u003cp>Some movie industry insiders are frustrated with the delay.\u003c/p>\n\u003cp>“We understand that by opening those theater doors, we are assuming a big responsibility,” said Milt Moritz, regional (California/Nevada) president and CEO of the \u003ca href=\"http://www.natocalnev.org/\" target=\"_blank\" rel=\"noopener noreferrer\">National Association of Theater Owners\u003c/a>, a trade organization which represents more than 90 percent of screens in California. “We hope to be able to persuade the different health departments that, you know, they should have more of an open mind.”\u003c/p>\n\u003cp>In San Francisco, where big screens remain off-limits for now, Roxie Theater executive director Lex Sloan said the mixed messages are confusing to audiences.\u003c/p>\n\u003cp>“A lot of people are saying, ‘When are you going to reopen?’ And I’m saying, ‘Well, even though Governor Newsom said we could open, that doesn’t mean Mayor London Breed has said that we can.'”\u003c/p>\n\u003cp>In some other regions of the country, movie theaters have been steadily reopening since June. Despite the reopening of outdoor screens here in the Bay Area, like the \u003ca href=\"https://www.kqed.org/arts/13879772/hooray-you-can-go-to-the-movies-again-at-a-drive-in-theater\" target=\"_blank\" rel=\"noopener noreferrer\">Westwind Capitol Drive-In in San Jose\u003c/a> and the \u003ca href=\"https://www.kqed.org/arts/13883486/a-new-pop-up-drive-in-theater-just-over-the-hill-from-indiana-jones-house\" target=\"_blank\" rel=\"noopener noreferrer\">Lark pop-up in Corte Madera\u003c/a>, the extended closure of indoor cinemas has taken a huge toll on the local moviegoing landscape. Some theaters have closed for good, like the Corte Madera Cinemark and the Raven Theater in Healdsburg—permanent casualties of the COVID-19 shutdown.\u003c/p>\n\u003cp>Meanwhile, theaters across the Bay have had to get creative to keep going. After burning through government funding and loans, \u003ca href=\"https://www.rialtocinemas.com/index.php?location=sebastopol\" target=\"_blank\" rel=\"noopener noreferrer\">Rialto Cinemas\u003c/a> in Sebastopol launched a \u003ca href=\"https://www.gofundme.com/f/rialto-cinemas-needs-your-help\" target=\"_blank\" rel=\"noopener noreferrer\">fundraising campaign\u003c/a> to shore up its dwindling cash reservoir. At the time of writing, the independent theater was just $900 short of meeting its $75,000 goal.\u003c/p>\n\u003cp>“Thursday will mark our seventh month of consecutive closure which is more than we could have ever imagined,” said theater owner Ky Boyd. “We’ve done everything we can to stay afloat. It’s very scary because we have no rent relief. We need support from our government and our community.”\u003c/p>\n\u003cp>As for the Roxie, Sloan said the past six months have been extremely tough, since around 80 percent of the theater’s income stems from ticket sales and theater rentals. She has been forced to lay off many employees, and the cinema has relied on selling tickets to virtual programs for its survival.\u003c/p>\n\u003cp>Yet Sloan said she welcomes San Francisco’s cautious approach to reopening.\u003c/p>\n\u003cp>When the Roxie does eventually open its doors again for business, Sloan said, it’ll likely be only for private rentals at first. Beyond that, she plans to send out a survey to find out what movie audiences want to see when they can finally come back.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“As a community-driven nonprofit cinema, the community is our top priority,” Sloan said. “The safety and health of our staff and patrons mean more to us than reopening quickly.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The thing I remember most about the last time I went to a movie theater before they all shut down in mid-March was the sense of impending doom. \u003ca href=\"https://www.roxie.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Roxie\u003c/a> in San Francisco’s Mission District was almost empty — only two other people were present at the Thursday evening screening of the John Turturro vehicle \u003cem>The Jesus Rolls\u003c/em> — and the staff looked worried and depressed.\u003c/p>\n\u003cp>“Everything’s super subject to change right now,” said box office manager Russell Hartling, handing me my ticket and a sanitizing wipe. “It’s been really hard.”\u003c/p>\n\u003cp>After months of missing the big screen experience and making do with services like Netflix, HBO and Amazon Prime on a small, tinny-sounding TV in my bedroom at home, it was nothing short of thrilling, last weekend, to plop down in a plush seat in front of a Hollywood blockbuster (Christopher Nolan’s sci-fi action movie \u003cem>Tenet\u003c/em>) with a bag of popcorn once again.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.cinemark.com/theatres/ca-napa/century-napa-valley-and-xd\" target=\"_blank\" rel=\"noopener noreferrer\">Century Theater in Napa\u003c/a> is one of few Bay Area cinemas that have been back in business over the past two weeks since California Governor Gavin Newsom announced a new “\u003ca href=\"https://covid19.ca.gov/safer-economy/\" target=\"_blank\" rel=\"noopener noreferrer\">tier system\u003c/a>” for reopening indoor activities and businesses, depending on counties hitting and sustaining prescribed targets for COVID-19 cases.\u003c/p>\n\u003cp>Walking into the brightly lit lobby of the Century felt just like old times — except for a few health and safety-related details.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The soda fountains and condiment stations sat empty. Everyone wore masks. Signs on the floor reminded people to stand six feet apart, and posters on the walls outlined the theater’s new “\u003ca href=\"https://www.cinemasafe.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Cinemasafe\u003c/a>” health and safety guidelines.\u003c/p>\n\u003cp>\u003ca href=\"https://youtu.be/0hMh1sN2O_8\">https://youtu.be/0hMh1sN2O_8\u003c/a>\u003c/p>\n\u003cp>In the auditorium, my nearest neighbors sat at least three seats away from me on all sides, in accordance with state guidelines allowing theaters in counties with low enough COVID-19 rates to reopen at 25% capacity or 100 people, whichever is less.\u003c/p>\n\u003cp>“Our I.T. folks created a seat-buffering technology within our ticketing system that allows us to block seats adjacent to a party once they’ve purchased their tickets,” said Mike Wegner, who oversees operations for 20 California movie theaters owned by the \u003ca href=\"https://www.cinemark.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Cinemark\u003c/a> group, including the one I visited in Napa. “We’ve staggered showtimes to further ensure physical distancing.”\u003c/p>\n\u003cp>Napa is currently one of four Bay Area counties, along with San Francisco, Santa Clara and Marin, where state officials have allowed indoor movie theaters to reopen at reduced capacity.\u003c/p>\n\u003cp>“Napa County has been operating in accordance with state guidelines since the onset of the pandemic,” said Napa County public information officer Janet Upton of her region’s decision to run with the state’s mandate. “We are a small, rural county with barely 140,000 residents, so we continued to follow the state’s mandates and guidance as we have all along.”\u003c/p>\n\u003cp>But even though the state says they can, some local health authorities aren’t prepared to reopen their movie theaters just yet.\u003c/p>\n\u003cp>At a recent public meeting, \u003ca href=\"https://www.sccgov.org/sites/cco/overview/Pages/williams-bio.aspx\" target=\"_blank\" rel=\"noopener noreferrer\">Santa Clara County counsel James R. Williams\u003c/a> said cinemas still pose a risk because they’re indoors, and physical distancing and strict mask-wearing are harder to enforce.\u003c/p>\n\u003cfigure id=\"attachment_13886445\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886445\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/posters-outside-the-napa-theater-showing-safety-protocols-2-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/posters-outside-the-napa-theater-showing-safety-protocols-2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/posters-outside-the-napa-theater-showing-safety-protocols-2-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/posters-outside-the-napa-theater-showing-safety-protocols-2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/posters-outside-the-napa-theater-showing-safety-protocols-2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/posters-outside-the-napa-theater-showing-safety-protocols-2-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/posters-outside-the-napa-theater-showing-safety-protocols-2-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/posters-outside-the-napa-theater-showing-safety-protocols-2-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Posters outlining the new health and safety protocols outside the Century theater in Napa. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There are three areas that may not open under the county risk reduction order. That is: indoor dining, indoor gatherings and indoor movie theaters,” Williams said. “It’s all the more important that we remain really vigilant and on top of trying to keep the case counts here locally as low as possible.”\u003c/p>\n\u003cp>Some movie industry insiders are frustrated with the delay.\u003c/p>\n\u003cp>“We understand that by opening those theater doors, we are assuming a big responsibility,” said Milt Moritz, regional (California/Nevada) president and CEO of the \u003ca href=\"http://www.natocalnev.org/\" target=\"_blank\" rel=\"noopener noreferrer\">National Association of Theater Owners\u003c/a>, a trade organization which represents more than 90 percent of screens in California. “We hope to be able to persuade the different health departments that, you know, they should have more of an open mind.”\u003c/p>\n\u003cp>In San Francisco, where big screens remain off-limits for now, Roxie Theater executive director Lex Sloan said the mixed messages are confusing to audiences.\u003c/p>\n\u003cp>“A lot of people are saying, ‘When are you going to reopen?’ And I’m saying, ‘Well, even though Governor Newsom said we could open, that doesn’t mean Mayor London Breed has said that we can.'”\u003c/p>\n\u003cp>In some other regions of the country, movie theaters have been steadily reopening since June. Despite the reopening of outdoor screens here in the Bay Area, like the \u003ca href=\"https://www.kqed.org/arts/13879772/hooray-you-can-go-to-the-movies-again-at-a-drive-in-theater\" target=\"_blank\" rel=\"noopener noreferrer\">Westwind Capitol Drive-In in San Jose\u003c/a> and the \u003ca href=\"https://www.kqed.org/arts/13883486/a-new-pop-up-drive-in-theater-just-over-the-hill-from-indiana-jones-house\" target=\"_blank\" rel=\"noopener noreferrer\">Lark pop-up in Corte Madera\u003c/a>, the extended closure of indoor cinemas has taken a huge toll on the local moviegoing landscape. Some theaters have closed for good, like the Corte Madera Cinemark and the Raven Theater in Healdsburg—permanent casualties of the COVID-19 shutdown.\u003c/p>\n\u003cp>Meanwhile, theaters across the Bay have had to get creative to keep going. After burning through government funding and loans, \u003ca href=\"https://www.rialtocinemas.com/index.php?location=sebastopol\" target=\"_blank\" rel=\"noopener noreferrer\">Rialto Cinemas\u003c/a> in Sebastopol launched a \u003ca href=\"https://www.gofundme.com/f/rialto-cinemas-needs-your-help\" target=\"_blank\" rel=\"noopener noreferrer\">fundraising campaign\u003c/a> to shore up its dwindling cash reservoir. At the time of writing, the independent theater was just $900 short of meeting its $75,000 goal.\u003c/p>\n\u003cp>“Thursday will mark our seventh month of consecutive closure which is more than we could have ever imagined,” said theater owner Ky Boyd. “We’ve done everything we can to stay afloat. It’s very scary because we have no rent relief. We need support from our government and our community.”\u003c/p>\n\u003cp>As for the Roxie, Sloan said the past six months have been extremely tough, since around 80 percent of the theater’s income stems from ticket sales and theater rentals. She has been forced to lay off many employees, and the cinema has relied on selling tickets to virtual programs for its survival.\u003c/p>\n\u003cp>Yet Sloan said she welcomes San Francisco’s cautious approach to reopening.\u003c/p>\n\u003cp>When the Roxie does eventually open its doors again for business, Sloan said, it’ll likely be only for private rentals at first. Beyond that, she plans to send out a survey to find out what movie audiences want to see when they can finally come back.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Working at a movie theater is the definition of “hurry up and wait.” You hustle to sell tickets and popcorn, you get everyone in their seats, and then you have two hours of downtime. What happens in the long spaces between movies? \u003cem>The Flick\u003c/em> is a Pulitzer-winning play about just that. With only three characters, all of them working at an outdated one-screen movie theater, the play covers idle chatter, dance-offs, romantic pursuits, brash confessions, tête-à-têtes, and an ongoing game of \u003ca href=\"https://en.wikipedia.org/wiki/Six_Degrees_of_Kevin_Bacon\" rel=\"noopener noreferrer\" target=\"_blank\">Six Degrees of Kevin Bacon\u003c/a>.\u003c/p>\n\u003cp>I saw \u003cem>The Flick\u003c/em> when it was at Shotgun Players in Berkeley last year, and it wasn’t perfect, but having firsthand knowledge of the tedium and drudgery of movie theater employment, I can say that it got a lot of things right. Enough so that I’m excited to see it in the hands of Left Edge Theater company in Santa Rosa, a small company with a big reputation for excellence. If you’ve ever worked at a movie theater, or really any job working with the public, I fully recommend it. It runs March 6-29 at Left Edge Theater, in the Luther Burbank Center in Santa Rosa.—\u003cem>Gabe Meline\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Working at a movie theater is the definition of “hurry up and wait.” You hustle to sell tickets and popcorn, you get everyone in their seats, and then you have two hours of downtime. What happens in the long spaces between movies? \u003cem>The Flick\u003c/em> is a Pulitzer-winning play about just that. With only three characters, all of them working at an outdated one-screen movie theater, the play covers idle chatter, dance-offs, romantic pursuits, brash confessions, tête-à-têtes, and an ongoing game of \u003ca href=\"https://en.wikipedia.org/wiki/Six_Degrees_of_Kevin_Bacon\" rel=\"noopener noreferrer\" target=\"_blank\">Six Degrees of Kevin Bacon\u003c/a>.\u003c/p>\n\u003cp>I saw \u003cem>The Flick\u003c/em> when it was at Shotgun Players in Berkeley last year, and it wasn’t perfect, but having firsthand knowledge of the tedium and drudgery of movie theater employment, I can say that it got a lot of things right. Enough so that I’m excited to see it in the hands of Left Edge Theater company in Santa Rosa, a small company with a big reputation for excellence. If you’ve ever worked at a movie theater, or really any job working with the public, I fully recommend it. It runs March 6-29 at Left Edge Theater, in the Luther Burbank Center in Santa Rosa.—\u003cem>Gabe Meline\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">O\u003c/span>n Oct. 15, 2008, as voters across the country tuned in to the third and final presidential debate between then-senators Barack Obama and John McCain, I was wedged precariously into the backseat of a coworker’s car with three other people as the driver careened around the block near the Parkway Speakeasy Theater in Oakland, looking for a parking spot.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13839927\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/EmmaSilvers.HeadshotwCap-160x193.jpg\" alt=\"\" width=\"160\" height=\"193\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/EmmaSilvers.HeadshotwCap-160x193.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/EmmaSilvers.HeadshotwCap.jpg 180w\" sizes=\"auto, (max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>We’d left early that day from the tiny Berkeley publishing house where we all worked in order to get seats at the Parkway, which was screening the debate. Our driver eventually dropped us off to snag a good couch while she parked; by the time she plopped down next to us, it’s likely we’d collectively downed at least one pitcher of beer.\u003c/p>\n\u003cp>With ten years’ hindsight, this debate is mostly remembered as the one where McCain invoked “Joe the Plumber”—the regular-guy small business owner who would ostensibly be ruined by Obama’s ostensibly socialist tax plan. But the main thing I remember is people were drunk, hollering, and throwing popcorn at the screen by about 15 minutes in. The irreverence was gleeful, contagious; the heckling matched any I’ve seen in the bleachers at the Oakland Coliseum. Around us, people ate pizza and spilled drinks; our shoes stuck to the floor. (The old Parkway, for readers who only know of its new incarnation, was a little gross in its latter years. This was, you see, part of its charm.)\u003c/p>\n\u003cp>I don’t recall leaving that evening. But I do remember looking around during the debate and thinking, \u003cem>Man, I love this place\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Six months later, the Parkway closed for good.\u003c/p>\n\u003cfigure id=\"attachment_13839905\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839905\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/BootsRiley.GrandLake.Crews_-800x572.jpg\" alt=\"Boots Riley (at right) at the premiere of 'Sorry to Bother You' at the Grand Lake Theatre, April 12, 2018, with cast members Michael X. Sommers, Terry Crews and Jermaine Fowler (L–R).\" width=\"800\" height=\"572\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BootsRiley.GrandLake.Crews_-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BootsRiley.GrandLake.Crews_-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BootsRiley.GrandLake.Crews_-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BootsRiley.GrandLake.Crews_-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BootsRiley.GrandLake.Crews_-1200x858.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BootsRiley.GrandLake.Crews_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BootsRiley.GrandLake.Crews_-1180x843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BootsRiley.GrandLake.Crews_-960x686.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BootsRiley.GrandLake.Crews_-240x172.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BootsRiley.GrandLake.Crews_-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BootsRiley.GrandLake.Crews_-520x372.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Boots Riley (at right) at the premiere of ‘Sorry to Bother You’ at the Grand Lake Theatre, April 12, 2018, with cast members Michael X. Sommers, Terry Crews and Jermaine Fowler (L–R). \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>hen is a movie theater more than just a movie theater?\u003c/p>\n\u003cp>This question was on my mind with the welcome news that Oakland’s Grand Lake Theatre, the 1926 movie house near Lake Merritt, has \u003ca href=\"https://www.sfchronicle.com/movies/article/Oakland-s-Grand-Lake-Theatre-purchased-will-13181330.php\" target=\"_blank\" rel=\"noopener noreferrer\">been sold outright\u003c/a> to its longtime leaseholder, Allen Michaan. The new owner, who purchased the building for $3.75 million, has plans to seek landmark status for the theater in the National Register of Historic Places, further protecting it from the rapid development that’s swept much of Oakland over the past decade.\u003c/p>\n\u003cp>On top of its architecture and spectacular, ornate interiors, the Grand Lake has always played a special role in Oakland. For one, its marquee could be counted on for candid messages of political protest well before our current president was elected. When I lived nearby, it always made me proud to see what particular anti-war or anti-imperialist message it might bear on a given day. In recent years, as so many businesses and brands struggle to strike a tone that conveys dissent without alienating conservatives, such frankness has felt not just refreshing, but vital.\u003c/p>\n\u003cp>And then there’s the cyclical role the theater has played in filmmaking itself.\u003c/p>\n\u003cfigure id=\"attachment_13825675\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825675\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/24-800x533.jpg\" alt=\"Director Ryan Coogler speaking at the Grand Lake Theater with members of the cast and crew of 'Fruitvale Station' (Michael B. Jordan, Melonie Diaz, Octavia Spencer, Forest Whittaker and others) on the night of the premiere.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/24-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/24-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/24-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/24-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/24.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/24-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/24-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/24-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/24-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/24-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Director Ryan Coogler speaking at the Grand Lake Theatre with members of the cast and crew of ‘Fruitvale Station’ (Michael B. Jordan, Melonie Diaz, Octavia Spencer, Forest Whittaker and others) at the premiere on June 20, 2013. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the past year, a trio of Oakland-based and/or Oakland-made films has meant huge box office numbers for the Grand Lake. Chronologically by release, that’d be \u003cem>Black Panther\u003c/em>, \u003cem>Sorry To Bother You\u003c/em>, and \u003cem>Blindspotting; \u003c/em>Michaan told reporters the sale was possible in part because of that windfall. That’s sweet and satisfying, but it’s also not serendipitous: those films meant good business for the Grand Lake in large part because their filmmakers specifically chose to drive business to the theater—\u003cem>because\u003c/em> of its importance in the community—by holding blowout premieres there aimed at locals.\u003c/p>\n\u003cp>\u003cem>Black Panther\u003c/em> director Ryan Coogler surprised one audience with a pre-film talk, mentioning how he saw \u003cem>Boyz n the Hood\u003c/em> at the Grand Lake as a kid, while Boots Riley mentioned at his premiere screening of \u003cem>Sorry to Bother You\u003c/em> how, as a young teenager, he’d rushed to the Grand Lake to watch \u003cem>Krush Groove\u003c/em>.\u003c/p>\n\u003cp>Film begetting filmmakers. Community begetting community.\u003c/p>\n\u003cp>“I think it’s a movie you need to see with other people,” Riley \u003ca href=\"https://pitchfork.com/features/interview/boots-riley-breaks-down-the-savvy-radicalism-of-his-directorial-debut-sorry-to-bother-you/\" target=\"_blank\" rel=\"noopener noreferrer\">told me\u003c/a> of his film, shortly after its Grand Lake premiere for the San Francisco International Film Festival—the first centerpiece screening to be held in the East Bay in the festival’s existence. “It’s something you need to feel with other people … it’s not something I planned for people to watch on their laptop.”\u003c/p>\n\u003cp>It’s an event, in other words. Online streaming services are convenient, yes. But the experience of sitting in a darkened room with other human beings, most of them strangers, all in a place of deep vulnerability together, all suspending disbelief together, all taking a trip together with one piece of art on one big screen? Forget convenience. That’s \u003cem>sacred\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13839906\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839906\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/GrandLakemarqueecloseup-800x450.jpg\" alt=\"The marquee of the Grand Lake Theatre, which often hosts political messages.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GrandLakemarqueecloseup-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GrandLakemarqueecloseup-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GrandLakemarqueecloseup-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GrandLakemarqueecloseup-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GrandLakemarqueecloseup-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GrandLakemarqueecloseup-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GrandLakemarqueecloseup-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GrandLakemarqueecloseup-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GrandLakemarqueecloseup-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GrandLakemarqueecloseup-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GrandLakemarqueecloseup.jpg 1291w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The marquee of the Grand Lake Theatre, which often hosts political messages. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">D\u003c/span>o you remember the first movie you ever saw in the theater? I don’t. I’m told it was \u003cem>Willow\u003c/em>, and I fell asleep.\u003c/p>\n\u003cp>To be sure, we’ve all had plenty of forgettable movie-going experiences. You know the ones: times when you feel part of a cattle call, there in line to spend $25 on fake butter and soda, all too aware of the multiplex not as a physical space but a concept—the undignified end of a corporate conveyor belt that needs you, the consumer, to not think too hard about what came before, or who’s profiting afterward.\u003c/p>\n\u003cp>But then there are the other times: times you experience cinematic magic, at a theater you will love \u003cem>from that point on\u003c/em>—because the space became personal, served as the setting for a feeling that can’t be duplicated. The Castro Theatre, with its organist, screening \u003cem>Vertigo\u003c/em> annually, then turning around and hosting hundreds of adults in taffeta for a \u003cem>The Little Mermaid\u003c/em> sing-alongs. The Roxie Theatre, with its old-school projectionists, deciding, sure, let’s have people bring their dogs to \u003cem>Isle of Dogs\u003c/em>. I think a lot about the Oaks Theatre, at the top of Solano Ave. in Berkeley, a historic space that at one point employed a half-dozen of my high school friends. I think about a photo of a couple of them grinning, standing in front of the marquee, where a manager had spelled out their names on graduation day.\u003c/p>\n\u003cp>The fact that the Oaks closed in 2010—last I checked, its space is slated to become a climbing gym—is far from an anomaly. It’s hardly news that the movie theater business has struggled to keep up since the advent of on-demand streaming, while independent movie houses, without the \u003cem>Star Wars\u003c/em> and \u003cem>Jurassic World\u003c/em> blockbusters to bring in the big bucks, get the shortest end of every stick.\u003c/p>\n\u003cp>And, as a consumer, it’s all too easy to understand the trend. I have Netflix, and Hulu, and my parents’ HBO Go password at the ready.\u003c/p>\n\u003cp>But when I think on why the Grand Lake news feels so damn triumphant, I also remember being 8 years old—when, during the \u003ca href=\"https://www.solanoavenueassn.org/events/solano-avenue-stroll/\" target=\"_blank\" rel=\"noopener noreferrer\">Solano Stroll\u003c/a>, if you weren’t the kind of kid to be in a marching band or dance troupe that actually took part in the bright, loud parade, you were likely the kind of kid who could be found at the Oaks. There, in the dark, you could stuff yourself with candy, surrounded by other kids more entranced by a movie screen than a dunk tank, watching the classic cartoons they played all day for free, just that day, once a year.\u003c/p>\n\u003cp>Who knows? Maybe some of them grew up to make movies too.\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=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Emma Silvers is a writer living in San Francisco. Find her on Twitter \u003ca href=\"https://twitter.com/emmaruthless\" 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>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">O\u003c/span>n Oct. 15, 2008, as voters across the country tuned in to the third and final presidential debate between then-senators Barack Obama and John McCain, I was wedged precariously into the backseat of a coworker’s car with three other people as the driver careened around the block near the Parkway Speakeasy Theater in Oakland, looking for a parking spot.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13839927\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/EmmaSilvers.HeadshotwCap-160x193.jpg\" alt=\"\" width=\"160\" height=\"193\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/EmmaSilvers.HeadshotwCap-160x193.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/EmmaSilvers.HeadshotwCap.jpg 180w\" sizes=\"auto, (max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>We’d left early that day from the tiny Berkeley publishing house where we all worked in order to get seats at the Parkway, which was screening the debate. Our driver eventually dropped us off to snag a good couch while she parked; by the time she plopped down next to us, it’s likely we’d collectively downed at least one pitcher of beer.\u003c/p>\n\u003cp>With ten years’ hindsight, this debate is mostly remembered as the one where McCain invoked “Joe the Plumber”—the regular-guy small business owner who would ostensibly be ruined by Obama’s ostensibly socialist tax plan. But the main thing I remember is people were drunk, hollering, and throwing popcorn at the screen by about 15 minutes in. The irreverence was gleeful, contagious; the heckling matched any I’ve seen in the bleachers at the Oakland Coliseum. Around us, people ate pizza and spilled drinks; our shoes stuck to the floor. (The old Parkway, for readers who only know of its new incarnation, was a little gross in its latter years. This was, you see, part of its charm.)\u003c/p>\n\u003cp>I don’t recall leaving that evening. But I do remember looking around during the debate and thinking, \u003cem>Man, I love this place\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Six months later, the Parkway closed for good.\u003c/p>\n\u003cfigure id=\"attachment_13839905\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839905\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/BootsRiley.GrandLake.Crews_-800x572.jpg\" alt=\"Boots Riley (at right) at the premiere of 'Sorry to Bother You' at the Grand Lake Theatre, April 12, 2018, with cast members Michael X. Sommers, Terry Crews and Jermaine Fowler (L–R).\" width=\"800\" height=\"572\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BootsRiley.GrandLake.Crews_-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BootsRiley.GrandLake.Crews_-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BootsRiley.GrandLake.Crews_-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BootsRiley.GrandLake.Crews_-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BootsRiley.GrandLake.Crews_-1200x858.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BootsRiley.GrandLake.Crews_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BootsRiley.GrandLake.Crews_-1180x843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BootsRiley.GrandLake.Crews_-960x686.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BootsRiley.GrandLake.Crews_-240x172.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BootsRiley.GrandLake.Crews_-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BootsRiley.GrandLake.Crews_-520x372.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Boots Riley (at right) at the premiere of ‘Sorry to Bother You’ at the Grand Lake Theatre, April 12, 2018, with cast members Michael X. Sommers, Terry Crews and Jermaine Fowler (L–R). \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>hen is a movie theater more than just a movie theater?\u003c/p>\n\u003cp>This question was on my mind with the welcome news that Oakland’s Grand Lake Theatre, the 1926 movie house near Lake Merritt, has \u003ca href=\"https://www.sfchronicle.com/movies/article/Oakland-s-Grand-Lake-Theatre-purchased-will-13181330.php\" target=\"_blank\" rel=\"noopener noreferrer\">been sold outright\u003c/a> to its longtime leaseholder, Allen Michaan. The new owner, who purchased the building for $3.75 million, has plans to seek landmark status for the theater in the National Register of Historic Places, further protecting it from the rapid development that’s swept much of Oakland over the past decade.\u003c/p>\n\u003cp>On top of its architecture and spectacular, ornate interiors, the Grand Lake has always played a special role in Oakland. For one, its marquee could be counted on for candid messages of political protest well before our current president was elected. When I lived nearby, it always made me proud to see what particular anti-war or anti-imperialist message it might bear on a given day. In recent years, as so many businesses and brands struggle to strike a tone that conveys dissent without alienating conservatives, such frankness has felt not just refreshing, but vital.\u003c/p>\n\u003cp>And then there’s the cyclical role the theater has played in filmmaking itself.\u003c/p>\n\u003cfigure id=\"attachment_13825675\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825675\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/24-800x533.jpg\" alt=\"Director Ryan Coogler speaking at the Grand Lake Theater with members of the cast and crew of 'Fruitvale Station' (Michael B. Jordan, Melonie Diaz, Octavia Spencer, Forest Whittaker and others) on the night of the premiere.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/24-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/24-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/24-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/24-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/24.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/24-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/24-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/24-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/24-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/24-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Director Ryan Coogler speaking at the Grand Lake Theatre with members of the cast and crew of ‘Fruitvale Station’ (Michael B. Jordan, Melonie Diaz, Octavia Spencer, Forest Whittaker and others) at the premiere on June 20, 2013. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the past year, a trio of Oakland-based and/or Oakland-made films has meant huge box office numbers for the Grand Lake. Chronologically by release, that’d be \u003cem>Black Panther\u003c/em>, \u003cem>Sorry To Bother You\u003c/em>, and \u003cem>Blindspotting; \u003c/em>Michaan told reporters the sale was possible in part because of that windfall. That’s sweet and satisfying, but it’s also not serendipitous: those films meant good business for the Grand Lake in large part because their filmmakers specifically chose to drive business to the theater—\u003cem>because\u003c/em> of its importance in the community—by holding blowout premieres there aimed at locals.\u003c/p>\n\u003cp>\u003cem>Black Panther\u003c/em> director Ryan Coogler surprised one audience with a pre-film talk, mentioning how he saw \u003cem>Boyz n the Hood\u003c/em> at the Grand Lake as a kid, while Boots Riley mentioned at his premiere screening of \u003cem>Sorry to Bother You\u003c/em> how, as a young teenager, he’d rushed to the Grand Lake to watch \u003cem>Krush Groove\u003c/em>.\u003c/p>\n\u003cp>Film begetting filmmakers. Community begetting community.\u003c/p>\n\u003cp>“I think it’s a movie you need to see with other people,” Riley \u003ca href=\"https://pitchfork.com/features/interview/boots-riley-breaks-down-the-savvy-radicalism-of-his-directorial-debut-sorry-to-bother-you/\" target=\"_blank\" rel=\"noopener noreferrer\">told me\u003c/a> of his film, shortly after its Grand Lake premiere for the San Francisco International Film Festival—the first centerpiece screening to be held in the East Bay in the festival’s existence. “It’s something you need to feel with other people … it’s not something I planned for people to watch on their laptop.”\u003c/p>\n\u003cp>It’s an event, in other words. Online streaming services are convenient, yes. But the experience of sitting in a darkened room with other human beings, most of them strangers, all in a place of deep vulnerability together, all suspending disbelief together, all taking a trip together with one piece of art on one big screen? Forget convenience. That’s \u003cem>sacred\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13839906\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839906\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/GrandLakemarqueecloseup-800x450.jpg\" alt=\"The marquee of the Grand Lake Theatre, which often hosts political messages.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GrandLakemarqueecloseup-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GrandLakemarqueecloseup-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GrandLakemarqueecloseup-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GrandLakemarqueecloseup-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GrandLakemarqueecloseup-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GrandLakemarqueecloseup-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GrandLakemarqueecloseup-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GrandLakemarqueecloseup-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GrandLakemarqueecloseup-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GrandLakemarqueecloseup-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GrandLakemarqueecloseup.jpg 1291w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The marquee of the Grand Lake Theatre, which often hosts political messages. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">D\u003c/span>o you remember the first movie you ever saw in the theater? I don’t. I’m told it was \u003cem>Willow\u003c/em>, and I fell asleep.\u003c/p>\n\u003cp>To be sure, we’ve all had plenty of forgettable movie-going experiences. You know the ones: times when you feel part of a cattle call, there in line to spend $25 on fake butter and soda, all too aware of the multiplex not as a physical space but a concept—the undignified end of a corporate conveyor belt that needs you, the consumer, to not think too hard about what came before, or who’s profiting afterward.\u003c/p>\n\u003cp>But then there are the other times: times you experience cinematic magic, at a theater you will love \u003cem>from that point on\u003c/em>—because the space became personal, served as the setting for a feeling that can’t be duplicated. The Castro Theatre, with its organist, screening \u003cem>Vertigo\u003c/em> annually, then turning around and hosting hundreds of adults in taffeta for a \u003cem>The Little Mermaid\u003c/em> sing-alongs. The Roxie Theatre, with its old-school projectionists, deciding, sure, let’s have people bring their dogs to \u003cem>Isle of Dogs\u003c/em>. I think a lot about the Oaks Theatre, at the top of Solano Ave. in Berkeley, a historic space that at one point employed a half-dozen of my high school friends. I think about a photo of a couple of them grinning, standing in front of the marquee, where a manager had spelled out their names on graduation day.\u003c/p>\n\u003cp>The fact that the Oaks closed in 2010—last I checked, its space is slated to become a climbing gym—is far from an anomaly. It’s hardly news that the movie theater business has struggled to keep up since the advent of on-demand streaming, while independent movie houses, without the \u003cem>Star Wars\u003c/em> and \u003cem>Jurassic World\u003c/em> blockbusters to bring in the big bucks, get the shortest end of every stick.\u003c/p>\n\u003cp>And, as a consumer, it’s all too easy to understand the trend. I have Netflix, and Hulu, and my parents’ HBO Go password at the ready.\u003c/p>\n\u003cp>But when I think on why the Grand Lake news feels so damn triumphant, I also remember being 8 years old—when, during the \u003ca href=\"https://www.solanoavenueassn.org/events/solano-avenue-stroll/\" target=\"_blank\" rel=\"noopener noreferrer\">Solano Stroll\u003c/a>, if you weren’t the kind of kid to be in a marching band or dance troupe that actually took part in the bright, loud parade, you were likely the kind of kid who could be found at the Oaks. There, in the dark, you could stuff yourself with candy, surrounded by other kids more entranced by a movie screen than a dunk tank, watching the classic cartoons they played all day for free, just that day, once a year.\u003c/p>\n\u003cp>Who knows? Maybe some of them grew up to make movies too.\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=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Emma Silvers is a writer living in San Francisco. Find her on Twitter \u003ca href=\"https://twitter.com/emmaruthless\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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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. ",
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"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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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"planet-money": {
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
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