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"content": "\u003cp>With San Francisco as its backdrop, Ali Wong and Randall Park’s latest project is so much more than a romantic comedy.\u003c/p>\n\u003cp>\u003cem>Always Be My Maybe \u003c/em>is an enormously refreshing rom-com in a couple of ways that people who have covered its release have talked about a lot. Specifically, it’s an American rom-com (released on Netflix) that features two Asian American characters from a Korean American and Vietnamese American families who have sex, fall in love, break up, date other people and then find each other again. It stars Randall Park, who \u003ca href=\"https://www.npr.org/2015/10/14/448278570/actor-randall-park-says-fresh-off-the-boat-is-comedy-without-the-clich\">has spent the last several years\u003c/a> on ABC’s \u003cem>Fresh Off the Boat \u003c/em>but has had a long and varied career in comedy, and Ali Wong, \u003ca href=\"https://www.npr.org/2016/08/02/484163577/marriage-and-motherhood-are-a-source-of-power-says-comic-ali-wong\">whose career boomed after\u003c/a> the release of her comedy specials \u003cem>Baby Cobra \u003c/em>and then \u003cem>Hard Knock Wife\u003c/em>. Park and Wong have known each other a long time, and they have eager fan excitement to thank (at least in part) for the fact that they decided to actually go ahead with the project.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Always Be My Maybe | Trailer | Netflix\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/iHBcWHY9lN4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>As romantic comedies have contracted after their post-’90s boom, those featuring leads of color have been, regrettably but predictably, hit especially hard. And while \u003cem>Crazy Rich Asians \u003c/em>in 2018 \u003ca href=\"https://www.npr.org/sections/codeswitch/2018/08/14/637168347/opinion-dont-sweat-the-repsweats-and-let-crazy-rich-asians-be-what-it-is\">brought welcome representation\u003c/a> for Asian American actors in both romance and comedy, it was not really quite a romantic comedy in the traditional sense.\u003c/p>\n\u003cp>This is one. Straight-up, down-the-middle, glorious romantic comedy for people who really and truly love and miss that kind of movie — and the fact that both leads are Asian American isn’t the only way in which it’s fresh-faced. It’s also noteworthy that Park is 45 and Wong is 37, making them significantly older than rom-com leads often are. (When Billy Crystal and Meg Ryan appeared in \u003cem>When Harry Met Sally…,\u003c/em> also a long-relationship film and the one Wong and Park have often cited as inspiration, Crystal was just over 40 and Ryan was in her late 20s.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The two play Marcus and Sasha, who become best pals as kids in San Francisco’s Richmond district. They share one awkward sexual experience and then go their separate ways. Years later, when he’s still working with his father and she’s a celebrity chef, they meet up again. But he has a new and unusual girlfriend (a very funny Vivian Bang), and she’s dating a fancypants rich guy played by the always welcome Daniel Dae Kim.\u003c/p>\n\u003cp>I love what Wong is doing here with the idea of the very driven and successful romantic comedy heroine. Sasha is unapologetic about being ambitious, with the only conflict about her work coming from what feel like very fresh conversations with Marcus about whom she’s trying to please with “elevated Asian cuisine.” While discussing the menu with a consultant, she opts for rice paper because “white people eat it up.” There’s no sense that she needs to give up her job, and it’s clear that she’s probably going to remain famous while he remains not famous, no matter what else happens. Marcus is in a band, but while it would be easy to wrap this up by making his band a big hit, it would … not be particularly believable. (His band is called Hello Peril, which is just \u003ca href=\"https://www.npr.org/sections/codeswitch/2018/09/27/647989652/if-we-called-ourselves-yellow\">a great, great joke\u003c/a>.) For those who grew up in the Bay Area, the bonus nod to DJ star Lyrics Born and a nearly-miss-it cameo with DJ Q-bert add to that San Francisco pride.\u003c/p>\n\u003cp>[aside postID='arts_13812554' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2017/10/ARTS_FILIPINODJS_1.jpg' target='_blank']\u003c/p>\n\u003cp>Sasha’s best friend, Veronica (Michelle Buteau, because the great comedy people just keep on coming), is super-pregnant for most of the film (perhaps significantly, the same way Wong was when she shot both her comedy specials), and she’s spared just about every bad best-friend cliché. In fact, Veronica’s pregnancy almost operates like a subtle assurance that although she loves her friend, this love story is not the most important thing going on in her life at the moment.\u003c/p>\n\u003cp>Park, too, is just marvelously appealing, supportive and still sometimes kind of foolish in the way you have to be for a rom-com not to end until it’s time for it to end. His dad is played by the marvelous James Saito, and the two of them have an easy and funny chemistry. Both Marcus’ and Sasha’s parents certainly have some culturally specific touchstones, but it’s embarrassing how unusual it is to see Asian American characters with parents firmly outside any super-driven or super-silly stereotypes. (This was also a marvelous aspect of \u003ca href=\"https://www.npr.org/2019/03/13/703140118/cringing-through-hulus-pen15-in-a-good-way\">Hulu’s coming-of-age series\u003c/a> \u003cem>PEN15\u003c/em> and its portrayal of Maya’s mom.)\u003c/p>\n\u003cp>We have to talk about Keanu Reeves, though, because Keanu Reeves is in the marketing.\u003c/p>\n\u003cp>One of the tricks with a film like this is that the middle often drags. After you get through the first part, in which you meet the characters and set up their lives and their love story (SPOILER ALERT), and before you get to the end, as they begin to approach a happy ending (SPOILER ALERT!!), there’s a section in the middle where it can feel like you’re just … waiting. You’re waiting for the people to figure out that they love each other or that their current partners are wrong for them. You’re waiting for obstacles to clear. And that section often needs something. The people who made \u003cem>Always Be My Maybe\u003c/em> very wisely concluded that what it needed was Keanu Reeves.\u003c/p>\n\u003cp>Without saying too much about his role, let’s say that Reeves here is riffing on what you might call the Keanu Reeves Cultural Ideal — this notion that he’s a fighter and a poet and a paragon of decency who probably meditates in the shower. And of all the times I’ve seen an actor goof around with his own image, this just might be my very favorite — even above the Neil Patrick Harris appearance in \u003cem>Harold & Kumar Go to White Castle\u003c/em>. Reeves is a tremendously good sport and a fabulous comic actor, and every tiny decision he makes in these scenes is exactly right. It would be unfair to say he steals the film, because he doesn’t. But what you can say is that his appearance helps enormously in kicking the middle of the film in the pants to keep it from sagging.\u003c/p>\n\u003cp>It’s a film that delivers on all its promises, gives a lot of funny people a chance to shine and — yes indeed — provides some much-needed representation to a lot of potential love-story leads who don’t see themselves in Hollywood nearly often enough.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And let me add: If you don’t stick around at least through the part of the credits with … the surprise audio, you may be sad later. Because later, someone will show you what you missed, and you will say, “I should have listened to that NPR critic.” Stay at least through the childhood photos. They’re pretty fun anyway.\u003c/p>\n\u003chr>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Love+Finds+Ali+Wong+And+Randall+Park+In+%27Always+Be+My+Maybe%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sasha’s best friend, Veronica (Michelle Buteau, because the great comedy people just keep on coming), is super-pregnant for most of the film (perhaps significantly, the same way Wong was when she shot both her comedy specials), and she’s spared just about every bad best-friend cliché. In fact, Veronica’s pregnancy almost operates like a subtle assurance that although she loves her friend, this love story is not the most important thing going on in her life at the moment.\u003c/p>\n\u003cp>Park, too, is just marvelously appealing, supportive and still sometimes kind of foolish in the way you have to be for a rom-com not to end until it’s time for it to end. His dad is played by the marvelous James Saito, and the two of them have an easy and funny chemistry. Both Marcus’ and Sasha’s parents certainly have some culturally specific touchstones, but it’s embarrassing how unusual it is to see Asian American characters with parents firmly outside any super-driven or super-silly stereotypes. (This was also a marvelous aspect of \u003ca href=\"https://www.npr.org/2019/03/13/703140118/cringing-through-hulus-pen15-in-a-good-way\">Hulu’s coming-of-age series\u003c/a> \u003cem>PEN15\u003c/em> and its portrayal of Maya’s mom.)\u003c/p>\n\u003cp>We have to talk about Keanu Reeves, though, because Keanu Reeves is in the marketing.\u003c/p>\n\u003cp>One of the tricks with a film like this is that the middle often drags. After you get through the first part, in which you meet the characters and set up their lives and their love story (SPOILER ALERT), and before you get to the end, as they begin to approach a happy ending (SPOILER ALERT!!), there’s a section in the middle where it can feel like you’re just … waiting. You’re waiting for the people to figure out that they love each other or that their current partners are wrong for them. You’re waiting for obstacles to clear. And that section often needs something. The people who made \u003cem>Always Be My Maybe\u003c/em> very wisely concluded that what it needed was Keanu Reeves.\u003c/p>\n\u003cp>Without saying too much about his role, let’s say that Reeves here is riffing on what you might call the Keanu Reeves Cultural Ideal — this notion that he’s a fighter and a poet and a paragon of decency who probably meditates in the shower. And of all the times I’ve seen an actor goof around with his own image, this just might be my very favorite — even above the Neil Patrick Harris appearance in \u003cem>Harold & Kumar Go to White Castle\u003c/em>. Reeves is a tremendously good sport and a fabulous comic actor, and every tiny decision he makes in these scenes is exactly right. It would be unfair to say he steals the film, because he doesn’t. But what you can say is that his appearance helps enormously in kicking the middle of the film in the pants to keep it from sagging.\u003c/p>\n\u003cp>It’s a film that delivers on all its promises, gives a lot of funny people a chance to shine and — yes indeed — provides some much-needed representation to a lot of potential love-story leads who don’t see themselves in Hollywood nearly often enough.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And let me add: If you don’t stick around at least through the part of the credits with … the surprise audio, you may be sad later. Because later, someone will show you what you missed, and you will say, “I should have listened to that NPR critic.” Stay at least through the childhood photos. They’re pretty fun anyway.\u003c/p>\n\u003chr>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Love+Finds+Ali+Wong+And+Randall+Park+In+%27Always+Be+My+Maybe%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Because entertainment outlets are now infinite and every utterly ridiculous idea conceived by a celebrity can find a massive budget, Andy Samberg and his comedy group the Lonely Island have surprise-released \u003cem>The Unauthorized Bash Brothers Experience\u003c/em>, a half-hour special that answers a question nobody was really asking: what if the steroid-addled, home-run hitting duo of Mark McGwire and Jose Canseco had a late-1980s rap career?\u003c/p>\n\u003cp>You can watch the whole thing \u003ca href=\"https://www.netflix.com/title/81036190\" rel=\"noopener\" target=\"_blank\">here\u003c/a> if you have Netflix, and below is lead single “Oakland Nights,” featuring Jenny Slate, Hannah Simone and Sterling K. Brown as a silk-shirt loverman voiced by Sia:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LD4ryByjVyo\u003c/p>\n\u003cp>The rest of the project includes songs like “Focused AF,” “Bikini Babe Workout,” and “IHOP Parking Lot” (featuring HAIM and Maya Rudolph), plus about a zillion different lyrics about women, drugs, and the effect of steroids on one’s genitalia that I probably shouldn’t quote on a website owned by the station that brings you \u003cem>Sesame Street\u003c/em> each morning.\u003c/p>\n\u003cp>I dunno, guys. Andy Samberg was 11 when the A’s beat the Giants to win the World Series, he grew up in the Bay Area—maybe we should just let him have this juvenile, bonkers moment.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Thus, if you’re not in a meeting with your boss right now, here’s the \u003ca href=\"https://www.youtube.com/watch?v=VfKJxowxBb4\" rel=\"noopener\" target=\"_blank\">Oakland-themed video for “Uniform On”\u003c/a> (BART cameo!), and the whole soundtrack can be heard below. And of course, I am obligated to remind you to \u003ca href=\"https://www.youtube.com/watch?v=QixQMUu4CKI\" rel=\"noopener\" target=\"_blank\">re-watch one of the greatest Jose Canseco moments in baseball history\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed?uri=spotify%3Aalbum%3A6wWBAQlfQ4AXClTAgsJStH\" width=\"800\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\">\u003c/iframe>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Because entertainment outlets are now infinite and every utterly ridiculous idea conceived by a celebrity can find a massive budget, Andy Samberg and his comedy group the Lonely Island have surprise-released \u003cem>The Unauthorized Bash Brothers Experience\u003c/em>, a half-hour special that answers a question nobody was really asking: what if the steroid-addled, home-run hitting duo of Mark McGwire and Jose Canseco had a late-1980s rap career?\u003c/p>\n\u003cp>You can watch the whole thing \u003ca href=\"https://www.netflix.com/title/81036190\" rel=\"noopener\" target=\"_blank\">here\u003c/a> if you have Netflix, and below is lead single “Oakland Nights,” featuring Jenny Slate, Hannah Simone and Sterling K. Brown as a silk-shirt loverman voiced by Sia:\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/LD4ryByjVyo'\n title='//www.youtube.com/embed/LD4ryByjVyo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The rest of the project includes songs like “Focused AF,” “Bikini Babe Workout,” and “IHOP Parking Lot” (featuring HAIM and Maya Rudolph), plus about a zillion different lyrics about women, drugs, and the effect of steroids on one’s genitalia that I probably shouldn’t quote on a website owned by the station that brings you \u003cem>Sesame Street\u003c/em> each morning.\u003c/p>\n\u003cp>I dunno, guys. Andy Samberg was 11 when the A’s beat the Giants to win the World Series, he grew up in the Bay Area—maybe we should just let him have this juvenile, bonkers moment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>After weeks of hand-wringing, vote-wrangling and even some stern finger-wagging from the Department of Justice, the Academy of Motion Picture Arts and Sciences has declined to pursue a controversial proposal to change the Oscars’ eligibility rules.\u003c/p>\n\u003cp>That proposal, \u003ca href=\"https://variety.com/2019/film/news/steven-spielberg-academy-netflix-oscar-competition-1203153872/\">reportedly pushed by\u003c/a> megadirector Steven Spielberg, would have made it difficult for streaming services such as Netflix to compete for the academy’s big prizes by restricting eligibility to just films that got a significant run in theaters. Films that debuted online and only got a limited theatrical release simply would be out of luck.\u003c/p>\n\u003cp>But when the academy’s \u003ca href=\"https://www.oscars.org/about/board-of-governors\">board of governors\u003c/a> released its rules for next year’s prize — a book that runs to 35 pages, all told — the would-be changes were not among them.\u003c/p>\n\u003cp>[documentcloud url=”https://www.documentcloud.org/documents/5977147-92aa-Rules.html” responsive=true]\u003c/p>\n\u003cp>“We support the theatrical experience as integral to the art of motion pictures, and this weighed heavily in our discussions,” John Bailey, president of the academy, said in a statement \u003ca href=\"https://www.oscars.org/news/academy-announces-rules-92nd-oscars\">released Tuesday night\u003c/a>. “Our rules currently require theatrical exhibition, and also allow for a broad selection of films to be submitted for Oscars consideration.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The updates that \u003cem>did \u003c/em>make their way into the rulebook were rather more innocuous.\u003c/p>\n\u003cp>The animated feature category was placed on surer footing. It used to be the case that the category’s prize would only be given out if at least eight eligible films were released that year. That caveat now has been stripped from the record.\u003c/p>\n\u003cp>And the foreign language film category has gotten a name change. Just call it the international feature film category now.\u003c/p>\n\u003cp>“We have noted that the reference to ‘Foreign’ is outdated within the global filmmaking community,” said Larry Karaszewski and Diane Weyermann, the co-chairs of the category’s committee. “We believe that International Feature Film better represents this category, and promotes a positive and inclusive view of filmmaking, and the art of film as a universal experience.”\u003c/p>\n\u003cp>There were a few other changes too, of course, which you can check out in the full text of \u003ca href=\"https://assets.documentcloud.org/documents/5976684/92aa-Rules.pdf\">the rulebook\u003c/a> below. But none made nearly the impact as the change that never was.\u003c/p>\n\u003cp>Not long after the idea to restrict eligibility surfaced publicly, the objections arrived in a deluge. Netflix, which has leaped enthusiastically into the arena of prestige films, with efforts such as its 2019 \u003ca href=\"https://www.npr.org/2018/12/13/676190124/in-roma-a-director-recreates-the-city-and-the-caretaker-of-his-youth\">best picture nominee\u003c/a>, \u003cem>Roma\u003c/em>, pointedly \u003ca href=\"https://twitter.com/NetflixFilm/status/1102418557760024578\">subtweeted the proposal\u003c/a>. The company said it supports broadening access to films and “giving filmmakers more ways to share art” — and that “these things are not mutually exclusive.”\u003c/p>\n\u003cfigure id=\"attachment_13855735\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13855735\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/GettyImages-1131936201-800x540.jpg\" alt=\": Alfonso Cuaron, winner of Best Foreign Language Film, Best Director and Best Cinematography for 'Roma,' poses in the press room during the 91st Annual Academy Awards at Hollywood and Highland on February 24, 2019 in Hollywood, California. \" width=\"800\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-1131936201-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-1131936201-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-1131936201-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-1131936201-1020x688.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-1131936201.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">: Alfonso Cuaron, winner of Best Foreign Language Film, Best Director and Best Cinematography for ‘Roma,’ poses in the press room during the 91st Annual Academy Awards at Hollywood and Highland on February 24, 2019 in Hollywood, California. \u003ccite>(Frazer Harrison/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Federal authorities got involved in the dust-up as well. Justice Department official \u003ca href=\"https://www.justice.gov/atr/staff-profile/meet-assistant-attorney-general\">Makan Delrahim\u003c/a> warned the academy that the proposed restrictions \u003ca href=\"https://www.npr.org/2019/04/03/709429778/justice-department-warns-academy-new-oscar-rules-may-raise-antitrust-concerns\">“may raise antitrust concerns”\u003c/a> if they serve to eliminate competition and hurt the sales of certain movies.\u003c/p>\n\u003cp>Given the notable financial boost offered by Oscars recognition — which, in the case of at least one \u003ca href=\"https://deadline.com/2017/03/moonlight-table-19-love-taxes-specialty-box-office-1202037156/\">recent best picture winner\u003c/a>, represented 10% of its total box office gross — the Justice Department may have had a reasonable argument if it decided to bring a lawsuit.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Bailey suggested that the decision Tuesday doesn’t exactly mean the conversation is over, however: “We plan to further study the profound changes occurring in our industry and continue discussions with our members about these issues.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The updates that \u003cem>did \u003c/em>make their way into the rulebook were rather more innocuous.\u003c/p>\n\u003cp>The animated feature category was placed on surer footing. It used to be the case that the category’s prize would only be given out if at least eight eligible films were released that year. That caveat now has been stripped from the record.\u003c/p>\n\u003cp>And the foreign language film category has gotten a name change. Just call it the international feature film category now.\u003c/p>\n\u003cp>“We have noted that the reference to ‘Foreign’ is outdated within the global filmmaking community,” said Larry Karaszewski and Diane Weyermann, the co-chairs of the category’s committee. “We believe that International Feature Film better represents this category, and promotes a positive and inclusive view of filmmaking, and the art of film as a universal experience.”\u003c/p>\n\u003cp>There were a few other changes too, of course, which you can check out in the full text of \u003ca href=\"https://assets.documentcloud.org/documents/5976684/92aa-Rules.pdf\">the rulebook\u003c/a> below. But none made nearly the impact as the change that never was.\u003c/p>\n\u003cp>Not long after the idea to restrict eligibility surfaced publicly, the objections arrived in a deluge. Netflix, which has leaped enthusiastically into the arena of prestige films, with efforts such as its 2019 \u003ca href=\"https://www.npr.org/2018/12/13/676190124/in-roma-a-director-recreates-the-city-and-the-caretaker-of-his-youth\">best picture nominee\u003c/a>, \u003cem>Roma\u003c/em>, pointedly \u003ca href=\"https://twitter.com/NetflixFilm/status/1102418557760024578\">subtweeted the proposal\u003c/a>. The company said it supports broadening access to films and “giving filmmakers more ways to share art” — and that “these things are not mutually exclusive.”\u003c/p>\n\u003cfigure id=\"attachment_13855735\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13855735\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/GettyImages-1131936201-800x540.jpg\" alt=\": Alfonso Cuaron, winner of Best Foreign Language Film, Best Director and Best Cinematography for 'Roma,' poses in the press room during the 91st Annual Academy Awards at Hollywood and Highland on February 24, 2019 in Hollywood, California. \" width=\"800\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-1131936201-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-1131936201-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-1131936201-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-1131936201-1020x688.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-1131936201.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">: Alfonso Cuaron, winner of Best Foreign Language Film, Best Director and Best Cinematography for ‘Roma,’ poses in the press room during the 91st Annual Academy Awards at Hollywood and Highland on February 24, 2019 in Hollywood, California. \u003ccite>(Frazer Harrison/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Federal authorities got involved in the dust-up as well. Justice Department official \u003ca href=\"https://www.justice.gov/atr/staff-profile/meet-assistant-attorney-general\">Makan Delrahim\u003c/a> warned the academy that the proposed restrictions \u003ca href=\"https://www.npr.org/2019/04/03/709429778/justice-department-warns-academy-new-oscar-rules-may-raise-antitrust-concerns\">“may raise antitrust concerns”\u003c/a> if they serve to eliminate competition and hurt the sales of certain movies.\u003c/p>\n\u003cp>Given the notable financial boost offered by Oscars recognition — which, in the case of at least one \u003ca href=\"https://deadline.com/2017/03/moonlight-table-19-love-taxes-specialty-box-office-1202037156/\">recent best picture winner\u003c/a>, represented 10% of its total box office gross — the Justice Department may have had a reasonable argument if it decided to bring a lawsuit.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Bailey suggested that the decision Tuesday doesn’t exactly mean the conversation is over, however: “We plan to further study the profound changes occurring in our industry and continue discussions with our members about these issues.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Live streamers could be forgiven for wondering if the Oscars had moved to the Steve Jobs Theater in Cupertino Monday morning, because there were so many big Hollywood stars on stage. Steven Spielberg, Steve Carrell, J.J. Abrams, Reese Witherspoon, Jennifer Aniston, and… why am I burying the lede?\u003c/p>\n\u003cp>\u003cem>Oprah!\u003c/em> Why is \u003cem>she\u003c/em> working with Apple to deliver two documentaries and a book club? “Because they’re in a billion pockets, y’all! A billion pockets!” she roared to an adoring crowd.\u003c/p>\n\u003cp>In a reveal that lasted almost two hours, Apple announced major new forays into the worlds of news, gaming and entertainment. All three are mature industries with a lot of competition. But perhaps the tech giant’s gutsiest move is into entertainment. It’s hard to imagine how Apple TV+ — due to arrive sometime this fall — will be qualitatively different from the wide range of content already on offer.\u003c/p>\n\u003cp>See the “sizzle reel” from the Apple presentation.[youtube https://www.youtube.com/watch?v=Bt5k5Ix_wS8]\u003c/p>\n\u003cp>That said, Apple has been late to a game before, and still redefined the field of play. \u003ca href=\"https://www.cnet.com/profiles/iansherr/\" target=\"_blank\" rel=\"noopener\">Ian Sherr\u003c/a>, editor at large at CNET News, has seen it happen several times: with the personal computer, the tablet, and the smart phone.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“That’s one of the fascinating things about Apple. They always wait to see what works and what doesn’t, and then they come in and they do their own version of it, and it tends to be really successful,” Sherr said.\u003c/p>\n\u003cp>“Apple’s relationship with customers has started to wane over the past few years as the company has seen the role of its hardware diminish in people’s lives,” said \u003ca href=\"https://www.forrester.com/James-L.-McQuivey\" target=\"_blank\" rel=\"noopener\">James McQuivey\u003c/a>, an analyst at Forrester tracking digital disruption. “Focusing on more media and entertainment experiences that are exclusive to the Apple experience will revivify Apple’s relationship with its customers.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.blockandtackle.biz/home\" target=\"_blank\" rel=\"noopener\">Alex Ben Block\u003c/a>, who writes about the business of entertainment for a variety of media outlets, is more skeptical. “While it is hard to underestimate Apple, this moves them into an area where there is much greater competition. Entertainment is widely available at little or no cost, and competitors led by Netfilx and Amazon are already offering more than Apple, even with the star names involved,” Ben Block wrote.\u003c/p>\n\u003cp>He added, “The lesson of Amazon is that they had to offer a lot more than entertainment to get people to sign up for Prime, and they floundered until they had a hit series with \u003cem>Mrs. Maisel\u003c/em> which got people to sign up and continue. Apple needs to find its \u003cem>Mrs. Maisel\u003c/em> quickly or it could lose a ton of money.”\u003c/p>\n\u003cp>But Sherr believes Apple has the wherewithal to go up against the biggest names in streaming entertainment: Netflix, Amazon, and Disney. Notice how two of the three names on that list are also digital natives?\u003c/p>\n\u003cp>[aside postID='arts_13850292,arts_13836539,arts_13852981' label='Related Coverage']The biggest threat, if it ever materializes, would be from federal antitrust regulators. “The tech industry broadly has been going towards this trend of what’s called verticalization, where they own every bit of what I’m buying,” Sherr said.\u003c/p>\n\u003cp>One last thing: Apple is one of the most highly valued companies on the planet. And like its biggest rivals in Silicon Valley, Apple has the capacity to run at a massive loss. Maybe not indefinitely, but for longer than most Hollywood old-timers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“There is always room for disruption,” Sherr said. “If Apple does it right.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Live streamers could be forgiven for wondering if the Oscars had moved to the Steve Jobs Theater in Cupertino Monday morning, because there were so many big Hollywood stars on stage. Steven Spielberg, Steve Carrell, J.J. Abrams, Reese Witherspoon, Jennifer Aniston, and… why am I burying the lede?\u003c/p>\n\u003cp>\u003cem>Oprah!\u003c/em> Why is \u003cem>she\u003c/em> working with Apple to deliver two documentaries and a book club? “Because they’re in a billion pockets, y’all! A billion pockets!” she roared to an adoring crowd.\u003c/p>\n\u003cp>In a reveal that lasted almost two hours, Apple announced major new forays into the worlds of news, gaming and entertainment. All three are mature industries with a lot of competition. But perhaps the tech giant’s gutsiest move is into entertainment. It’s hard to imagine how Apple TV+ — due to arrive sometime this fall — will be qualitatively different from the wide range of content already on offer.\u003c/p>\n\u003cp>See the “sizzle reel” from the Apple presentation.\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Bt5k5Ix_wS8'\n title='//www.youtube.com/embed/Bt5k5Ix_wS8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>That said, Apple has been late to a game before, and still redefined the field of play. \u003ca href=\"https://www.cnet.com/profiles/iansherr/\" target=\"_blank\" rel=\"noopener\">Ian Sherr\u003c/a>, editor at large at CNET News, has seen it happen several times: with the personal computer, the tablet, and the smart phone.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“That’s one of the fascinating things about Apple. They always wait to see what works and what doesn’t, and then they come in and they do their own version of it, and it tends to be really successful,” Sherr said.\u003c/p>\n\u003cp>“Apple’s relationship with customers has started to wane over the past few years as the company has seen the role of its hardware diminish in people’s lives,” said \u003ca href=\"https://www.forrester.com/James-L.-McQuivey\" target=\"_blank\" rel=\"noopener\">James McQuivey\u003c/a>, an analyst at Forrester tracking digital disruption. “Focusing on more media and entertainment experiences that are exclusive to the Apple experience will revivify Apple’s relationship with its customers.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.blockandtackle.biz/home\" target=\"_blank\" rel=\"noopener\">Alex Ben Block\u003c/a>, who writes about the business of entertainment for a variety of media outlets, is more skeptical. “While it is hard to underestimate Apple, this moves them into an area where there is much greater competition. Entertainment is widely available at little or no cost, and competitors led by Netfilx and Amazon are already offering more than Apple, even with the star names involved,” Ben Block wrote.\u003c/p>\n\u003cp>He added, “The lesson of Amazon is that they had to offer a lot more than entertainment to get people to sign up for Prime, and they floundered until they had a hit series with \u003cem>Mrs. Maisel\u003c/em> which got people to sign up and continue. Apple needs to find its \u003cem>Mrs. Maisel\u003c/em> quickly or it could lose a ton of money.”\u003c/p>\n\u003cp>But Sherr believes Apple has the wherewithal to go up against the biggest names in streaming entertainment: Netflix, Amazon, and Disney. Notice how two of the three names on that list are also digital natives?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The biggest threat, if it ever materializes, would be from federal antitrust regulators. “The tech industry broadly has been going towards this trend of what’s called verticalization, where they own every bit of what I’m buying,” Sherr said.\u003c/p>\n\u003cp>One last thing: Apple is one of the most highly valued companies on the planet. And like its biggest rivals in Silicon Valley, Apple has the capacity to run at a massive loss. Maybe not indefinitely, but for longer than most Hollywood old-timers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“There is always room for disruption,” Sherr said. “If Apple does it right.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "dear-ex-a-man-dies-leaving-behind-a-wife-a-son-and-a-secret-gay-lover",
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"content": "\u003cp>Domestic dramas have to walk a fine line between sweetness and pathos, and the shaggy-yet-lovable new film \u003cem>Dear Ex\u003c/em> succeeds at this balance more than others. The Taiwanese heartstring-tugger, now available on Netflix after only being acquired by the service a week ago, circles around three complicated, hard-to-love characters, allowing their complexities to cloud their better natures. As in last year’s lovely Israeli drama \u003ca href=\"https://www.npr.org/2018/06/28/624046119/in-the-cakemaker-grieving-is-baked-in\">\u003cem>The Cakemaker\u003c/em>\u003c/a>, the film links these figures via a closeted, recently deceased family man: a specter of authenticity cloaked in secrecy, who forces a reckoning for the loved ones he left behind.\u003c/p>\n\u003cp>The film opens with 13-year-old Chengxi (Joseph Huang) claiming he always knew his dad was gay. It has been three months since his professor father’s death from cancer, and Chengxi learns he’s been written out of his insurance policy. His prone-to-hysterics mother Sanlian (Ying-Xuan Hsieh) knows the truth: that her deceased husband Zhangyuan secretly named his longtime male lover as his benefactor, but that the claim can’t go through unless she signs off on it. So Sanlian drags Chengxi along to the mystery man’s ramshackle apartment, hoping to spur a confrontation that will somehow put the lid back on the wreckage of their lives.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Dear Ex Trailer | SGIFF 2018\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/r94pd519Jf4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The first third of \u003cem>Dear Ex\u003c/em> is told from Chengxi’s perspective, and it’s the strongest chunk of the film by far: a strange blend of sullen teen angst and the shock of an uncovered secret. The kid is utterly fascinated by his father’s lover Jay, a thirtysomething community theater director who can be furious one minute and tender the next. (He’s played by a terrific Roy Chiu, whose raw, prickly performance has no trace of the mincing-younger-gay-lover onscreen stereotype.) To escape his mother’s needling, Chengxi moves himself into Jay’s life without asking permission, and the two develop a wary bond as they putter through the city on Jay’s moped, trying to figure out what they mean to each other. Writer-director Mag Hsu and her co-director Chih-Yen Hsu stage these scenes in bright, brilliant hues, with long shots of the characters maneuvering around each other in hallways that bring to mind some of the early work of pioneering Taiwanese auteur Tsai Ming-Liang.\u003c/p>\n\u003cp>As the film broadens in scope, incorporating flashbacks and new dynamics like Jay’s traditionalist mother, it also shifts perspective: first to Sanlian, and then to Jay. But along the way, it loses the spark that came with a teenager’s incomplete-yet-restless worldview, instead entering a world of full-bore melodrama. Sanlian’s storyline, in particular, feels retrograde, both in her views on gay men and in her cartoonish attempts to keep a handle on her son by any means necessary – including an obsession with sending him off to college in Canada.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Jay is the one character who defies easy categorization, because even through his slovenly nature and clear distrust of this family intrusion, his genuine devotion to the man he loved shines through. His flashback scenes with Zhangyuan (Spark Chen) are affectionate and sad, particularly when the two men discuss why they must keep their affair a secret to their families. “Not letting them be sad or worried is our responsibility,” Zhangyuan says.\u003c/p>\n\u003cp>A nice bit of linguistic detail: Though Sanlian tries to emasculate Jay by calling him a “mistress,” we quickly learn Zhangyuan, in fact, called him “hubby”… prompting Chengxi to instead refer to his mother as the true “mistress.” Identities shift like this throughout the story, as the three leads develop newfound compassion for each other despite their initial reservations. (As is required by law with every teen movie these days, some of this development must come with onscreen notebook doodles and scribbles to illustrate obvious points.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Taiwan is \u003ca href=\"https://qz.com/1470193/how-taiwan-became-the-most-lgbt-friendly-country-in-asia/\">often recognized\u003c/a> as the most LGBT-friendly region in Asia, making the existence and wide availability of films like \u003cem>Dear Ex\u003c/em> a welcome cultural development. Considering the U.S.’s own mainstream movie industry has been remarkably slow to tell similar stories without patronizing characters like Jay, perhaps American filmmakers could learn something here, as well. The film may pale in comparison to \u003cem>The Cakemaker\u003c/em>, which told its story with more nuance and sensory detail. But\u003cem> Dear Ex\u003c/em>‘s narrative hiccups and tonal missteps seem less blaring by the time it enters its affecting homestretch, which involves Jay taking on large amounts of debt to stage a revival of a play with great emotional significance. Love in this movie is expressed in odd ways, but it is still genuine.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Domestic dramas have to walk a fine line between sweetness and pathos, and the shaggy-yet-lovable new film \u003cem>Dear Ex\u003c/em> succeeds at this balance more than others. The Taiwanese heartstring-tugger, now available on Netflix after only being acquired by the service a week ago, circles around three complicated, hard-to-love characters, allowing their complexities to cloud their better natures. As in last year’s lovely Israeli drama \u003ca href=\"https://www.npr.org/2018/06/28/624046119/in-the-cakemaker-grieving-is-baked-in\">\u003cem>The Cakemaker\u003c/em>\u003c/a>, the film links these figures via a closeted, recently deceased family man: a specter of authenticity cloaked in secrecy, who forces a reckoning for the loved ones he left behind.\u003c/p>\n\u003cp>The film opens with 13-year-old Chengxi (Joseph Huang) claiming he always knew his dad was gay. It has been three months since his professor father’s death from cancer, and Chengxi learns he’s been written out of his insurance policy. His prone-to-hysterics mother Sanlian (Ying-Xuan Hsieh) knows the truth: that her deceased husband Zhangyuan secretly named his longtime male lover as his benefactor, but that the claim can’t go through unless she signs off on it. So Sanlian drags Chengxi along to the mystery man’s ramshackle apartment, hoping to spur a confrontation that will somehow put the lid back on the wreckage of their lives.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Dear Ex Trailer | SGIFF 2018\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/r94pd519Jf4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The first third of \u003cem>Dear Ex\u003c/em> is told from Chengxi’s perspective, and it’s the strongest chunk of the film by far: a strange blend of sullen teen angst and the shock of an uncovered secret. The kid is utterly fascinated by his father’s lover Jay, a thirtysomething community theater director who can be furious one minute and tender the next. (He’s played by a terrific Roy Chiu, whose raw, prickly performance has no trace of the mincing-younger-gay-lover onscreen stereotype.) To escape his mother’s needling, Chengxi moves himself into Jay’s life without asking permission, and the two develop a wary bond as they putter through the city on Jay’s moped, trying to figure out what they mean to each other. Writer-director Mag Hsu and her co-director Chih-Yen Hsu stage these scenes in bright, brilliant hues, with long shots of the characters maneuvering around each other in hallways that bring to mind some of the early work of pioneering Taiwanese auteur Tsai Ming-Liang.\u003c/p>\n\u003cp>As the film broadens in scope, incorporating flashbacks and new dynamics like Jay’s traditionalist mother, it also shifts perspective: first to Sanlian, and then to Jay. But along the way, it loses the spark that came with a teenager’s incomplete-yet-restless worldview, instead entering a world of full-bore melodrama. Sanlian’s storyline, in particular, feels retrograde, both in her views on gay men and in her cartoonish attempts to keep a handle on her son by any means necessary – including an obsession with sending him off to college in Canada.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Jay is the one character who defies easy categorization, because even through his slovenly nature and clear distrust of this family intrusion, his genuine devotion to the man he loved shines through. His flashback scenes with Zhangyuan (Spark Chen) are affectionate and sad, particularly when the two men discuss why they must keep their affair a secret to their families. “Not letting them be sad or worried is our responsibility,” Zhangyuan says.\u003c/p>\n\u003cp>A nice bit of linguistic detail: Though Sanlian tries to emasculate Jay by calling him a “mistress,” we quickly learn Zhangyuan, in fact, called him “hubby”… prompting Chengxi to instead refer to his mother as the true “mistress.” Identities shift like this throughout the story, as the three leads develop newfound compassion for each other despite their initial reservations. (As is required by law with every teen movie these days, some of this development must come with onscreen notebook doodles and scribbles to illustrate obvious points.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Taiwan is \u003ca href=\"https://qz.com/1470193/how-taiwan-became-the-most-lgbt-friendly-country-in-asia/\">often recognized\u003c/a> as the most LGBT-friendly region in Asia, making the existence and wide availability of films like \u003cem>Dear Ex\u003c/em> a welcome cultural development. Considering the U.S.’s own mainstream movie industry has been remarkably slow to tell similar stories without patronizing characters like Jay, perhaps American filmmakers could learn something here, as well. The film may pale in comparison to \u003cem>The Cakemaker\u003c/em>, which told its story with more nuance and sensory detail. But\u003cem> Dear Ex\u003c/em>‘s narrative hiccups and tonal missteps seem less blaring by the time it enters its affecting homestretch, which involves Jay taking on large amounts of debt to stage a revival of a play with great emotional significance. Love in this movie is expressed in odd ways, but it is still genuine.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">Does Netflix—and for that matter, Amazon, Apple, Hulu, Vimeo and YouTube—have a duty to fact-check the documentaries they broadcast? It’s a question worth asking as a \u003ca href=\"https://www.theguardian.com/society/2019/feb/04/root-cause-documentary-netflix-dentists\" target=\"_blank\" rel=\"noopener\">controversy\u003c/a> surfaces over one such 2018 film, \u003ca href=\"https://rootcausemovie.com\" target=\"_blank\" rel=\"noopener\">\u003cem>Root Cause\u003c/em>\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>In the documentary, Australian filmmaker \u003ca href=\"http://www.playtv.com.au/about-playtv/\" target=\"_blank\" rel=\"noopener\">Frazer Bailey\u003c/a> links \u003cspan style=\"font-weight: 400\">a\u003c/span>\u003cspan style=\"font-weight: 400\"> root canal procedure he received as a young man to later health problems like fatigue and depression. After exploring a host of New Age approaches to medicine, he talks to several dentists who agree that bacterial infections in the mouth caused by root canals lead to diseases elsewhere in the body: mental disease, heart disease, even arthritis. “The mouth is the toxic waste dump that’s impacting on the rest of the body,” says \u003ca href=\"http://www.icnr.com/about.html\" target=\"_blank\" rel=\"noopener\">Dr. Gerald H. Smith, DDS, DNM\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Three major dentistry associations \u003c/span>\u003cspan style=\"font-weight: 400\">disagree: the \u003ca href=\"https://www.ada.org/en\" target=\"_blank\" rel=\"noopener\">American Dental Association\u003c/a>, \u003ca href=\"https://www.aae.org\" target=\"_blank\" rel=\"noopener\">American Association of Endodontists\u003c/a> and \u003ca href=\"http://www.iadr.org/AADR\" target=\"_blank\" rel=\"noopener\">American Association of Dental Research\u003c/a>. They\u003c/span>\u003cspan style=\"font-weight: 400\"> sent Netflix a private letter requesting that it drop the film. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">A spokeswoman for the AAE declined to share the letter, but she did write:\u003c/span>\u003c/p>\n\u003cblockquote>\u003cp>\u003cspan style=\"font-weight: 400\">The people in this movie are spreading misinformation and confusion about root canal treatment that is misleading and harmful to the consumer public. Their premise is based on junk science and faulty testing conducted more than 100 years ago that was debunked in the 1950s, continuously since then, and is even more discredited today by physicians, dentists and academics. Mainstream medical and dental communities overwhelmingly agree that root canal treatment is safe, effective and eliminates pain.\u003cbr>\n\u003c/span>\u003c/p>\u003c/blockquote>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Here’s the trailer:\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=4tLhstodpFI]\u003c/p>\n\u003cp>Netflix declined to comment for this story.\u003c/p>\n\u003cp>\u003ca href=\"https://www.blockandtackle.biz/home\" target=\"_blank\" rel=\"noopener\">Alex Ben Block\u003c/a> writes about the business of entertainment for a variety of outlets. He says most of the documentaries he watches on Netflix are “benign.” On the other hand, he says, programmers of content are “looking for provocative topics.”\u003c/p>\n\u003cp>Like a number of its competitors, Netflix began as a distribution platform, but increasingly hosts original films and shows that it finances, produces, or both. One of its most recent partnerships is an upcoming series on health and well-being from \u003ca href=\"https://goop.com\" target=\"_blank\" rel=\"noopener\">Goop\u003c/a>. Gwyneth Paltrow’s media empire has come under fire for promoting dubious health products, most notoriously the \u003ca href=\"https://www.washingtonpost.com/health/2018/09/05/gwyneth-paltrows-goop-touted-benefits-putting-jade-egg-your-vagina-now-it-must-pay/\" target=\"_blank\" rel=\"noopener\">jade egg\u003c/a>, an egg-shaped jade or quartz stone Goop promised could help with hormone levels and bladder control if inserted into one’s vagina.\u003c/p>\n\u003cp>Whether any health tips as far-fetched as the jade egg make it into Paltrow’s Netflix series remains to be seen. But Block says it should be a concern. “Any time you’re a powerful service seen by so many people, you really have a major social responsibility to present things that are accurate,” he says—even more so than content procured from the outside, as was the case with \u003cem>Root Cause\u003c/em>.\u003c/p>\n\u003cp>Then again, Block adds, “the viewer has some responsibility, too, to not just believe whatever they see.”\u003c/p>\n\u003cfigure id=\"attachment_13850317\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850317\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/RS35168_Screen-Shot-2019-02-06-at-11.11.18-AM-qut-800x370.jpg\" alt=\"When I asked my dentist, Rebecca Armel, DDS, in San Francisco, about 'Root Cause,' she wrote, 'Dentists as a whole think this idea is cuckoo. However, I have heard this theory before and I can understand some of the logic. Unfortunately, I don't think there is science to back it up.'\" width=\"800\" height=\"370\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RS35168_Screen-Shot-2019-02-06-at-11.11.18-AM-qut-800x370.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RS35168_Screen-Shot-2019-02-06-at-11.11.18-AM-qut-160x74.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RS35168_Screen-Shot-2019-02-06-at-11.11.18-AM-qut-768x355.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RS35168_Screen-Shot-2019-02-06-at-11.11.18-AM-qut-1020x472.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RS35168_Screen-Shot-2019-02-06-at-11.11.18-AM-qut-1200x555.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RS35168_Screen-Shot-2019-02-06-at-11.11.18-AM-qut.jpg 1626w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">When I asked my dentist, Rebecca Armel, DDS, in San Francisco, about ‘Root Cause,’ she wrote, ‘Dentists as a whole think this idea is cuckoo. However, I have heard this theory before and I can understand some of the logic. Unfortunately, I don’t think there is science to back it up.’ \u003ccite>(Courtesy of 'Root Cause')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The quality and the veritability of everything [on the Internet] is all over the spectrum,” says \u003cspan style=\"font-weight: 400\">\u003ca href=\"https://journalism.missouri.edu/staff/stacey-woelfel/\" target=\"_blank\" rel=\"noopener\">Stacey Woelfel\u003c/a>, who directs the documentary center at the \u003ca href=\"https://journalism.missouri.edu/programs/undergraduate/junior-senior/areas-study__trashed/documentary-journalism/\" target=\"_blank\" rel=\"noopener\">Missouri School of Journalism.\u003c/a>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Woelfel says many documentaries are more personal and engaging than factual. He suggests we consider this question through the lens of politics: do we want Netflix and other streaming platforms censoring, say, the lefty firebrand \u003ca href=\"https://michaelmoore.com\" target=\"_blank\" rel=\"noopener\">Michael Moore\u003c/a>? Or his counterpoint on the right, \u003ca href=\"https://www.dineshdsouza.com\" target=\"_blank\" rel=\"noopener\">Dinesh D’Souza\u003c/a>? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Woelfel would much rather we do our own homework. “There’s no way for a consumer to decide without doing a little bit of research herself.” \u003c/span>\u003c/p>\n\u003cp>That means researching with credible sources. Pro tip: don’t go looking for medical advice on YouTube or Facebook.\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Does Netflix—and for that matter, Amazon, Apple, Hulu, Vimeo and YouTube—have a duty to fact-check the documentaries they broadcast? It’s a question worth asking as a \u003ca href=\"https://www.theguardian.com/society/2019/feb/04/root-cause-documentary-netflix-dentists\" target=\"_blank\" rel=\"noopener\">controversy\u003c/a> surfaces over one such 2018 film, \u003ca href=\"https://rootcausemovie.com\" target=\"_blank\" rel=\"noopener\">\u003cem>Root Cause\u003c/em>\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>In the documentary, Australian filmmaker \u003ca href=\"http://www.playtv.com.au/about-playtv/\" target=\"_blank\" rel=\"noopener\">Frazer Bailey\u003c/a> links \u003cspan style=\"font-weight: 400\">a\u003c/span>\u003cspan style=\"font-weight: 400\"> root canal procedure he received as a young man to later health problems like fatigue and depression. After exploring a host of New Age approaches to medicine, he talks to several dentists who agree that bacterial infections in the mouth caused by root canals lead to diseases elsewhere in the body: mental disease, heart disease, even arthritis. “The mouth is the toxic waste dump that’s impacting on the rest of the body,” says \u003ca href=\"http://www.icnr.com/about.html\" target=\"_blank\" rel=\"noopener\">Dr. Gerald H. Smith, DDS, DNM\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Three major dentistry associations \u003c/span>\u003cspan style=\"font-weight: 400\">disagree: the \u003ca href=\"https://www.ada.org/en\" target=\"_blank\" rel=\"noopener\">American Dental Association\u003c/a>, \u003ca href=\"https://www.aae.org\" target=\"_blank\" rel=\"noopener\">American Association of Endodontists\u003c/a> and \u003ca href=\"http://www.iadr.org/AADR\" target=\"_blank\" rel=\"noopener\">American Association of Dental Research\u003c/a>. They\u003c/span>\u003cspan style=\"font-weight: 400\"> sent Netflix a private letter requesting that it drop the film. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">A spokeswoman for the AAE declined to share the letter, but she did write:\u003c/span>\u003c/p>\n\u003cblockquote>\u003cp>\u003cspan style=\"font-weight: 400\">The people in this movie are spreading misinformation and confusion about root canal treatment that is misleading and harmful to the consumer public. Their premise is based on junk science and faulty testing conducted more than 100 years ago that was debunked in the 1950s, continuously since then, and is even more discredited today by physicians, dentists and academics. Mainstream medical and dental communities overwhelmingly agree that root canal treatment is safe, effective and eliminates pain.\u003cbr>\n\u003c/span>\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Here’s the trailer:\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/4tLhstodpFI'\n title='//www.youtube.com/embed/4tLhstodpFI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Netflix declined to comment for this story.\u003c/p>\n\u003cp>\u003ca href=\"https://www.blockandtackle.biz/home\" target=\"_blank\" rel=\"noopener\">Alex Ben Block\u003c/a> writes about the business of entertainment for a variety of outlets. He says most of the documentaries he watches on Netflix are “benign.” On the other hand, he says, programmers of content are “looking for provocative topics.”\u003c/p>\n\u003cp>Like a number of its competitors, Netflix began as a distribution platform, but increasingly hosts original films and shows that it finances, produces, or both. One of its most recent partnerships is an upcoming series on health and well-being from \u003ca href=\"https://goop.com\" target=\"_blank\" rel=\"noopener\">Goop\u003c/a>. Gwyneth Paltrow’s media empire has come under fire for promoting dubious health products, most notoriously the \u003ca href=\"https://www.washingtonpost.com/health/2018/09/05/gwyneth-paltrows-goop-touted-benefits-putting-jade-egg-your-vagina-now-it-must-pay/\" target=\"_blank\" rel=\"noopener\">jade egg\u003c/a>, an egg-shaped jade or quartz stone Goop promised could help with hormone levels and bladder control if inserted into one’s vagina.\u003c/p>\n\u003cp>Whether any health tips as far-fetched as the jade egg make it into Paltrow’s Netflix series remains to be seen. But Block says it should be a concern. “Any time you’re a powerful service seen by so many people, you really have a major social responsibility to present things that are accurate,” he says—even more so than content procured from the outside, as was the case with \u003cem>Root Cause\u003c/em>.\u003c/p>\n\u003cp>Then again, Block adds, “the viewer has some responsibility, too, to not just believe whatever they see.”\u003c/p>\n\u003cfigure id=\"attachment_13850317\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850317\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/RS35168_Screen-Shot-2019-02-06-at-11.11.18-AM-qut-800x370.jpg\" alt=\"When I asked my dentist, Rebecca Armel, DDS, in San Francisco, about 'Root Cause,' she wrote, 'Dentists as a whole think this idea is cuckoo. However, I have heard this theory before and I can understand some of the logic. Unfortunately, I don't think there is science to back it up.'\" width=\"800\" height=\"370\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RS35168_Screen-Shot-2019-02-06-at-11.11.18-AM-qut-800x370.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RS35168_Screen-Shot-2019-02-06-at-11.11.18-AM-qut-160x74.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RS35168_Screen-Shot-2019-02-06-at-11.11.18-AM-qut-768x355.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RS35168_Screen-Shot-2019-02-06-at-11.11.18-AM-qut-1020x472.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RS35168_Screen-Shot-2019-02-06-at-11.11.18-AM-qut-1200x555.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RS35168_Screen-Shot-2019-02-06-at-11.11.18-AM-qut.jpg 1626w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">When I asked my dentist, Rebecca Armel, DDS, in San Francisco, about ‘Root Cause,’ she wrote, ‘Dentists as a whole think this idea is cuckoo. However, I have heard this theory before and I can understand some of the logic. Unfortunately, I don’t think there is science to back it up.’ \u003ccite>(Courtesy of 'Root Cause')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The quality and the veritability of everything [on the Internet] is all over the spectrum,” says \u003cspan style=\"font-weight: 400\">\u003ca href=\"https://journalism.missouri.edu/staff/stacey-woelfel/\" target=\"_blank\" rel=\"noopener\">Stacey Woelfel\u003c/a>, who directs the documentary center at the \u003ca href=\"https://journalism.missouri.edu/programs/undergraduate/junior-senior/areas-study__trashed/documentary-journalism/\" target=\"_blank\" rel=\"noopener\">Missouri School of Journalism.\u003c/a>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Woelfel says many documentaries are more personal and engaging than factual. He suggests we consider this question through the lens of politics: do we want Netflix and other streaming platforms censoring, say, the lefty firebrand \u003ca href=\"https://michaelmoore.com\" target=\"_blank\" rel=\"noopener\">Michael Moore\u003c/a>? Or his counterpoint on the right, \u003ca href=\"https://www.dineshdsouza.com\" target=\"_blank\" rel=\"noopener\">Dinesh D’Souza\u003c/a>? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Woelfel would much rather we do our own homework. “There’s no way for a consumer to decide without doing a little bit of research herself.” \u003c/span>\u003c/p>\n\u003cp>That means researching with credible sources. Pro tip: don’t go looking for medical advice on YouTube or Facebook.\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "Art-Horror-Comedy 'Velvet Buzzsaw' Paints In Broad But Colorful Strokes",
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"content": "\u003cp>\u003cstrong>“Critique is so limiting and emotionally draining.” — Morf\u003c/strong>\u003c/p>\n\u003cp>Say this much about L.A. art critic Morf Vandewalt (Jake Gyllenhaal) — he’s right about the act of criticism. It’s reductive by nature, and it can take a psychic toll on the critic, who, if they’re any damn good at all, worries that their zeal for identifying the essence of a work may prove inadequate, if not flat-out wrong.\u003c/p>\n\u003cp>The critic, for example, who sets out to critique the pleasantly bananapants Netflix film \u003cem>Velvet Buzzsaw\u003c/em>, in which Morf (look, the character’s name is Morf, get over it) intones the above opinion, must take care not to leave readers with the wrong impression. The film attempts to be many things at once; each of those attempts must be addressed, in turn.\u003c/p>\n\u003cp>So here goes:\u003c/p>\n\u003cp>\u003cem>Velvet Buzzsaw \u003c/em>follows the general, well-worn contours of supernatural horror, replete with:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>1. Those Who Transgress And Must Thus Learn Deadly Lessons;\u003c/p>\n\u003cp>2. A Sinister Force That Metes Out Said Lessons;\u003c/p>\n\u003cp>3. A Set Of Creepy Escalating Circumstances That Cause Characters Who Should Really Just Start \u003cem>Freaking The Hell Out And Stop Doing The Bad Thing They’re Doing\u003c/em> (Which Would End The Film Early, Admittedly) To Instead Idly Observe, “It’s The Damndest Thing,” Like They’re All Sitting Around At High Tea In Big Floppy Hats And Have Just Been Served Some Frickin’ Cucumber Sandwiches When They Were Expecting Watercress;\u003c/p>\n\u003cp>4. At Least One (1) Jump Scare Involving A Cat; and\u003c/p>\n\u003cp>5. \u003cem>Some \u003c/em>Blood, But Not Too Much, Because You See It’s More About The \u003cem>Psychological \u003c/em>Horror, Get It?\u003c/p>\n\u003cp>\u003cstrong>“It’s a bit baroque, don’t you think?” — Rhodora\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Velvet Buzzsaw\u003c/em> is also an arch comedy. A very good one, in point of fact, filled with dialogue and performances so gleefully mannered they make this quirky little concoction one of the more quotable — and, not for nothing, gif-able — films in recent memory.\u003c/p>\n\u003cp>“It’s called ‘Sphere’,” breathes Rene Russo’s imperious gallery owner Rhodora (the \u003cem>names \u003c/em>in this flick, you guys), explaining one particular installation — a silver sphere adorned with holes that visitors are encouraged to stick their hands in. “It creates this … unique sensation, depending upon the person … and whichever hole they decide to explore.” A beat, a minuscule one, then, “Just like life.”\u003c/p>\n\u003cp>(No, you’re absolutely right, you don’t \u003cem>need \u003c/em>that kicker … but you’re still happy it showed up.)\u003c/p>\n\u003cp>You’ve got Gyllenhaal having a ball, playing a variation on the feckless, effete intellectual he’s played several times before, most recently in last year’s \u003cem>The Sisters Brothers.\u003c/em> It’s a mode he seems to relish, and here, under the eye of writer-director Dan Gilroy, with whom he first teamed in \u003cem>Nightcrawler\u003c/em>, he gets a chance to go bigger and bigger as the film progresses — slathering some spicy mustard atop all that relish. Maybe not the ghost-pepper Scoville units that a Nicolas Cage, say, would bring to the table, but a coarse, intensely vinegary Dijon.\u003c/p>\n\u003cp>“This is my life,” Morf pontificates to Toni Collette’s scheming museum curator Gretchen, “How I \u003cem>connect \u003c/em>with some sort of \u003cem>spirituality \u003c/em>and the actual present. I \u003cem>assess \u003c/em>out of \u003cem>adoration\u003c/em>! I \u003cem>further \u003c/em>the realm I analyze!”\u003c/p>\n\u003cp>An aside: Any critic who tells you they “further the realm [they] analyze” deserves everything Morf gets here. (They may \u003cem>believe \u003c/em>it — many do — but if they ever say it aloud in your vicinity, find the nearest exit and get as far away from the building as possible.)\u003c/p>\n\u003cp>\u003cstrong>“Don’t you know? All art is dangerous.” — Gretchen\u003c/strong>\u003c/p>\n\u003cp>Finally, \u003cem>Velvet Buzzsaw\u003c/em> is a satire of the world of art collection, and it sets out to map the crossroads where high art meets commerce. It throws many things at the wall in this yeomanlike attempt, including but not limited to John Malkovich as a fading, embittered genius, Daveed Diggs as a promising newcomer and Tom Sturridge as an oleaginous gallery owner given to terrible shirts.\u003c/p>\n\u003cp>The overriding conceit of the film — the thing that fuses its horror and comedic elements, albeit a bit too neatly — finds a young, striving gallery employee named Josephina (Zawe Ashton) discovering a cache of disturbing but hauntingly (heh) beautiful work from a recently deceased and unknown artist. The art becomes a sensation; soon people around it start dying in odd ways. It may not surprise you to learn these two facts are related.\u003c/p>\n\u003cp>The film has some fun with its big, broad, art-as-murder metaphor — Collette’s Gretchen is disarmingly vicious as she cynically wheels and deals to promote her client’s work (“So move Banyo’s horse penis! Or the jeweled vagina! Put one inside the other for all I care!”), and Russo gets to savor languorous sips of champagne on a pretty balcony and say things like, “All this? Is just a safari to hunt the next new thing and eat it.”\u003c/p>\n\u003cp>But if you’re looking for a truly insightful and unflinching critique of the way artists and wealthy patrons and museums feed off one other, you’d be better served with last year’s \u003cem>The Square, \u003c/em>from Sweden. That film’s satire was merciless and grimly hilarious, this one’s much less pointed. \u003cem>Velvet Buzzsaw\u003c/em> is \u003cem>The Square \u003c/em>with the hard edges sanded down. Beveled. More of a squircle really.\u003c/p>\n\u003cp>\u003cstrong>“I do a lot of Pilates and Peloton.” — Morf\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Velvet Buzzsaw\u003c/em>‘s sense of humor, and the fact that Gyllenhaal plays a gender-fluid character, will likely lead some to dub it “campy”; it’s not, particularly.\u003c/p>\n\u003cp>It’s \u003cem>arch\u003c/em>, yes. Mannered, to be sure. But the film’s sensibility is too normative, in the way many horror films tend to be — greedy characters get punished; virtuous characters get rewarded — to evince much of a truly transgressive, outsider, queer vibe.\u003c/p>\n\u003cp>If, for example, it gave Gyllenhaal as many shirtless scenes as it does, without acknowledging how ridiculously jacked his character — an \u003cem>art critic\u003c/em>! — just happened to be, \u003cem>that \u003c/em>would be silly. \u003cem>That \u003c/em>would be camp.\u003c/p>\n\u003cp>Instead, the film is careful to carve out a scene in which one character comments on Morf’s … morphology, allowing him to explain his workout routine. It follows this up with another scene showing him leaving a workout in a clingy white tank top.\u003c/p>\n\u003cp>Which only makes sense. Horror needs clearly defined rules to work; \u003cem>Velvet Buzzsaw\u003c/em> knows this. It knows audiences will only too happily believe that creepy oil paintings can eat people. But what they won’t believe, what defies logic, what flies in the face of all laws of God and Science, is that a critic could get that \u003cem>shredded\u003c/em>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>Velvet Buzzsaw \u003c/strong>\u003cem>\u003cstrong>premieres on Netflix Friday, February 1st.\u003c/strong>\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Art-Horror-Comedy+%27Velvet+Buzzsaw%27+Paints+In+Broad+But+Colorful+Strokes&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>“Critique is so limiting and emotionally draining.” — Morf\u003c/strong>\u003c/p>\n\u003cp>Say this much about L.A. art critic Morf Vandewalt (Jake Gyllenhaal) — he’s right about the act of criticism. It’s reductive by nature, and it can take a psychic toll on the critic, who, if they’re any damn good at all, worries that their zeal for identifying the essence of a work may prove inadequate, if not flat-out wrong.\u003c/p>\n\u003cp>The critic, for example, who sets out to critique the pleasantly bananapants Netflix film \u003cem>Velvet Buzzsaw\u003c/em>, in which Morf (look, the character’s name is Morf, get over it) intones the above opinion, must take care not to leave readers with the wrong impression. The film attempts to be many things at once; each of those attempts must be addressed, in turn.\u003c/p>\n\u003cp>So here goes:\u003c/p>\n\u003cp>\u003cem>Velvet Buzzsaw \u003c/em>follows the general, well-worn contours of supernatural horror, replete with:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>1. Those Who Transgress And Must Thus Learn Deadly Lessons;\u003c/p>\n\u003cp>2. A Sinister Force That Metes Out Said Lessons;\u003c/p>\n\u003cp>3. A Set Of Creepy Escalating Circumstances That Cause Characters Who Should Really Just Start \u003cem>Freaking The Hell Out And Stop Doing The Bad Thing They’re Doing\u003c/em> (Which Would End The Film Early, Admittedly) To Instead Idly Observe, “It’s The Damndest Thing,” Like They’re All Sitting Around At High Tea In Big Floppy Hats And Have Just Been Served Some Frickin’ Cucumber Sandwiches When They Were Expecting Watercress;\u003c/p>\n\u003cp>4. At Least One (1) Jump Scare Involving A Cat; and\u003c/p>\n\u003cp>5. \u003cem>Some \u003c/em>Blood, But Not Too Much, Because You See It’s More About The \u003cem>Psychological \u003c/em>Horror, Get It?\u003c/p>\n\u003cp>\u003cstrong>“It’s a bit baroque, don’t you think?” — Rhodora\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Velvet Buzzsaw\u003c/em> is also an arch comedy. A very good one, in point of fact, filled with dialogue and performances so gleefully mannered they make this quirky little concoction one of the more quotable — and, not for nothing, gif-able — films in recent memory.\u003c/p>\n\u003cp>“It’s called ‘Sphere’,” breathes Rene Russo’s imperious gallery owner Rhodora (the \u003cem>names \u003c/em>in this flick, you guys), explaining one particular installation — a silver sphere adorned with holes that visitors are encouraged to stick their hands in. “It creates this … unique sensation, depending upon the person … and whichever hole they decide to explore.” A beat, a minuscule one, then, “Just like life.”\u003c/p>\n\u003cp>(No, you’re absolutely right, you don’t \u003cem>need \u003c/em>that kicker … but you’re still happy it showed up.)\u003c/p>\n\u003cp>You’ve got Gyllenhaal having a ball, playing a variation on the feckless, effete intellectual he’s played several times before, most recently in last year’s \u003cem>The Sisters Brothers.\u003c/em> It’s a mode he seems to relish, and here, under the eye of writer-director Dan Gilroy, with whom he first teamed in \u003cem>Nightcrawler\u003c/em>, he gets a chance to go bigger and bigger as the film progresses — slathering some spicy mustard atop all that relish. Maybe not the ghost-pepper Scoville units that a Nicolas Cage, say, would bring to the table, but a coarse, intensely vinegary Dijon.\u003c/p>\n\u003cp>“This is my life,” Morf pontificates to Toni Collette’s scheming museum curator Gretchen, “How I \u003cem>connect \u003c/em>with some sort of \u003cem>spirituality \u003c/em>and the actual present. I \u003cem>assess \u003c/em>out of \u003cem>adoration\u003c/em>! I \u003cem>further \u003c/em>the realm I analyze!”\u003c/p>\n\u003cp>An aside: Any critic who tells you they “further the realm [they] analyze” deserves everything Morf gets here. (They may \u003cem>believe \u003c/em>it — many do — but if they ever say it aloud in your vicinity, find the nearest exit and get as far away from the building as possible.)\u003c/p>\n\u003cp>\u003cstrong>“Don’t you know? All art is dangerous.” — Gretchen\u003c/strong>\u003c/p>\n\u003cp>Finally, \u003cem>Velvet Buzzsaw\u003c/em> is a satire of the world of art collection, and it sets out to map the crossroads where high art meets commerce. It throws many things at the wall in this yeomanlike attempt, including but not limited to John Malkovich as a fading, embittered genius, Daveed Diggs as a promising newcomer and Tom Sturridge as an oleaginous gallery owner given to terrible shirts.\u003c/p>\n\u003cp>The overriding conceit of the film — the thing that fuses its horror and comedic elements, albeit a bit too neatly — finds a young, striving gallery employee named Josephina (Zawe Ashton) discovering a cache of disturbing but hauntingly (heh) beautiful work from a recently deceased and unknown artist. The art becomes a sensation; soon people around it start dying in odd ways. It may not surprise you to learn these two facts are related.\u003c/p>\n\u003cp>The film has some fun with its big, broad, art-as-murder metaphor — Collette’s Gretchen is disarmingly vicious as she cynically wheels and deals to promote her client’s work (“So move Banyo’s horse penis! Or the jeweled vagina! Put one inside the other for all I care!”), and Russo gets to savor languorous sips of champagne on a pretty balcony and say things like, “All this? Is just a safari to hunt the next new thing and eat it.”\u003c/p>\n\u003cp>But if you’re looking for a truly insightful and unflinching critique of the way artists and wealthy patrons and museums feed off one other, you’d be better served with last year’s \u003cem>The Square, \u003c/em>from Sweden. That film’s satire was merciless and grimly hilarious, this one’s much less pointed. \u003cem>Velvet Buzzsaw\u003c/em> is \u003cem>The Square \u003c/em>with the hard edges sanded down. Beveled. More of a squircle really.\u003c/p>\n\u003cp>\u003cstrong>“I do a lot of Pilates and Peloton.” — Morf\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Velvet Buzzsaw\u003c/em>‘s sense of humor, and the fact that Gyllenhaal plays a gender-fluid character, will likely lead some to dub it “campy”; it’s not, particularly.\u003c/p>\n\u003cp>It’s \u003cem>arch\u003c/em>, yes. Mannered, to be sure. But the film’s sensibility is too normative, in the way many horror films tend to be — greedy characters get punished; virtuous characters get rewarded — to evince much of a truly transgressive, outsider, queer vibe.\u003c/p>\n\u003cp>If, for example, it gave Gyllenhaal as many shirtless scenes as it does, without acknowledging how ridiculously jacked his character — an \u003cem>art critic\u003c/em>! — just happened to be, \u003cem>that \u003c/em>would be silly. \u003cem>That \u003c/em>would be camp.\u003c/p>\n\u003cp>Instead, the film is careful to carve out a scene in which one character comments on Morf’s … morphology, allowing him to explain his workout routine. It follows this up with another scene showing him leaving a workout in a clingy white tank top.\u003c/p>\n\u003cp>Which only makes sense. Horror needs clearly defined rules to work; \u003cem>Velvet Buzzsaw\u003c/em> knows this. It knows audiences will only too happily believe that creepy oil paintings can eat people. But what they won’t believe, what defies logic, what flies in the face of all laws of God and Science, is that a critic could get that \u003cem>shredded\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Velvet Buzzsaw \u003c/strong>\u003cem>\u003cstrong>premieres on Netflix Friday, February 1st.\u003c/strong>\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Art-Horror-Comedy+%27Velvet+Buzzsaw%27+Paints+In+Broad+But+Colorful+Strokes&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The Eradication of Memory on Netflix, Amazon and Other Streaming Video Sites",
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"content": "\u003cp>If you can’t find something you want to watch online these days, there is something seriously wrong with you. Giants like Netflix, Amazon and Hulu are spending gazillions buying the rights to popular film and TV series—and gazillions more funding original content.\u003c/p>\n\u003cp>But with all this focus on the new, new, new, what happens to all the old, “classic” stuff? A lot of it falls off the menu. It may be there as available option, but you have to know what you’re looking for. Let me give you an example.\u003c/p>\n\u003cp>Toshiro Mifune was one of the most famous Japanese actors of all time, and not just in Japan. In this 2015 documentary about the actor, narrator Keanu Reeves tells us that without Mifune’s commanding macho swagger, world-weary eyes and gonzo sense of humor, “There would have been no \u003cem>Magnificent Seven\u003c/em>, Clint Eastwood wouldn’t have a \u003cem>Fistful of Dollars\u003c/em>, and Darth Vader wouldn’t be a samurai.”[youtube https://www.youtube.com/watch?v=hQ1dkl1ul-s]No wonder Berkeley-based documentary filmmaker \u003ca href=\"https://www.imdb.com/name/nm0645574/\" target=\"_blank\" rel=\"noopener noreferrer\">Steven Okazaki\u003c/a> wanted to profile Mifune. His movies helped lead the young Okazaki into filmmaking in the first place. “The films are so great. I mean, you do have to slow your brain down a little bit, and I think it’s hard to watch films with subtitles, but God, the films are so rich,” Okazaki says with a sparkle in his eyes.\u003c/p>\n\u003cp>The Japanese-American director grew up in the 1970s, when art house movies were still a thing, and that’s how he was first exposed to all sorts of films that were considered old or classic even then. Today? “Now, you are dependent on these streaming services and hardly anything’s there,” Okazaki says.\u003c/p>\n\u003cp>Okazaki says he was “saddened to note how few young people in Japan had seen any of [Mifune’s] films with [the great Japanese director] Akira Kurosawa. Likewise, American kids don’t know who John Ford or John Wayne are. And forget about Satyajit Ray, Eric Rohmer, Jean Renoir or Yasujiro Ozu.”\u003c/p>\n\u003ch2>It Can’t Be That Bad—Can It?\u003c/h2>\n\u003cp>Check this out. Let’s say I just streamed Okazai’s \u003cem>\u003ca href=\"https://www.netflix.com/watch/80148921?trackId=13752289&tctx=0%2C0%2Ccea993fe7379e9455329dac3156e1bc8ca5b00ec%3A75e278ffa7bdc0b62cf12edd643bb6b81b444646%2C%2C\" target=\"_blank\" rel=\"noopener noreferrer\">Mifune: The Last Samurai\u003c/a>\u003c/em> on Netflix, and now I want to watch some of Mifune’s original feature films. Mifune made more than 170, but I’d be happy with a handful of his greatest hits.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I type “Toshiro Mifune” in the search box for streaming: nothing. In the search box for DVD: I get films inspired by him, sure, but not starring him (see screenshot above). By film title: \u003cem>Seven Samurai\u003c/em>. Yes! \u003cem>Rashomon\u003c/em>, \u003cem>Yojimbo\u003c/em>, \u003cem>Throne of Blood\u003c/em>. Yes! But only on DVD.\u003c/p>\n\u003cp>As anybody with a \u003ca href=\"https://www.wnycstudios.org/story/punks/\" target=\"_blank\" rel=\"noopener noreferrer\">yen for a rare title\u003c/a> learns, it’s \u003ca href=\"http://collider.com/why-you-should-keep-buying-blu-rays-and-dvds/\" target=\"_blank\" rel=\"noopener noreferrer\">not a given\u003c/a> that the film you want was released on DVD, or VHS, or even film stock. Also, most distribution deals are for a limited time only. We’ve all gotten used to those articles with headlines like, “The Best Movies and TV Shows to Stream on Netflix\u003ca href=\"https://slate.com/culture/2018/03/the-best-movies-tv-shows-expiring-from-netflix-in-april.html\" target=\"_blank\" rel=\"noopener noreferrer\"> Before They Expire\u003c/a>.”\u003c/p>\n\u003cp>Netflix gives you the option to “save” the movie down at the bottom of your queue. But you know what that button means.\u003c/p>\n\u003ch2>Availability: Unknown\u003c/h2>\n\u003cp>Seriously, try searching for the very first movie you rented on Netflix. The older you are, the more likely it is you can’t stream it today. Now, you can \u003ca href=\"https://help.netflix.com/en/titlerequest\" target=\"_blank\" rel=\"noopener noreferrer\">request a title\u003c/a> and hope the company responds, but you have to know what you’re looking for.\u003c/p>\n\u003cp>What if I’m eight years old, or 18, and I don’t know about Mifune or anybody else famous in the 20th century?\u003cspan class=\"Apple-converted-space\"> \u003c/span>Netflix isn’t going to serve up the ancient past, not to me or any of its other 125 million subscribers worldwide. You can stream a wider selection of titles on Netflix rivals like Apple and Amazon Prime, but you have to search. The platforms won’t suggest what’s old in a bid to help you educate yourself.\u003c/p>\n\u003cp>“I just don’t think it’s much of a business for a Netflix or a Hulu,” says Rick Prelinger, Professor of Film and Digital Media at \u003ca href=\"http://film.ucsc.edu/faculty/rick_prelinger\" target=\"_blank\" rel=\"noopener noreferrer\">UC Santa Cruz\u003c/a> and a board member of the \u003ca href=\"https://archive.org\" target=\"_blank\" rel=\"noopener noreferrer\">Internet Archive\u003c/a>, a free-to-the-public digital library based in San Francisco.\u003c/p>\n\u003cp>He points out something else: a surprising amount of famous footage we think of as part of our collective history is locked away from the public, journalists and documentary filmmakers. “The body of moving images that has been created is owned by so many different companies and so many different people and it’s fragmented,” Prelinger says. That makes it hard for archivists and librarians, he adds, but what makes them different is they’re not serving shareholders. They’re serving the public.\u003c/p>\n\u003cp>Imagine if it wasn’t \u003ca href=\"https://archive.org/details/prelinger\" target=\"_blank\" rel=\"noopener noreferrer\">Prelinger Archives\u003c/a> that owned the famous \u003ca href=\"https://archive.org/details/TripDownMarketStreetrBeforeTheFire\" target=\"_blank\" rel=\"noopener noreferrer\">footage of Market Street\u003c/a> days before the great earthquake and fire of 1906 in San Francisco, and that owner wasn’t willing to share the footage without being paid a lot of money?\u003c/p>\n\u003cp>You wouldn’t see thoughtful news stories like this one:[youtube https://www.youtube.com/watch?v=tYHGj19RrF0]Many copyright owners charge cheaper “rental rates,” if you will, for nonprofits wanting to use historically valuable footage. Other copyright owners don’t care who you are or what noble cause you serve.\u003c/p>\n\u003cp>That makes building and maintaining a comprehensive collection of feature films and documentaries an expensive proposition.\u003c/p>\n\u003cp>“Nobody’s going to take a risk on archives,” Prelinger says. No privately funded company, he means.\u003c/p>\n\u003cp>Prelinger says entertainment companies naturally want us looking at what they’re \u003ca href=\"https://variety.com/2018/digital/news/netflix-original-spending-85-percent-1202809623/\" target=\"_blank\" rel=\"noopener noreferrer\">spending money on now\u003c/a>. If you want a comprehensive set of foreign, classic, or independently produced films, you have to subscribe to a streaming service like \u003ca href=\"https://www.fandor.com\" target=\"_blank\" rel=\"noopener noreferrer\">Fandor\u003c/a>, \u003ca href=\"https://mubi.com\" target=\"_blank\" rel=\"noopener noreferrer\">MUBI\u003c/a> or \u003ca href=\"https://www.filmstruck.com/\" target=\"_blank\" rel=\"noopener noreferrer\">FilmStruck\u003c/a>.\u003c/p>\n\u003cp>That suits \u003ca href=\"http://mybutch.blogspot.com\" target=\"_blank\" rel=\"noopener noreferrer\">Jenni Olson\u003c/a> just fine. “People want to spend $10 a month and get everything,” says the co-founder of PlanetOut, a public media and entertainment company that focused exclusively on the lesbian, gay, bisexual and transgender demographic. Today, Olson writes about queer films, and also creates, collects and curates them.\u003c/p>\n\u003cp>“Silicon Valley has created outsized, irrational consumer expectations,” Olson says. “We used to have almost zero access,” especially to more obscure film titles. “We just have to accept the reality of the world we live in, and put our money where our mouth is.”\u003c/p>\n\u003cfigure id=\"attachment_13836650\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836650\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-800x457.jpg\" alt=\"For Sam Green, who made the documentary The Weather Underground, it matters that the trailer is available for free for the foreseeable future to anyone who searches for it on YouTube. Even if he doesn't see a dime.\" width=\"800\" height=\"457\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-800x457.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-768x438.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-1020x582.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-1200x685.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-1180x674.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-960x548.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-375x214.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-520x297.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut.jpg 1832w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">For Sam Green, who made the documentary The Weather Underground, it matters that the trailer is available for free for the foreseeable future to anyone who searches for it on YouTube. Even if he doesn’t see a dime. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Or you could watch dubious bootleg copies uploaded to YouTube or torrent sites, as many of us—cough—do.\u003cspan class=\"Apple-converted-space\"> Not that the prospect troubles every filmmaker. “YouTube is fantastic, and I happily refuse to complain that my film is on there,” says Sam Green about his Academy Award-nominated documentary \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0343168/\" target=\"_blank\" rel=\"noopener noreferrer\">The Weather Underground\u003c/a>\u003c/em>.\u003c/span>\u003c/p>\n\u003cp>\u003cspan class=\"Apple-converted-space\">Green adds, “If you just look at the new, you get such a limited and skewed view of what the world is. To me, YouTube is one of the great cultural and educational institutions we have. It’s a way for things in [copyright] limbo to be available.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan class=\"Apple-converted-space\">For now.\u003c/span>\u003c/p>\n\u003cp>I’ll leave you with this thought from Prelinger: “We shouldn’t rely too much on either the entertainment business or the for-profit tech sector to preserve our history for us.\u003cspan class=\"Apple-converted-space\"> \u003c/span>Yes, there’s a lot of product available if you really really look hard, but we’re avoiding the question: do we as audiences, and do we as citizens, deserve access to our moving image heritage?”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Well, do we?\u003c/p>\n\n",
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"excerpt": "Video streaming sites have no incentive to maintain archives of our collective filmic history. But that doesn't mean it's not a thing we should have.",
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"title": "The Eradication of Memory on Netflix, Amazon and Other Streaming Video Sites | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you can’t find something you want to watch online these days, there is something seriously wrong with you. Giants like Netflix, Amazon and Hulu are spending gazillions buying the rights to popular film and TV series—and gazillions more funding original content.\u003c/p>\n\u003cp>But with all this focus on the new, new, new, what happens to all the old, “classic” stuff? A lot of it falls off the menu. It may be there as available option, but you have to know what you’re looking for. Let me give you an example.\u003c/p>\n\u003cp>Toshiro Mifune was one of the most famous Japanese actors of all time, and not just in Japan. In this 2015 documentary about the actor, narrator Keanu Reeves tells us that without Mifune’s commanding macho swagger, world-weary eyes and gonzo sense of humor, “There would have been no \u003cem>Magnificent Seven\u003c/em>, Clint Eastwood wouldn’t have a \u003cem>Fistful of Dollars\u003c/em>, and Darth Vader wouldn’t be a samurai.”\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/hQ1dkl1ul-s'\n title='//www.youtube.com/embed/hQ1dkl1ul-s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>No wonder Berkeley-based documentary filmmaker \u003ca href=\"https://www.imdb.com/name/nm0645574/\" target=\"_blank\" rel=\"noopener noreferrer\">Steven Okazaki\u003c/a> wanted to profile Mifune. His movies helped lead the young Okazaki into filmmaking in the first place. “The films are so great. I mean, you do have to slow your brain down a little bit, and I think it’s hard to watch films with subtitles, but God, the films are so rich,” Okazaki says with a sparkle in his eyes.\u003c/p>\n\u003cp>The Japanese-American director grew up in the 1970s, when art house movies were still a thing, and that’s how he was first exposed to all sorts of films that were considered old or classic even then. Today? “Now, you are dependent on these streaming services and hardly anything’s there,” Okazaki says.\u003c/p>\n\u003cp>Okazaki says he was “saddened to note how few young people in Japan had seen any of [Mifune’s] films with [the great Japanese director] Akira Kurosawa. Likewise, American kids don’t know who John Ford or John Wayne are. And forget about Satyajit Ray, Eric Rohmer, Jean Renoir or Yasujiro Ozu.”\u003c/p>\n\u003ch2>It Can’t Be That Bad—Can It?\u003c/h2>\n\u003cp>Check this out. Let’s say I just streamed Okazai’s \u003cem>\u003ca href=\"https://www.netflix.com/watch/80148921?trackId=13752289&tctx=0%2C0%2Ccea993fe7379e9455329dac3156e1bc8ca5b00ec%3A75e278ffa7bdc0b62cf12edd643bb6b81b444646%2C%2C\" target=\"_blank\" rel=\"noopener noreferrer\">Mifune: The Last Samurai\u003c/a>\u003c/em> on Netflix, and now I want to watch some of Mifune’s original feature films. Mifune made more than 170, but I’d be happy with a handful of his greatest hits.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I type “Toshiro Mifune” in the search box for streaming: nothing. In the search box for DVD: I get films inspired by him, sure, but not starring him (see screenshot above). By film title: \u003cem>Seven Samurai\u003c/em>. Yes! \u003cem>Rashomon\u003c/em>, \u003cem>Yojimbo\u003c/em>, \u003cem>Throne of Blood\u003c/em>. Yes! But only on DVD.\u003c/p>\n\u003cp>As anybody with a \u003ca href=\"https://www.wnycstudios.org/story/punks/\" target=\"_blank\" rel=\"noopener noreferrer\">yen for a rare title\u003c/a> learns, it’s \u003ca href=\"http://collider.com/why-you-should-keep-buying-blu-rays-and-dvds/\" target=\"_blank\" rel=\"noopener noreferrer\">not a given\u003c/a> that the film you want was released on DVD, or VHS, or even film stock. Also, most distribution deals are for a limited time only. We’ve all gotten used to those articles with headlines like, “The Best Movies and TV Shows to Stream on Netflix\u003ca href=\"https://slate.com/culture/2018/03/the-best-movies-tv-shows-expiring-from-netflix-in-april.html\" target=\"_blank\" rel=\"noopener noreferrer\"> Before They Expire\u003c/a>.”\u003c/p>\n\u003cp>Netflix gives you the option to “save” the movie down at the bottom of your queue. But you know what that button means.\u003c/p>\n\u003ch2>Availability: Unknown\u003c/h2>\n\u003cp>Seriously, try searching for the very first movie you rented on Netflix. The older you are, the more likely it is you can’t stream it today. Now, you can \u003ca href=\"https://help.netflix.com/en/titlerequest\" target=\"_blank\" rel=\"noopener noreferrer\">request a title\u003c/a> and hope the company responds, but you have to know what you’re looking for.\u003c/p>\n\u003cp>What if I’m eight years old, or 18, and I don’t know about Mifune or anybody else famous in the 20th century?\u003cspan class=\"Apple-converted-space\"> \u003c/span>Netflix isn’t going to serve up the ancient past, not to me or any of its other 125 million subscribers worldwide. You can stream a wider selection of titles on Netflix rivals like Apple and Amazon Prime, but you have to search. The platforms won’t suggest what’s old in a bid to help you educate yourself.\u003c/p>\n\u003cp>“I just don’t think it’s much of a business for a Netflix or a Hulu,” says Rick Prelinger, Professor of Film and Digital Media at \u003ca href=\"http://film.ucsc.edu/faculty/rick_prelinger\" target=\"_blank\" rel=\"noopener noreferrer\">UC Santa Cruz\u003c/a> and a board member of the \u003ca href=\"https://archive.org\" target=\"_blank\" rel=\"noopener noreferrer\">Internet Archive\u003c/a>, a free-to-the-public digital library based in San Francisco.\u003c/p>\n\u003cp>He points out something else: a surprising amount of famous footage we think of as part of our collective history is locked away from the public, journalists and documentary filmmakers. “The body of moving images that has been created is owned by so many different companies and so many different people and it’s fragmented,” Prelinger says. That makes it hard for archivists and librarians, he adds, but what makes them different is they’re not serving shareholders. They’re serving the public.\u003c/p>\n\u003cp>Imagine if it wasn’t \u003ca href=\"https://archive.org/details/prelinger\" target=\"_blank\" rel=\"noopener noreferrer\">Prelinger Archives\u003c/a> that owned the famous \u003ca href=\"https://archive.org/details/TripDownMarketStreetrBeforeTheFire\" target=\"_blank\" rel=\"noopener noreferrer\">footage of Market Street\u003c/a> days before the great earthquake and fire of 1906 in San Francisco, and that owner wasn’t willing to share the footage without being paid a lot of money?\u003c/p>\n\u003cp>You wouldn’t see thoughtful news stories like this one:\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/tYHGj19RrF0'\n title='//www.youtube.com/embed/tYHGj19RrF0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>Many copyright owners charge cheaper “rental rates,” if you will, for nonprofits wanting to use historically valuable footage. Other copyright owners don’t care who you are or what noble cause you serve.\u003c/p>\n\u003cp>That makes building and maintaining a comprehensive collection of feature films and documentaries an expensive proposition.\u003c/p>\n\u003cp>“Nobody’s going to take a risk on archives,” Prelinger says. No privately funded company, he means.\u003c/p>\n\u003cp>Prelinger says entertainment companies naturally want us looking at what they’re \u003ca href=\"https://variety.com/2018/digital/news/netflix-original-spending-85-percent-1202809623/\" target=\"_blank\" rel=\"noopener noreferrer\">spending money on now\u003c/a>. If you want a comprehensive set of foreign, classic, or independently produced films, you have to subscribe to a streaming service like \u003ca href=\"https://www.fandor.com\" target=\"_blank\" rel=\"noopener noreferrer\">Fandor\u003c/a>, \u003ca href=\"https://mubi.com\" target=\"_blank\" rel=\"noopener noreferrer\">MUBI\u003c/a> or \u003ca href=\"https://www.filmstruck.com/\" target=\"_blank\" rel=\"noopener noreferrer\">FilmStruck\u003c/a>.\u003c/p>\n\u003cp>That suits \u003ca href=\"http://mybutch.blogspot.com\" target=\"_blank\" rel=\"noopener noreferrer\">Jenni Olson\u003c/a> just fine. “People want to spend $10 a month and get everything,” says the co-founder of PlanetOut, a public media and entertainment company that focused exclusively on the lesbian, gay, bisexual and transgender demographic. Today, Olson writes about queer films, and also creates, collects and curates them.\u003c/p>\n\u003cp>“Silicon Valley has created outsized, irrational consumer expectations,” Olson says. “We used to have almost zero access,” especially to more obscure film titles. “We just have to accept the reality of the world we live in, and put our money where our mouth is.”\u003c/p>\n\u003cfigure id=\"attachment_13836650\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836650\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-800x457.jpg\" alt=\"For Sam Green, who made the documentary The Weather Underground, it matters that the trailer is available for free for the foreseeable future to anyone who searches for it on YouTube. Even if he doesn't see a dime.\" width=\"800\" height=\"457\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-800x457.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-768x438.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-1020x582.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-1200x685.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-1180x674.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-960x548.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-375x214.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-520x297.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut.jpg 1832w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">For Sam Green, who made the documentary The Weather Underground, it matters that the trailer is available for free for the foreseeable future to anyone who searches for it on YouTube. Even if he doesn’t see a dime. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Or you could watch dubious bootleg copies uploaded to YouTube or torrent sites, as many of us—cough—do.\u003cspan class=\"Apple-converted-space\"> Not that the prospect troubles every filmmaker. “YouTube is fantastic, and I happily refuse to complain that my film is on there,” says Sam Green about his Academy Award-nominated documentary \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0343168/\" target=\"_blank\" rel=\"noopener noreferrer\">The Weather Underground\u003c/a>\u003c/em>.\u003c/span>\u003c/p>\n\u003cp>\u003cspan class=\"Apple-converted-space\">Green adds, “If you just look at the new, you get such a limited and skewed view of what the world is. To me, YouTube is one of the great cultural and educational institutions we have. It’s a way for things in [copyright] limbo to be available.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan class=\"Apple-converted-space\">For now.\u003c/span>\u003c/p>\n\u003cp>I’ll leave you with this thought from Prelinger: “We shouldn’t rely too much on either the entertainment business or the for-profit tech sector to preserve our history for us.\u003cspan class=\"Apple-converted-space\"> \u003c/span>Yes, there’s a lot of product available if you really really look hard, but we’re avoiding the question: do we as audiences, and do we as citizens, deserve access to our moving image heritage?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ca href=\"https://telltale.com/\" rel=\"noopener\" target=\"_blank\">Telltale Games\u003c/a>, an independent game developer based in San Rafael, announced Wednesday that it has made a deal with Netflix to produce a video game based on the hit show, \u003ci>Stranger Things.\u003c/i>\u003c/p>\n\u003cp>Telltale Games revealed few details about the game, announcing the news while also announcing that Netflix would be streaming an interactive version of Telltale’s game \u003ci>Minecraft: Story Mode.\u003c/i> Telltale had little to say about either project.\u003c/p>\n\u003cp>“Our partnership with Netflix is something we’re incredibly proud of, and while we don’t have anything more to share right now, we’re excited to reveal details on these projects later in the year,” Telltale \u003ca href=\"https://twitter.com/telltalegames/status/1006996305082630144\" rel=\"noopener\" target=\"_blank\">posted on Twitter \u003c/a>Wednesday.\u003c/p>\n\u003cp>Three former LucasArts employees — Dan Connors, Kevin Bruner and Troy Molander — founded Telltale in 2004, following LucasArts’s cancellation of a game they worked on together called \u003ci>Sam & Max Hit the Road.\u003c/i> The company went on to create games for movies such as \u003cem>Back to the Future\u003c/em> and \u003cem>Jurassic Park\u003c/em>. But Telltale saw its first big success with the episodic game it created based on \u003ci>The Walking Dead\u003c/i> comic and television series. Upon its release in 2012, the game sold a million copies in 20 days. Telltale went on to develop four more games in the series.\u003c/p>\n\u003cfigure id=\"attachment_13835104\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot-800x450.jpg\" alt=\"Screenshot from 'Minecraft: Story Mode'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13835104\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Screenshot from ‘Minecraft: Story Mode.’ \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Building on its cinematic, episodic style developed for the \u003ci>The Walking Dead\u003c/i> games, it then produced games for notable properties such as \u003ci>Game of Thrones\u003c/i> and \u003ci>Guardians of the Galaxy.\u003c/i> Continuing successes led the company to grow to 400 employees, but the company couldn’t sustain the staffing level and it \u003ca href=\"https://www.usgamer.net/articles/exclusive-how-a-culture-of-crunch-brought-telltale-from-critical-darlings-to-layoffs\" rel=\"noopener\" target=\"_blank\">laid off 90 employees\u003c/a> — 25 percent of its staff — last year.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The deal Telltale inked with Netflix means two different products for the two licensed properties, \u003ci> Minecraft\u003c/i> and \u003ci>Stranger Things.\u003c/i>\u003ca href=\"https://www.techradar.com/news/netflix-to-add-games-to-its-service-including-stranger-things-and-minecraft\" rel=\"noopener\" target=\"_blank\"> TechRadar reports\u003c/a> that \u003cem>Minecraft: Story Mode\u003c/em> is a five-part interactive story series similar to other Netflix properties. \u003c/p>\n\u003cp>“It’s an extension of our other interactive stories we have on our service like \u003cem>Stretch Armstrong: The Breakout\u003c/em>, \u003cem>Puss in Book: Trapped in an Epic Tale\u003c/em> and \u003cem>Buddy Thunderstruck: The Maybe Pile\u003c/em>,” a Netflix representative \u003ca href=\"https://www.polygon.com/tv/2018/6/13/17460834/netflix-telltale-minecraft-story-mode-stranger-things-game\" rel=\"noopener\" target=\"_blank\">told Polygon\u003c/a>. \u003c/p>\n\u003cp>However, the \u003ci>Stranger Things\u003c/i> game will not be available for streaming on Netflix, as it is just a part of the streaming service’s marketing strategy.\u003c/p>\n\u003cp>“We don’t have any plans to get into gaming,” Netflix told TechRadar. “There’s a broad spectrum of entertainment available today. Games have become increasingly cinematic, but we view this as interactive narrative storytelling on our service.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Stranger Things,\u003c/i> a sci-fi horror series steeped in ’80s nostalgia, premiered on Netflix in 2016, becoming a sensation practically overnight. The third season of the show is currently in production.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://telltale.com/\" rel=\"noopener\" target=\"_blank\">Telltale Games\u003c/a>, an independent game developer based in San Rafael, announced Wednesday that it has made a deal with Netflix to produce a video game based on the hit show, \u003ci>Stranger Things.\u003c/i>\u003c/p>\n\u003cp>Telltale Games revealed few details about the game, announcing the news while also announcing that Netflix would be streaming an interactive version of Telltale’s game \u003ci>Minecraft: Story Mode.\u003c/i> Telltale had little to say about either project.\u003c/p>\n\u003cp>“Our partnership with Netflix is something we’re incredibly proud of, and while we don’t have anything more to share right now, we’re excited to reveal details on these projects later in the year,” Telltale \u003ca href=\"https://twitter.com/telltalegames/status/1006996305082630144\" rel=\"noopener\" target=\"_blank\">posted on Twitter \u003c/a>Wednesday.\u003c/p>\n\u003cp>Three former LucasArts employees — Dan Connors, Kevin Bruner and Troy Molander — founded Telltale in 2004, following LucasArts’s cancellation of a game they worked on together called \u003ci>Sam & Max Hit the Road.\u003c/i> The company went on to create games for movies such as \u003cem>Back to the Future\u003c/em> and \u003cem>Jurassic Park\u003c/em>. But Telltale saw its first big success with the episodic game it created based on \u003ci>The Walking Dead\u003c/i> comic and television series. Upon its release in 2012, the game sold a million copies in 20 days. Telltale went on to develop four more games in the series.\u003c/p>\n\u003cfigure id=\"attachment_13835104\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot-800x450.jpg\" alt=\"Screenshot from 'Minecraft: Story Mode'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13835104\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Screenshot from ‘Minecraft: Story Mode.’ \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Building on its cinematic, episodic style developed for the \u003ci>The Walking Dead\u003c/i> games, it then produced games for notable properties such as \u003ci>Game of Thrones\u003c/i> and \u003ci>Guardians of the Galaxy.\u003c/i> Continuing successes led the company to grow to 400 employees, but the company couldn’t sustain the staffing level and it \u003ca href=\"https://www.usgamer.net/articles/exclusive-how-a-culture-of-crunch-brought-telltale-from-critical-darlings-to-layoffs\" rel=\"noopener\" target=\"_blank\">laid off 90 employees\u003c/a> — 25 percent of its staff — last year.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The deal Telltale inked with Netflix means two different products for the two licensed properties, \u003ci> Minecraft\u003c/i> and \u003ci>Stranger Things.\u003c/i>\u003ca href=\"https://www.techradar.com/news/netflix-to-add-games-to-its-service-including-stranger-things-and-minecraft\" rel=\"noopener\" target=\"_blank\"> TechRadar reports\u003c/a> that \u003cem>Minecraft: Story Mode\u003c/em> is a five-part interactive story series similar to other Netflix properties. \u003c/p>\n\u003cp>“It’s an extension of our other interactive stories we have on our service like \u003cem>Stretch Armstrong: The Breakout\u003c/em>, \u003cem>Puss in Book: Trapped in an Epic Tale\u003c/em> and \u003cem>Buddy Thunderstruck: The Maybe Pile\u003c/em>,” a Netflix representative \u003ca href=\"https://www.polygon.com/tv/2018/6/13/17460834/netflix-telltale-minecraft-story-mode-stranger-things-game\" rel=\"noopener\" target=\"_blank\">told Polygon\u003c/a>. \u003c/p>\n\u003cp>However, the \u003ci>Stranger Things\u003c/i> game will not be available for streaming on Netflix, as it is just a part of the streaming service’s marketing strategy.\u003c/p>\n\u003cp>“We don’t have any plans to get into gaming,” Netflix told TechRadar. “There’s a broad spectrum of entertainment available today. Games have become increasingly cinematic, but we view this as interactive narrative storytelling on our service.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Stranger Things,\u003c/i> a sci-fi horror series steeped in ’80s nostalgia, premiered on Netflix in 2016, becoming a sensation practically overnight. The third season of the show is currently in production.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Obama in Talks to Produce Shows for Netflix, Report Says",
"headTitle": "Obama in Talks to Produce Shows for Netflix, Report Says | KQED",
"content": "\u003cp>Former President Barack Obama is in negotiations with Netflix to produce a series of high-profile shows, according to a story in \u003ca href=\"https://www.nytimes.com/2018/03/08/us/politics/obama-netflix-shows.html?hp&action=click&pgtype=Homepage&clickSource=story-heading&module=first-column-region®ion=top-news&WT.nav=top-news\" target=\"_blank\" rel=\"noopener\">The New York Times\u003c/a>.\u003c/p>\n\u003cp>The paper, citing people who are familiar with the “advanced” discussions, reports:\u003c/p>\n\u003cblockquote>\n\u003cp data-para-count=\"319\" data-total-count=\"579\">“Under terms of a proposed deal, which is not yet final, Netflix would pay Mr. Obama and his wife, Michelle, for exclusive content that would be available only on the streaming service, which has nearly 118 million subscribers around the world. The number of episodes and the formats for the shows have not been decided.\u003c/p>\n\u003cp data-para-count=\"275\" data-total-count=\"854\">“Mr. Obama does not intend to use his Netflix shows to directly respond to President Trump or conservative critics, according to people familiar with discussions about the programming. They said the Obamas had talked about producing shows that highlight inspirational stories.”\u003c/p>\n\u003c/blockquote>\n\u003cp data-para-count=\"275\" data-total-count=\"854\">Multiple show concepts are under consideration.\u003c/p>\n\u003cp data-para-count=\"294\" data-total-count=\"1895\">In one possible show idea, Obama could moderate conversations on topics that dominated his presidency — health care, voting rights, immigration, foreign policy, climate change — and that have continued to divide a polarized American electorate during President Trump’s time in office.\u003c/p>\n\u003cp data-para-count=\"296\" data-total-count=\"2191\">Another program could feature the former first lady on topics, like nutrition, that she championed in the White House. The Obamas could also lend their brand — and their endorsement — to documentaries or fictional programming on Netflix that align with their beliefs and values.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp data-para-count=\"296\" data-total-count=\"2191\">It’s unclear how much the Obamas would be paid. Executives from Apple and Amazon, which have their own streaming services, are said to have expressed interest in talking with the former president about content deals.\u003c/p>\n\u003cp data-para-count=\"275\" data-total-count=\"854\">“President and Mrs. Obama have always believed in the power of storytelling to inspire,” Eric Schultz, a senior adviser to the former president, told the T\u003cem>imes\u003c/em> Thursday.\u003c/p>\n\u003cp data-para-count=\"275\" data-total-count=\"854\">“Throughout their lives, they have lifted up stories of people whose efforts to make a difference are quietly changing the world for the better. As they consider their future personal plans, they continue to explore new ways to help others tell and share their stories,” Schultz said.\u003c/p>\n\u003cp data-para-count=\"275\" data-total-count=\"854\">A Netflix spokesman declined to comment to media organizations.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp data-para-count=\"275\" data-total-count=\"854\">Netflix reports that they have more than 117 million subscribers, 55 million of whom are in the U.S. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Obama+In+Talks+To+Produce+Shows+For+Netflix%2C+Report+Says&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "The former president is in negotiations to produce a series of high-profile shows for Netflix, according to \u003cem>The New York Times\u003c/em>. The number of episodes and show formats have not been decided.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Former President Barack Obama is in negotiations with Netflix to produce a series of high-profile shows, according to a story in \u003ca href=\"https://www.nytimes.com/2018/03/08/us/politics/obama-netflix-shows.html?hp&action=click&pgtype=Homepage&clickSource=story-heading&module=first-column-region®ion=top-news&WT.nav=top-news\" target=\"_blank\" rel=\"noopener\">The New York Times\u003c/a>.\u003c/p>\n\u003cp>The paper, citing people who are familiar with the “advanced” discussions, reports:\u003c/p>\n\u003cblockquote>\n\u003cp data-para-count=\"319\" data-total-count=\"579\">“Under terms of a proposed deal, which is not yet final, Netflix would pay Mr. Obama and his wife, Michelle, for exclusive content that would be available only on the streaming service, which has nearly 118 million subscribers around the world. The number of episodes and the formats for the shows have not been decided.\u003c/p>\n\u003cp data-para-count=\"275\" data-total-count=\"854\">“Mr. Obama does not intend to use his Netflix shows to directly respond to President Trump or conservative critics, according to people familiar with discussions about the programming. They said the Obamas had talked about producing shows that highlight inspirational stories.”\u003c/p>\n\u003c/blockquote>\n\u003cp data-para-count=\"275\" data-total-count=\"854\">Multiple show concepts are under consideration.\u003c/p>\n\u003cp data-para-count=\"294\" data-total-count=\"1895\">In one possible show idea, Obama could moderate conversations on topics that dominated his presidency — health care, voting rights, immigration, foreign policy, climate change — and that have continued to divide a polarized American electorate during President Trump’s time in office.\u003c/p>\n\u003cp data-para-count=\"296\" data-total-count=\"2191\">Another program could feature the former first lady on topics, like nutrition, that she championed in the White House. The Obamas could also lend their brand — and their endorsement — to documentaries or fictional programming on Netflix that align with their beliefs and values.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp data-para-count=\"296\" data-total-count=\"2191\">It’s unclear how much the Obamas would be paid. Executives from Apple and Amazon, which have their own streaming services, are said to have expressed interest in talking with the former president about content deals.\u003c/p>\n\u003cp data-para-count=\"275\" data-total-count=\"854\">“President and Mrs. Obama have always believed in the power of storytelling to inspire,” Eric Schultz, a senior adviser to the former president, told the T\u003cem>imes\u003c/em> Thursday.\u003c/p>\n\u003cp data-para-count=\"275\" data-total-count=\"854\">“Throughout their lives, they have lifted up stories of people whose efforts to make a difference are quietly changing the world for the better. As they consider their future personal plans, they continue to explore new ways to help others tell and share their stories,” Schultz said.\u003c/p>\n\u003cp data-para-count=\"275\" data-total-count=\"854\">A Netflix spokesman declined to comment to media organizations.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp data-para-count=\"275\" data-total-count=\"854\">Netflix reports that they have more than 117 million subscribers, 55 million of whom are in the U.S. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Obama+In+Talks+To+Produce+Shows+For+Netflix%2C+Report+Says&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Rachel Morrison is the first woman ever nominated for an Oscar in cinematography.\u003c/p>\n\u003cp>“I can’t believe I am the first,” she says. “It’s really kind of crazy!” \u003c/p>\n\u003cp>It was her lensing on \u003cem>Mudbound\u003c/em> that earned her this recognition, but Morrison also served as director of photography for the massive blockbuster \u003cem>Black Panther\u003c/em>. Being a DP means you’re in charge of all the cameras, everyone who operates them, the electricity on set and the look of the entire film.\u003c/p>\n\u003cp>“The cinematographer’s basically translating the director’s vision into imagery,” Morrison says. She leads the way down a set of outside stairs to her basement office at her home in the Mount Washington neighborhood of Los Angeles. “It’s such a mess down here.” \u003c/p>\n\u003cp>It’s not that messy — merely crammed with art books, \u003cem>Black Panther \u003c/em>comics and the DVDs she draws upon for reference and inspiration.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“A lot of the classics,” Morrison says. “\u003cem>Godfather\u003c/em>. \u003cem>Raging Bull\u003c/em>. \u003cem>City Of God\u003c/em>. \u003cem>[The] City Of Lost Children\u003c/em>. \u003cem>Dekalog\u003c/em>. I mean, Kieślowski was such a genius.”\u003c/p>\n\u003cp>But the movie that changed Morrison’s life was a foreign film she saw as a teenager in Cambridge, Mass. \u003c/p>\n\u003cp>“The film for me was this sort of obscure, French-Canadian film called \u003cem>Leolo,\u003c/em>” Morrison says. “It was playing in the Harvard Square Theater, and I think I had probably gone to see something else, and it was sold out. And I was like, ‘Oh, I’ll check out this film instead,’ and it just blew my mind.”\u003c/p>\n\u003cp>At the time, Morrison was transfixed by lush, surreal stories such as \u003cem>Leolo\u003c/em> and the magical realism of writers like Gabriel García Márquez and Salman Rushdie. “Which, interestingly, is not at all the direction I’ve gone with my cinematography,” she says.\u003c/p>\n\u003cp>Morrison’s big breakthrough was with \u003cem>Fruitvale Station, \u003c/em>an acclaimed 2013 movie that looks almost like a documentary. It was based on the real-life murder of a young black man by transit cops in Oakland, Calif. The film was also the breakout for director Ryan Coogler, who collaborated most recently with Morrison on \u003cem>Black Panther\u003c/em>.\u003c/p>\n\u003cp>When Coogler made his “Rocky” movie, \u003cem>Creed\u003c/em>, a few years ago, he asked Morrison to be director of photography. But the timing was off: Morrison had just gotten pregnant. \u003c/p>\n\u003cp>“I could totally shoot pregnant,” she says. But she could not disrupt a shooting schedule by giving birth in the middle of making a film. Being both a mom and a director of photography is not exactly a Hollywood norm. \u003c/p>\n\u003cp>“I looked for a model before having my son,” she says. “I sort of wanted to reassure my wife it could be done, and I quite frankly couldn’t find one. Like, most of the [directors of photography] I talked to were men, and most of them were on their third marriages and had kids from different wives, and kids that weren’t talking to them, and kids whose graduations they’d missed. There was some amount of remorse, and others saying, ‘Don’t make the mistakes I did,’ and others who sort of said, ‘That’s just the nature of the business.'”\u003c/p>\n\u003cp>“And for me,” she says quietly, “that’s not OK.”\u003c/p>\n\u003cp>Morrison is 39, but she looks younger, and she’s used to being mistaken for a hair and makeup artist or as part of the catering crew. On \u003cem>Black Panther\u003c/em>, where she was director of photography, Morrison once hopped in a van with the first assistant director — also a woman — to get to set. But the driver refused to budge.\u003c/p>\n\u003cp>“We were like, ‘Hey, we gotta go,'” she says. “And he was like, ‘I’m sorry, I’m waiting for the DP and the first AD.’ And we were like, ‘We are the DP and first AD!’ And that happens more times than I can count.”\u003c/p>\n\u003cfigure id=\"attachment_13825926\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-800x450.jpg\" alt=\"Rachel Morrison on set for 'Mudbound.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13825926\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rachel Morrison on set for ‘Mudbound.’ \u003ccite>(Steve Dietl /Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On the set of \u003cem>Mudbound\u003c/em>, Morrison was part of an intentionally female-led crew. The Netflix film follows the fortunes of a black family and a white one, hardscrabble farmers in the rural South.\u003c/p>\n\u003cp>Director Dee Rees remembers how Morrison positioned the camera during an especially tense scene. A young female sharecropper appears at the farm, brandishing a knife while two little girls play in the yard nearby. Murder is on her mind. \u003c/p>\n\u003cp>“Everything is angled to feel dangerous, in a way,” Rees says. “Everything’s geared for maximum tension. The knife is in the frame while the two girls are in the frame. So it’s like the casualness of violence in the world, the everyday nearness of death, the everyday nearness of harm.”\u003c/p>\n\u003cp>Rees says she loved Morrison’s understated, elegant eye. So did one of the giants of cinematography. Before he died in 2015, Haskell Wexler (\u003cem>Who’s Afraid Of Virginia Woolf?, One Flew Over The Cuckoo’s Nest)\u003c/em> saw \u003cem>Fruitvale Station\u003c/em> and invited Morrison over for lunch.\u003c/p>\n\u003cp>“He actually said that what we did in \u003cem>Fruitvale\u003c/em> was everything he aspired to do his entire career,” Morrison says. She’s proud, yet slightly abashed. “And it makes perfect sense. He made documentaries and he made narratives, but this was a film that really kind of blended both. So it was probably the most meaningful compliment I will ever get.”\u003c/p>\n\u003cp>For a second, Morrison’s eyes filled with tears, and then she laughed.\u003c/p>\n\u003cp>“He also made me hold his Oscar and said, ‘You’re gonna get one of these one day,’ which I thought was crazy at the time,” she says.\u003c/p>\n\u003cp>Maybe her historic nomination is connected to Wexler’s legacy, she ventures. And then, part of it is more complicated. \u003c/p>\n\u003cp>“Now the trick for me is, I don’t want to win for the wrong reason,” she says. “Like, I don’t want to win because I’m female. I’m kind of rooting for Deakins myself.”\u003c/p>\n\u003cp>Roger Deakins was cinematographer of the new \u003cem>Blade Runner\u003c/em> movie. He’s been nominated 14 times and never won. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Like Deakins, Rachel Morrison expects to be recognized for the quality of her work. And she expects to be nominated again. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27I+Can%27t+Believe+I+Am+The+First%2C%27+Says+Oscar-Nominated+Female+Cinematographer&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“A lot of the classics,” Morrison says. “\u003cem>Godfather\u003c/em>. \u003cem>Raging Bull\u003c/em>. \u003cem>City Of God\u003c/em>. \u003cem>[The] City Of Lost Children\u003c/em>. \u003cem>Dekalog\u003c/em>. I mean, Kieślowski was such a genius.”\u003c/p>\n\u003cp>But the movie that changed Morrison’s life was a foreign film she saw as a teenager in Cambridge, Mass. \u003c/p>\n\u003cp>“The film for me was this sort of obscure, French-Canadian film called \u003cem>Leolo,\u003c/em>” Morrison says. “It was playing in the Harvard Square Theater, and I think I had probably gone to see something else, and it was sold out. And I was like, ‘Oh, I’ll check out this film instead,’ and it just blew my mind.”\u003c/p>\n\u003cp>At the time, Morrison was transfixed by lush, surreal stories such as \u003cem>Leolo\u003c/em> and the magical realism of writers like Gabriel García Márquez and Salman Rushdie. “Which, interestingly, is not at all the direction I’ve gone with my cinematography,” she says.\u003c/p>\n\u003cp>Morrison’s big breakthrough was with \u003cem>Fruitvale Station, \u003c/em>an acclaimed 2013 movie that looks almost like a documentary. It was based on the real-life murder of a young black man by transit cops in Oakland, Calif. The film was also the breakout for director Ryan Coogler, who collaborated most recently with Morrison on \u003cem>Black Panther\u003c/em>.\u003c/p>\n\u003cp>When Coogler made his “Rocky” movie, \u003cem>Creed\u003c/em>, a few years ago, he asked Morrison to be director of photography. But the timing was off: Morrison had just gotten pregnant. \u003c/p>\n\u003cp>“I could totally shoot pregnant,” she says. But she could not disrupt a shooting schedule by giving birth in the middle of making a film. Being both a mom and a director of photography is not exactly a Hollywood norm. \u003c/p>\n\u003cp>“I looked for a model before having my son,” she says. “I sort of wanted to reassure my wife it could be done, and I quite frankly couldn’t find one. Like, most of the [directors of photography] I talked to were men, and most of them were on their third marriages and had kids from different wives, and kids that weren’t talking to them, and kids whose graduations they’d missed. There was some amount of remorse, and others saying, ‘Don’t make the mistakes I did,’ and others who sort of said, ‘That’s just the nature of the business.'”\u003c/p>\n\u003cp>“And for me,” she says quietly, “that’s not OK.”\u003c/p>\n\u003cp>Morrison is 39, but she looks younger, and she’s used to being mistaken for a hair and makeup artist or as part of the catering crew. On \u003cem>Black Panther\u003c/em>, where she was director of photography, Morrison once hopped in a van with the first assistant director — also a woman — to get to set. But the driver refused to budge.\u003c/p>\n\u003cp>“We were like, ‘Hey, we gotta go,'” she says. “And he was like, ‘I’m sorry, I’m waiting for the DP and the first AD.’ And we were like, ‘We are the DP and first AD!’ And that happens more times than I can count.”\u003c/p>\n\u003cfigure id=\"attachment_13825926\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-800x450.jpg\" alt=\"Rachel Morrison on set for 'Mudbound.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13825926\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rachel Morrison on set for ‘Mudbound.’ \u003ccite>(Steve Dietl /Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On the set of \u003cem>Mudbound\u003c/em>, Morrison was part of an intentionally female-led crew. The Netflix film follows the fortunes of a black family and a white one, hardscrabble farmers in the rural South.\u003c/p>\n\u003cp>Director Dee Rees remembers how Morrison positioned the camera during an especially tense scene. A young female sharecropper appears at the farm, brandishing a knife while two little girls play in the yard nearby. Murder is on her mind. \u003c/p>\n\u003cp>“Everything is angled to feel dangerous, in a way,” Rees says. “Everything’s geared for maximum tension. The knife is in the frame while the two girls are in the frame. So it’s like the casualness of violence in the world, the everyday nearness of death, the everyday nearness of harm.”\u003c/p>\n\u003cp>Rees says she loved Morrison’s understated, elegant eye. So did one of the giants of cinematography. Before he died in 2015, Haskell Wexler (\u003cem>Who’s Afraid Of Virginia Woolf?, One Flew Over The Cuckoo’s Nest)\u003c/em> saw \u003cem>Fruitvale Station\u003c/em> and invited Morrison over for lunch.\u003c/p>\n\u003cp>“He actually said that what we did in \u003cem>Fruitvale\u003c/em> was everything he aspired to do his entire career,” Morrison says. She’s proud, yet slightly abashed. “And it makes perfect sense. He made documentaries and he made narratives, but this was a film that really kind of blended both. So it was probably the most meaningful compliment I will ever get.”\u003c/p>\n\u003cp>For a second, Morrison’s eyes filled with tears, and then she laughed.\u003c/p>\n\u003cp>“He also made me hold his Oscar and said, ‘You’re gonna get one of these one day,’ which I thought was crazy at the time,” she says.\u003c/p>\n\u003cp>Maybe her historic nomination is connected to Wexler’s legacy, she ventures. And then, part of it is more complicated. \u003c/p>\n\u003cp>“Now the trick for me is, I don’t want to win for the wrong reason,” she says. “Like, I don’t want to win because I’m female. I’m kind of rooting for Deakins myself.”\u003c/p>\n\u003cp>Roger Deakins was cinematographer of the new \u003cem>Blade Runner\u003c/em> movie. He’s been nominated 14 times and never won. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Like Deakins, Rachel Morrison expects to be recognized for the quality of her work. And she expects to be nominated again. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27I+Can%27t+Believe+I+Am+The+First%2C%27+Says+Oscar-Nominated+Female+Cinematographer&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"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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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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},
"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"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",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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