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"content": "\u003cp>“They say you murdered my mother,” the young would-be nun tells the shady tycoon. “I feel the need to address this.”\u003c/p>\n\u003cp>There’s something about the deadpan delivery and the clear-eyed manner that makes you sit up and take notice of Liesl, and even more of Mia Threapleton, who plays her in \u003ca href=\"https://www.kqed.org/pop/tag/wes-anderson\">Wes Anderson\u003c/a>’s \u003cem>The Phoenician Scheme\u003c/em>. (And there’s another thing, too obvious to ignore: Boy, does she ever resemble her mom, Kate Winslet.)\u003c/p>\n\u003cp>[aside postid='arts_13976029']A vivid presence despite her dry-as-dust tone, Threapleton makes a splendid Andersonian debut here as half the father-daughter duo, along with Benicio Del Toro, that drives the director’s latest creation. Their emerging relationship is what stands out amid the familiar Andersonian details: the picture-book aesthetic. The meticulous production design (down to those fascinating closing credits). The chapter cards. The “who’s who” of Hollywood cameos. And most of all the intricate — nay, elaborate; nay, labyrinthine — plot.\u003c/p>\n\u003cp>Indeed, Anderson seems to be leaning into some of these characteristics here, giving the impression of becoming even more, well, Wes Anderson than before. He will likely delight his most ardent fans but perhaps lose a few others with the plot, which becomes a bit exhausting to follow as we reach the midpoint of this tale.\u003c/p>\n\u003cp>But what is the Phoenician scheme, anyway?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s a sweeping, ambitious, somewhat corrupt dream of one Anatole “Zsa-zsa” Korda (Del Toro), one of the richest industrialists in Europe, to exploit a vast region of the world. We begin in 1950, with yet another assassination attempt on Korda’s life — his sixth plane crash, to be exact, which occurs as he sits smoking a cigar and reading about botany.\u003c/p>\n\u003cp>Suddenly, in a hugely entertaining pre-credits sequence, Korda’s in the cockpit, ejecting his useless pilot and directing his own rescue, asking ground control whether he should crash into a corn or soybean field. The media mourns his passing — and then he turns up, one eye mangled, biting into a husk of corn. As usual, reports of his death have been … you know.\u003c/p>\n\u003cp>[aside postid='pop_11491']Recovering at his estate, with some truly fabulous, tiled bathroom floors, Korda summons Liesl from the convent where he sent her at age 5. He wants her to be his sole heir — and avenger, should his plentiful enemies get him.\u003c/p>\n\u003cp>His plans are contained in a series of shoeboxes. But Liesl isn’t very interested in the Korda Land and Sea Phoenician Infrastructure Scheme. What she wants to know is who killed her mother. She also mentions they haven’t seen each other in six years. (“I apologize,” he says.) And she wonders why none of his nine sons, young boys he keeps in a dormitory, will be heirs. But Korda wants her.\u003c/p>\n\u003cp>They agree to a trial period. We do get the creeping feeling Liesl will never make it back to the convent — maybe it’s the red lipstick, or the affinity she’s developing for jewels? But we digress.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GEuMnPl2WI4\u003c/p>\n\u003cp>We should have mentioned by now the tutor and insect expert, Bjørn. In his first Anderson film but likely not the last, \u003ca href=\"https://www.kqed.org/arts/tag/michael-cera\">Michael Cera\u003c/a> inhabits this character with just the right mix of commitment and self-awareness. “I could eat a horse,” he muses in a silly quasi-Norwegian accent before lunch, “and easily a pigeon!”\u003c/p>\n\u003cp>Now it’s on the road they go, to secure investments in the scheme. We won’t get into the financial niceties — we writers have word-length limits, and you readers have patience limits. But the voyage involves — obviously! — a long line of characters only Anderson could bring to life.\u003c/p>\n\u003cp>Among them: the Sacramento consortium, aka \u003ca href=\"https://www.kqed.org/arts/tag/tom-hanks\">Tom Hanks\u003c/a> and Bryan Cranston, two American guys who hinge their financial commitment on the outcome of a game of HORSE.\u003c/p>\n\u003cp>[aside postid='arts_13976665']Next it’s to Marseille Bob (Mathieu Amalric), and then to Marty (\u003ca href=\"https://www.kqed.org/arts/13938160/american-fiction-based-on-erasure-jeffrey-wright-cord-jefferson-ross\">Jeffrey Wright\u003c/a>), leader of the Newark Syndicate (we’re not talking Jersey here, but Upper Eastern Independent Phoenicia), who offers a blood transfusion to Korda because, oh yes, he was shot by terrorists at the previous meeting. (Don’t worry, the guy’s indestructible.)\u003c/p>\n\u003cp>Then there’s Cousin Hilda (Scarlett Johansson, continuing the cameo parade), whom Korda seeks to marry to get her participation in the investment.\u003c/p>\n\u003cp>And then back on the plane, the group is strafed by a fighter jet. Soon, it’ll be revealed that one of them is a mole. We won’t tell you who, although it’s hard to tell if anything is really a spoiler here — like the part when \u003ca href=\"https://www.kqed.org/arts/10208252/benedict-cumberbatch-lifts-above-biopic-formula-in-imitation-game\">Benedict Cumberbatch\u003c/a> appears with a very fake beard as Uncle Nubar, who may be someone’s father or may have killed someone, and engages in a slapstick fight with Korda, complete with vase-smashing.\u003c/p>\n\u003cp>We also shouldn’t tell you what happens with the big ol’ scheme — it was all about the journey, anyway. And about Korda and Liesl, who by the end have discovered things about each other but, even more, about themselves.\u003c/p>\n\u003cp>As for Liesl, at the end, she’s clad stylishly in black and white — but definitely not in a habit. As someone famously said about Maria in \u003ca href=\"https://www.kqed.org/pop/tag/the-sound-of-music\">\u003cem>The Sound of Music\u003c/em>\u003c/a>, “somewhere out there is a lady who I think will never be a nun.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Phoenician Scheme’ is released nationwide on May 30, 2025.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“They say you murdered my mother,” the young would-be nun tells the shady tycoon. “I feel the need to address this.”\u003c/p>\n\u003cp>There’s something about the deadpan delivery and the clear-eyed manner that makes you sit up and take notice of Liesl, and even more of Mia Threapleton, who plays her in \u003ca href=\"https://www.kqed.org/pop/tag/wes-anderson\">Wes Anderson\u003c/a>’s \u003cem>The Phoenician Scheme\u003c/em>. (And there’s another thing, too obvious to ignore: Boy, does she ever resemble her mom, Kate Winslet.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>A vivid presence despite her dry-as-dust tone, Threapleton makes a splendid Andersonian debut here as half the father-daughter duo, along with Benicio Del Toro, that drives the director’s latest creation. Their emerging relationship is what stands out amid the familiar Andersonian details: the picture-book aesthetic. The meticulous production design (down to those fascinating closing credits). The chapter cards. The “who’s who” of Hollywood cameos. And most of all the intricate — nay, elaborate; nay, labyrinthine — plot.\u003c/p>\n\u003cp>Indeed, Anderson seems to be leaning into some of these characteristics here, giving the impression of becoming even more, well, Wes Anderson than before. He will likely delight his most ardent fans but perhaps lose a few others with the plot, which becomes a bit exhausting to follow as we reach the midpoint of this tale.\u003c/p>\n\u003cp>But what is the Phoenician scheme, anyway?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s a sweeping, ambitious, somewhat corrupt dream of one Anatole “Zsa-zsa” Korda (Del Toro), one of the richest industrialists in Europe, to exploit a vast region of the world. We begin in 1950, with yet another assassination attempt on Korda’s life — his sixth plane crash, to be exact, which occurs as he sits smoking a cigar and reading about botany.\u003c/p>\n\u003cp>Suddenly, in a hugely entertaining pre-credits sequence, Korda’s in the cockpit, ejecting his useless pilot and directing his own rescue, asking ground control whether he should crash into a corn or soybean field. The media mourns his passing — and then he turns up, one eye mangled, biting into a husk of corn. As usual, reports of his death have been … you know.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Recovering at his estate, with some truly fabulous, tiled bathroom floors, Korda summons Liesl from the convent where he sent her at age 5. He wants her to be his sole heir — and avenger, should his plentiful enemies get him.\u003c/p>\n\u003cp>His plans are contained in a series of shoeboxes. But Liesl isn’t very interested in the Korda Land and Sea Phoenician Infrastructure Scheme. What she wants to know is who killed her mother. She also mentions they haven’t seen each other in six years. (“I apologize,” he says.) And she wonders why none of his nine sons, young boys he keeps in a dormitory, will be heirs. But Korda wants her.\u003c/p>\n\u003cp>They agree to a trial period. We do get the creeping feeling Liesl will never make it back to the convent — maybe it’s the red lipstick, or the affinity she’s developing for jewels? But we digress.\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/GEuMnPl2WI4'\n title='//www.youtube.com/embed/GEuMnPl2WI4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>We should have mentioned by now the tutor and insect expert, Bjørn. In his first Anderson film but likely not the last, \u003ca href=\"https://www.kqed.org/arts/tag/michael-cera\">Michael Cera\u003c/a> inhabits this character with just the right mix of commitment and self-awareness. “I could eat a horse,” he muses in a silly quasi-Norwegian accent before lunch, “and easily a pigeon!”\u003c/p>\n\u003cp>Now it’s on the road they go, to secure investments in the scheme. We won’t get into the financial niceties — we writers have word-length limits, and you readers have patience limits. But the voyage involves — obviously! — a long line of characters only Anderson could bring to life.\u003c/p>\n\u003cp>Among them: the Sacramento consortium, aka \u003ca href=\"https://www.kqed.org/arts/tag/tom-hanks\">Tom Hanks\u003c/a> and Bryan Cranston, two American guys who hinge their financial commitment on the outcome of a game of HORSE.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Next it’s to Marseille Bob (Mathieu Amalric), and then to Marty (\u003ca href=\"https://www.kqed.org/arts/13938160/american-fiction-based-on-erasure-jeffrey-wright-cord-jefferson-ross\">Jeffrey Wright\u003c/a>), leader of the Newark Syndicate (we’re not talking Jersey here, but Upper Eastern Independent Phoenicia), who offers a blood transfusion to Korda because, oh yes, he was shot by terrorists at the previous meeting. (Don’t worry, the guy’s indestructible.)\u003c/p>\n\u003cp>Then there’s Cousin Hilda (Scarlett Johansson, continuing the cameo parade), whom Korda seeks to marry to get her participation in the investment.\u003c/p>\n\u003cp>And then back on the plane, the group is strafed by a fighter jet. Soon, it’ll be revealed that one of them is a mole. We won’t tell you who, although it’s hard to tell if anything is really a spoiler here — like the part when \u003ca href=\"https://www.kqed.org/arts/10208252/benedict-cumberbatch-lifts-above-biopic-formula-in-imitation-game\">Benedict Cumberbatch\u003c/a> appears with a very fake beard as Uncle Nubar, who may be someone’s father or may have killed someone, and engages in a slapstick fight with Korda, complete with vase-smashing.\u003c/p>\n\u003cp>We also shouldn’t tell you what happens with the big ol’ scheme — it was all about the journey, anyway. And about Korda and Liesl, who by the end have discovered things about each other but, even more, about themselves.\u003c/p>\n\u003cp>As for Liesl, at the end, she’s clad stylishly in black and white — but definitely not in a habit. As someone famously said about Maria in \u003ca href=\"https://www.kqed.org/pop/tag/the-sound-of-music\">\u003cem>The Sound of Music\u003c/em>\u003c/a>, “somewhere out there is a lady who I think will never be a nun.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Phoenician Scheme’ is released nationwide on May 30, 2025.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Ever since everyone’s favorite internet daddy Pedro Pascal \u003ca href=\"https://x.com/jemmawei/status/1592971050899292162\">was first spotted\u003c/a> filming near the Fox Theater in late 2022, Bay Area movie lovers have been \u003ca href=\"https://www.kqed.org/arts/13922548/too-short-way-oakland-street-renamed\">buzzing with anticipation\u003c/a> for the Oakland-shot film \u003cem>Freaky Tales\u003c/em>.\u003c/p>\n\u003cp>Named after Oakland legend (and executive producer) Too Short’s 1987 hit single, \u003cem>Freaky Tales\u003c/em> drew so much excitement at last year’s Sundance Festival, organizers had to \u003ca href=\"https://flipscreened.com/2024/07/22/sundance-2024-review-freaky-tales/\">add a second screening\u003c/a> to the schedule.\u003c/p>\n\u003cp>Now, more fuel to fan the flames: Lionsgate just dropped the official trailer, which is full of Easter eggs for Oakland locals from the opening shot — an “East Bay Mix” mixtape getting popped into a car’s cassette deck.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">[aside postID='arts_13922548']\u003c/span>\u003c/span>“The underdog believes he can do the impossible,” Pascal’s voiceover narration says. “Defeat the bully. Sell enough mixtapes to get out of the hood …”\u003c/p>\n\u003cp>Cue the record scratch, as Too Short’s unmistakeable voice cuts in: “Now hold up, we’ve got to take it from the top.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-2e8SYmofZM\u003c/p>\n\u003cp>Written and directed by Anna Boden and Ryan Fleck (who was raised in the East Bay), the duo behind \u003cem>Captain Marvel\u003c/em>, \u003cem>Freaky Tales\u003c/em> is set in Oakland in 1987 and looks to be firmly rooted in ’80s Bay Area hustle culture. The trailer is packed with local landmarks and references: the Mormon temple lit up at night. Sweet Jimmie’s nightclub, now known as the New Parish. Warriors legend Sleepy Floyd (who famously scored a record-setting 29 points in a fourth quarter playoff upset against the Lakers) sword-fighting (!) against Nazis (!!) outside punk club 924 Gilman (!!!).\u003c/p>\n\u003cp>And while Late Night Video, the Telegraph Avenue video store where several pivotal scenes take place, isn’t real, the storefront is located right next door to a hair salon called \u003ca href=\"https://www.yelp.com/biz/jazmine-african-hair-braiding-oakland\">Jasmine African Hair Braiding\u003c/a>, which very much is.\u003c/p>\n\u003cfigure id=\"attachment_13972041\" class=\"wp-caption alignnone\" style=\"max-width: 2880px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972041\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-1.48.30%E2%80%AFPM.png\" alt=\"Still shot from the 'Freaky Tales' trailer shows a "Late Night Video" storefront next to a braiding salon.\" width=\"2880\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-1.48.30 PM.png 2880w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-1.48.30 PM-800x417.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-1.48.30 PM-1020x531.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-1.48.30 PM-160x83.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-1.48.30 PM-768x400.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-1.48.30 PM-1536x800.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-1.48.30 PM-2048x1067.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-1.48.30 PM-1920x1000.png 1920w\" sizes=\"auto, (max-width: 2880px) 100vw, 2880px\">\u003cfigcaption class=\"wp-caption-text\">A view of Telegraph Avenue, as seen in the ‘Freaky Tales’ trailer. \u003ccite>(Courtesy of Lionsgate Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to Pascal, who plays a debt collector, \u003cem>Freaky Friday\u003c/em> also stars Ben Mendelsohn, Jay Ellis and the singer Normani, and it’s the last film in which the charismatic Oakland actor Angus Cloud appeared before he \u003ca href=\"https://www.kqed.org/arts/13932485/tributes-angus-cloud-euphoria-oakland-osa-kehlani-zendaya-kev-choice-jwalt\">died tragically in 2023\u003c/a>. Oakland icons Tom Hanks and Too Short himself also make cameos.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It wasn’t every day a story like this hit The Town,” Too Short’s narrator says toward the end of the trailer. Audiences will have a chance to see it for themselves on April 4, when the movie hits theaters nationwide.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ever since everyone’s favorite internet daddy Pedro Pascal \u003ca href=\"https://x.com/jemmawei/status/1592971050899292162\">was first spotted\u003c/a> filming near the Fox Theater in late 2022, Bay Area movie lovers have been \u003ca href=\"https://www.kqed.org/arts/13922548/too-short-way-oakland-street-renamed\">buzzing with anticipation\u003c/a> for the Oakland-shot film \u003cem>Freaky Tales\u003c/em>.\u003c/p>\n\u003cp>Named after Oakland legend (and executive producer) Too Short’s 1987 hit single, \u003cem>Freaky Tales\u003c/em> drew so much excitement at last year’s Sundance Festival, organizers had to \u003ca href=\"https://flipscreened.com/2024/07/22/sundance-2024-review-freaky-tales/\">add a second screening\u003c/a> to the schedule.\u003c/p>\n\u003cp>Now, more fuel to fan the flames: Lionsgate just dropped the official trailer, which is full of Easter eggs for Oakland locals from the opening shot — an “East Bay Mix” mixtape getting popped into a car’s cassette deck.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/span>“The underdog believes he can do the impossible,” Pascal’s voiceover narration says. “Defeat the bully. Sell enough mixtapes to get out of the hood …”\u003c/p>\n\u003cp>Cue the record scratch, as Too Short’s unmistakeable voice cuts in: “Now hold up, we’ve got to take it from the top.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/-2e8SYmofZM'\n title='//www.youtube.com/embed/-2e8SYmofZM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Written and directed by Anna Boden and Ryan Fleck (who was raised in the East Bay), the duo behind \u003cem>Captain Marvel\u003c/em>, \u003cem>Freaky Tales\u003c/em> is set in Oakland in 1987 and looks to be firmly rooted in ’80s Bay Area hustle culture. The trailer is packed with local landmarks and references: the Mormon temple lit up at night. Sweet Jimmie’s nightclub, now known as the New Parish. Warriors legend Sleepy Floyd (who famously scored a record-setting 29 points in a fourth quarter playoff upset against the Lakers) sword-fighting (!) against Nazis (!!) outside punk club 924 Gilman (!!!).\u003c/p>\n\u003cp>And while Late Night Video, the Telegraph Avenue video store where several pivotal scenes take place, isn’t real, the storefront is located right next door to a hair salon called \u003ca href=\"https://www.yelp.com/biz/jazmine-african-hair-braiding-oakland\">Jasmine African Hair Braiding\u003c/a>, which very much is.\u003c/p>\n\u003cfigure id=\"attachment_13972041\" class=\"wp-caption alignnone\" style=\"max-width: 2880px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972041\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-1.48.30%E2%80%AFPM.png\" alt=\"Still shot from the 'Freaky Tales' trailer shows a "Late Night Video" storefront next to a braiding salon.\" width=\"2880\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-1.48.30 PM.png 2880w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-1.48.30 PM-800x417.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-1.48.30 PM-1020x531.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-1.48.30 PM-160x83.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-1.48.30 PM-768x400.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-1.48.30 PM-1536x800.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-1.48.30 PM-2048x1067.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-1.48.30 PM-1920x1000.png 1920w\" sizes=\"auto, (max-width: 2880px) 100vw, 2880px\">\u003cfigcaption class=\"wp-caption-text\">A view of Telegraph Avenue, as seen in the ‘Freaky Tales’ trailer. \u003ccite>(Courtesy of Lionsgate Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to Pascal, who plays a debt collector, \u003cem>Freaky Friday\u003c/em> also stars Ben Mendelsohn, Jay Ellis and the singer Normani, and it’s the last film in which the charismatic Oakland actor Angus Cloud appeared before he \u003ca href=\"https://www.kqed.org/arts/13932485/tributes-angus-cloud-euphoria-oakland-osa-kehlani-zendaya-kev-choice-jwalt\">died tragically in 2023\u003c/a>. Oakland icons Tom Hanks and Too Short himself also make cameos.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It wasn’t every day a story like this hit The Town,” Too Short’s narrator says toward the end of the trailer. Audiences will have a chance to see it for themselves on April 4, when the movie hits theaters nationwide.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "An Unmoving Camera and De-Aging Technology Make ‘Here’ Painful to Watch",
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"content": "\u003cp>Robert Zemeckis’ latest movie is insanely ambitious, starting with the dinosaurs and ending in present day with the Roomba. But it’s fixed on just one spot.\u003c/p>\n\u003cp>\u003cem>Here\u003c/em> reunites Zemeckis, screenwriter Eric Roth and actors Tom Hanks and Robin Wright, who collaborated on \u003cem>Forrest Gump\u003c/em>. This time, they’re not telling the larger-than-life story of a man moving through time — they’re telling the centuries-old story of a living room and all the different people who lived there.\u003c/p>\n\u003cp>[aside postid='arts_13967200']In this living room, we see a wedding, a death, a birth, a marriage tested, a funeral, lots of vacuuming, many birthdays, Christmases and Thanksgivings, some sex, adults getting drunk and Jazzercise.\u003c/p>\n\u003cp>Zemeckis puts the camera at a fixed angle for the movie’s entire 105-minute duration without moving. It’s not so strange after a while — so bursting with life is each shot and vignette — but there’s a gnawing feeling that we’re in some sort of film experiment, like testing an audience on how long they’ll watch old security camera footage.\u003c/p>\n\u003cp>The camera may not move but the eras do, melting back and forth in time from pre-history, to the 1700s, to the 1940s, back to hunter-gatherer times and then the ’60s and ’70s, before hitting the early 1900s. It begins and ends in 2022.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hanks and Wright form the movie’s spine, as Richard and Margaret. Over dozens of little scenes, we watch him as a boy grow up in the house and fall in love with Margaret, marry, move her in, have a baby and inherit it all. Whether they survive as a couple isn’t guaranteed.\u003c/p>\n\u003cp>Zemeckis is a filmmaker known for incorporating the latest in technology and this time it’s de-aging as a visual effect, basically turning 68-year-old Hanks into what he looked like while filming \u003cem>Splash\u003c/em>. It’s a lot of work, clumsy often, and Zemeckis has gotten lost in the uncanny valley, trying to tell a very human story about what unites us but by altering the actors so much that the human connection is lost. Look closely and you’ll see cigarette smoke go into one character, but never come out.\u003c/p>\n\u003cp>[aside postid='arts_13967293']Other roles include Richard’s parents — played brilliantly by Paul Bettany and Kelly Reilly — and some unconnected people: a fun-loving couple living in the home from 1925 to 1944, and a less fun couple in the early 1900s. There’s an Indigenous couple in the 1600s who frolic in the space the living room will take over in 300 years and another family who rides out 2020 in the house amid the pandemic.\u003c/p>\n\u003cp>If that isn’t enough, we have an appearance by Benjamin Franklin. Why Benjamin Franklin? He’s connected to the house across the street. What he adds is not entirely clear. The movie could do with fewer Founding Fathers and cutesy touches like hummingbirds.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=I_id-SkGU2k\u003c/p>\n\u003cp>We watch the living room as a TV is added — the Beatles’ performance on \u003cem>The Ed Sullivan Show\u003c/em> leads to \u003cem>CHiPs\u003c/em> — and the vehicles outside go from horse to Model Ts to sedans. The home goes from $3,400 just after World War II to $1 million today and the fashions go from Victorian heeled boots to teased hair and American flag shirts.\u003c/p>\n\u003cp>\u003cem>Here\u003c/em> — based on the graphic novel by Richard McGuire — is best when events at different times are linked — like when a roof starts leaking in one era only to dissolve into a pregnant woman’s water breaking in another. Or when there’s mention of influenza in 1918 and we later see the effects of the coronavirus pandemic.\u003c/p>\n\u003cp>[aside postid='arts_13967226']One theme that is touched on but could have been strengthened is the impact of downsizing and economic disruptions on psyches, with Richard’s father in full Willy Loman mode one day, sobbing after being laid off: “They shrunk me.” Deferred dreams are another, but there’s not enough time for that if you’ve got silly visits by Benjamin Franklin. And while it’s inclusive to embrace Native Americans, the scenes add little to the narrative.\u003c/p>\n\u003cp>\u003cem>Here\u003c/em> fails to connect all these centuries of human experiences, other than to celebrate the human experience in all its messiness, triumph and sadness. In fact, if these walls could talk, most of the characters are happiest away from this living room. Maybe the strongest theme is uttered by one character lamenting: “Time just went.”\u003c/p>\n\u003cp>Zemeckis nicely apes the graphic novel’s use of squares within the frame that show a peek at what’s going on in different eras — like little time travel devices — and kudos to Jesse Goldsmith for fantastic editing work.\u003c/p>\n\u003cp>But one visual trick sums up the movie: It’s supposed to be the story of a real wood-and-brick house, but it was filmed at Sony’s studio complex in Culver City, California. The main character is fake. \u003cem>Here\u003c/em> is nowhere.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Here’ is released nationwide on Nov. 1, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In this living room, we see a wedding, a death, a birth, a marriage tested, a funeral, lots of vacuuming, many birthdays, Christmases and Thanksgivings, some sex, adults getting drunk and Jazzercise.\u003c/p>\n\u003cp>Zemeckis puts the camera at a fixed angle for the movie’s entire 105-minute duration without moving. It’s not so strange after a while — so bursting with life is each shot and vignette — but there’s a gnawing feeling that we’re in some sort of film experiment, like testing an audience on how long they’ll watch old security camera footage.\u003c/p>\n\u003cp>The camera may not move but the eras do, melting back and forth in time from pre-history, to the 1700s, to the 1940s, back to hunter-gatherer times and then the ’60s and ’70s, before hitting the early 1900s. It begins and ends in 2022.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Other roles include Richard’s parents — played brilliantly by Paul Bettany and Kelly Reilly — and some unconnected people: a fun-loving couple living in the home from 1925 to 1944, and a less fun couple in the early 1900s. There’s an Indigenous couple in the 1600s who frolic in the space the living room will take over in 300 years and another family who rides out 2020 in the house amid the pandemic.\u003c/p>\n\u003cp>If that isn’t enough, we have an appearance by Benjamin Franklin. Why Benjamin Franklin? He’s connected to the house across the street. What he adds is not entirely clear. The movie could do with fewer Founding Fathers and cutesy touches like hummingbirds.\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/I_id-SkGU2k'\n title='//www.youtube.com/embed/I_id-SkGU2k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>We watch the living room as a TV is added — the Beatles’ performance on \u003cem>The Ed Sullivan Show\u003c/em> leads to \u003cem>CHiPs\u003c/em> — and the vehicles outside go from horse to Model Ts to sedans. The home goes from $3,400 just after World War II to $1 million today and the fashions go from Victorian heeled boots to teased hair and American flag shirts.\u003c/p>\n\u003cp>\u003cem>Here\u003c/em> — based on the graphic novel by Richard McGuire — is best when events at different times are linked — like when a roof starts leaking in one era only to dissolve into a pregnant woman’s water breaking in another. Or when there’s mention of influenza in 1918 and we later see the effects of the coronavirus pandemic.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>One theme that is touched on but could have been strengthened is the impact of downsizing and economic disruptions on psyches, with Richard’s father in full Willy Loman mode one day, sobbing after being laid off: “They shrunk me.” Deferred dreams are another, but there’s not enough time for that if you’ve got silly visits by Benjamin Franklin. And while it’s inclusive to embrace Native Americans, the scenes add little to the narrative.\u003c/p>\n\u003cp>\u003cem>Here\u003c/em> fails to connect all these centuries of human experiences, other than to celebrate the human experience in all its messiness, triumph and sadness. In fact, if these walls could talk, most of the characters are happiest away from this living room. Maybe the strongest theme is uttered by one character lamenting: “Time just went.”\u003c/p>\n\u003cp>Zemeckis nicely apes the graphic novel’s use of squares within the frame that show a peek at what’s going on in different eras — like little time travel devices — and kudos to Jesse Goldsmith for fantastic editing work.\u003c/p>\n\u003cp>But one visual trick sums up the movie: It’s supposed to be the story of a real wood-and-brick house, but it was filmed at Sony’s studio complex in Culver City, California. The main character is fake. \u003cem>Here\u003c/em> is nowhere.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Here’ is released nationwide on Nov. 1, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Americana, Told Wes Anderson-style, in Star-Filled ‘Asteroid City’",
"headTitle": "Americana, Told Wes Anderson-style, in Star-Filled ‘Asteroid City’ | KQED",
"content": "\u003cp>Wes Anderson gets back to the heart of things in \u003cem>Asteroid City\u003c/em>, a film about grief, performance, storytelling, the cosmos and, well, everything. Or, as one character, a playwright played by Edward Norton, says when asked what his work is about: “It’s about infinity and I don’t know what else.”\u003c/p>\n\u003cp>Meticulously designed and choreographed, with a beautiful, starry cast reading his and Roman Coppola’s droll words, \u003cem>Asteroid City\u003c/em> is very, very Wes Anderson. Aren’t they all? But \u003cem>Asteroid City\u003c/em> also represents a return to form (or at least the form most people preferred) after his past two films, \u003cem>Isle of Dogs\u003c/em> and \u003cem>The French Dispatch\u003c/em>, divided even his disciples. They worried, among other things, if style and form had finally usurped his storytelling. Regardless of whether you thought they were fun or painful or some dreadful in between, there was a palpable detachment to both films. Authentic emotion, when there at all, was strained.\u003c/p>\n\u003cp>[aside postid='arts_13828289']In this way, \u003cem>Asteroid City\u003c/em> seems like a response to all of that — an earnest and self-conscious case for making art, putting on the play, telling the story, acting the part even if you (and your audience) aren’t entirely sure what you’re saying. It is wrapped in a labored and stylized conceit — a play within a play that’s being broadcast on a television network (the 1950s show \u003cem>Playhouse 90\u003c/em>, worldlier people have noted, is the reference). And because it’s a play, the American midcentury Desert West can look as set designed as Anderson wants. He didn’t need a justification. Nonetheless, it’s a sly deflection — as is the idea that no one is really sure what the point is, embodied by Jason Schwartzman playing an actor playing a recently widowed war photographer, Augie Steenbeck, who has traveled to the desert with his brainiac son, Woodrow (Jake Ryan) and 6-year-old triplets (truly standouts).\u003c/p>\n\u003cp>They come to Asteroid City, population 87, for the Junior Stargazer Convention, a government organized science competition in which genius kids show off inventions (jet packs, blasters, etc.) which the government then owns, as Jeffrey Wright’s Gen. Grif Gibson explains. It is post-war in an anxious America where scientists are a key part of the nation’s defense strategy. In the distance, atomic bombs are being tested, too. Was something in the air while things like \u003cem>Asteroid City\u003c/em>, \u003cem>Oppenheimer\u003c/em> and even the documentary \u003cem>A Compassionate Spy\u003c/em> were coming together? Here, the mushroom clouds are not terribly threatening though. They are, for lack of a better word, adorable.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Gmmq7sVA0Jo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This Stargazer convention allows for an assemblage of a quirky ensemble with government types (Fisher Stevens), the brainiac kids (Grace Edwards, Sophia Lillis, Ethan Josh Lee, Aristou Meehan), their parents (Scarlett Johansson, Liev Schreiber, Hope Davis, Steve Park), the head scientist (Tilda Swinton’s Dr. Hickenlooper) a school group led by Maya Hawke and some musically inclined cowboys (among them, Rupert Friend) who, I think, just missed their bus. Locals include Hank the mechanic (Matt Dillon) and the motel manager (Steve Carrell). Tom Hanks is Stanley Zak, Augie’s father-in-law and a wealthy Palm Springs retiree who wears a gun in his plaid pants\u003c/p>\n\u003cp>In the world of the play being put on, there is the director (Adrien Brody), his soon-to-be ex-wife (Hong Chau), the Lee Strasberg-y acting teacher Saltzburg Keitel (Willem Dafoe), the actress whose scene was cut (Margot Robbie), the host of the television program (Bryan Cranston) and Jeff Goldblum as, well, you’ll see. As always, the names are a delightful treat. And all the actors make a meal out of their parts, no matter how small.\u003c/p>\n\u003cp>[aside postid='pop_11491']But if there are characters with something like an arc to spotlight, that would be Schwartzman and Johansson, whose understated 50s movie star Midge Campbell might be one of her very best performances. Augie and Midge have a brief romance, mostly emotional, in that very repressed Wes Anderson way.\u003c/p>\n\u003cp>Is this all a little confusing? Don’t dismay, I think that might be part of the point. Maybe. Probably. And, in any event, it works — \u003cem>Asteroid City\u003c/em>, with its sprawling cast, beautiful hues, mumbled jokes, box-within-a-box setup, references that only the 80+ crowd may truly get and retro-cool soundtrack, actually makes you feel things even if it can’t quite make sense of itself.\u003c/p>\n\u003cp>“Just keep telling the story,” as Brody Schubert Green says to his actor looking for answers and motivations, is advice that could be interpreted as a shrug. Or maybe it’s actually everything — \u003cem>Asteroid City\u003c/em> makes a pretty compelling case.\u003c/p>\n\u003cp>\u003cem>Copyright 2023 Associated Press. To see more, \u003ca href=\"https://apnews.com/\" rel=\"noopener\">visit AP\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Asteroid City’ is released nationwide on June 23, 2023.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Wes Anderson gets back to the heart of things in \u003cem>Asteroid City\u003c/em>, a film about grief, performance, storytelling, the cosmos and, well, everything. Or, as one character, a playwright played by Edward Norton, says when asked what his work is about: “It’s about infinity and I don’t know what else.”\u003c/p>\n\u003cp>Meticulously designed and choreographed, with a beautiful, starry cast reading his and Roman Coppola’s droll words, \u003cem>Asteroid City\u003c/em> is very, very Wes Anderson. Aren’t they all? But \u003cem>Asteroid City\u003c/em> also represents a return to form (or at least the form most people preferred) after his past two films, \u003cem>Isle of Dogs\u003c/em> and \u003cem>The French Dispatch\u003c/em>, divided even his disciples. They worried, among other things, if style and form had finally usurped his storytelling. Regardless of whether you thought they were fun or painful or some dreadful in between, there was a palpable detachment to both films. Authentic emotion, when there at all, was strained.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In this way, \u003cem>Asteroid City\u003c/em> seems like a response to all of that — an earnest and self-conscious case for making art, putting on the play, telling the story, acting the part even if you (and your audience) aren’t entirely sure what you’re saying. It is wrapped in a labored and stylized conceit — a play within a play that’s being broadcast on a television network (the 1950s show \u003cem>Playhouse 90\u003c/em>, worldlier people have noted, is the reference). And because it’s a play, the American midcentury Desert West can look as set designed as Anderson wants. He didn’t need a justification. Nonetheless, it’s a sly deflection — as is the idea that no one is really sure what the point is, embodied by Jason Schwartzman playing an actor playing a recently widowed war photographer, Augie Steenbeck, who has traveled to the desert with his brainiac son, Woodrow (Jake Ryan) and 6-year-old triplets (truly standouts).\u003c/p>\n\u003cp>They come to Asteroid City, population 87, for the Junior Stargazer Convention, a government organized science competition in which genius kids show off inventions (jet packs, blasters, etc.) which the government then owns, as Jeffrey Wright’s Gen. Grif Gibson explains. It is post-war in an anxious America where scientists are a key part of the nation’s defense strategy. In the distance, atomic bombs are being tested, too. Was something in the air while things like \u003cem>Asteroid City\u003c/em>, \u003cem>Oppenheimer\u003c/em> and even the documentary \u003cem>A Compassionate Spy\u003c/em> were coming together? Here, the mushroom clouds are not terribly threatening though. They are, for lack of a better word, adorable.\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/Gmmq7sVA0Jo'\n title='//www.youtube.com/embed/Gmmq7sVA0Jo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This Stargazer convention allows for an assemblage of a quirky ensemble with government types (Fisher Stevens), the brainiac kids (Grace Edwards, Sophia Lillis, Ethan Josh Lee, Aristou Meehan), their parents (Scarlett Johansson, Liev Schreiber, Hope Davis, Steve Park), the head scientist (Tilda Swinton’s Dr. Hickenlooper) a school group led by Maya Hawke and some musically inclined cowboys (among them, Rupert Friend) who, I think, just missed their bus. Locals include Hank the mechanic (Matt Dillon) and the motel manager (Steve Carrell). Tom Hanks is Stanley Zak, Augie’s father-in-law and a wealthy Palm Springs retiree who wears a gun in his plaid pants\u003c/p>\n\u003cp>In the world of the play being put on, there is the director (Adrien Brody), his soon-to-be ex-wife (Hong Chau), the Lee Strasberg-y acting teacher Saltzburg Keitel (Willem Dafoe), the actress whose scene was cut (Margot Robbie), the host of the television program (Bryan Cranston) and Jeff Goldblum as, well, you’ll see. As always, the names are a delightful treat. And all the actors make a meal out of their parts, no matter how small.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But if there are characters with something like an arc to spotlight, that would be Schwartzman and Johansson, whose understated 50s movie star Midge Campbell might be one of her very best performances. Augie and Midge have a brief romance, mostly emotional, in that very repressed Wes Anderson way.\u003c/p>\n\u003cp>Is this all a little confusing? Don’t dismay, I think that might be part of the point. Maybe. Probably. And, in any event, it works — \u003cem>Asteroid City\u003c/em>, with its sprawling cast, beautiful hues, mumbled jokes, box-within-a-box setup, references that only the 80+ crowd may truly get and retro-cool soundtrack, actually makes you feel things even if it can’t quite make sense of itself.\u003c/p>\n\u003cp>“Just keep telling the story,” as Brody Schubert Green says to his actor looking for answers and motivations, is advice that could be interpreted as a shrug. Or maybe it’s actually everything — \u003cem>Asteroid City\u003c/em> makes a pretty compelling case.\u003c/p>\n\u003cp>\u003cem>Copyright 2023 Associated Press. To see more, \u003ca href=\"https://apnews.com/\" rel=\"noopener\">visit AP\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Asteroid City’ is released nationwide on June 23, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Tom Hanks Has Starred in Dozens of Movies. Now He's Written a Novel Too",
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"content": "\u003cp>The numbers speak for themselves: More than 100 movies in over 45 years of acting. Now Tom Hanks is drawing on all that experience to craft a story in a very different medium. He used some of the pandemic slowdown to write a novel. Titled \u003cem>The Making of Another Major Motion Picture Masterpiece\u003c/em>, it tells the story of a comic strip that becomes a multimillion-dollar superhero movie.\u003c/p>\n\u003cp>[aside postid='arts_13928562']The book spans seven decades, starting in 1947 when a U.S. Marine who served as a flamethrower returns from fighting in World War II. The uncle makes such a strong impression on his 5-year-old nephew that he makes him the superhero in a comic strip; eventually, that comic becomes the foundation of a blockbuster movie franchise, set in the present day.\u003c/p>\n\u003cp>The novel explores every step of the making of a movie: from a difficult leading actor, to eccentric writers and countless behind-the-scenes workers. Hanks says fleshing out the details was not hard for him. “I’ve got anecdotes galore,” he tells \u003cem>Morning Edition\u003c/em>‘s A Martinez.\u003c/p>\n\u003cp>All the actions and characters in his novel are drawn from the real-life experience of making a movie, he says. And he purposely focuses not only on the stars, but on the people working behind the scenes.\u003c/p>\n\u003cfigure id=\"attachment_13928885\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928885\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/hanks-jacket_custom-34ca11d293c852962d1ce11ca58e259859a4a751-800x1170.jpg\" alt=\"A book cover with an illustration of the rearview of a man walking along a road.\" width=\"800\" height=\"1170\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hanks-jacket_custom-34ca11d293c852962d1ce11ca58e259859a4a751-800x1170.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hanks-jacket_custom-34ca11d293c852962d1ce11ca58e259859a4a751-1020x1492.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hanks-jacket_custom-34ca11d293c852962d1ce11ca58e259859a4a751-160x234.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hanks-jacket_custom-34ca11d293c852962d1ce11ca58e259859a4a751-768x1123.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hanks-jacket_custom-34ca11d293c852962d1ce11ca58e259859a4a751-1050x1536.jpg 1050w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hanks-jacket_custom-34ca11d293c852962d1ce11ca58e259859a4a751-1401x2048.jpg 1401w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hanks-jacket_custom-34ca11d293c852962d1ce11ca58e259859a4a751-1920x2808.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hanks-jacket_custom-34ca11d293c852962d1ce11ca58e259859a4a751-scaled.jpg 1751w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tom Hanks has written a first novel, drawing on his decades in the movie industry. \u003ccite>(Alfred A. Knopf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“If someone is going to ask me what is the surefire way that I get to Hollywood, I would have two answers,” Hanks says. “One is as Bette Davis said, take Fountain [Boulevard]. But the other one is to solve problems.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ultimately, Hanks hopes to challenge people’s perceptions about how movies are made.\u003c/p>\n\u003cp>[aside postid='arts_13928445']“Most people think that a movie reels out like a Broadway play does or a performance of an opera. Everybody knows exactly what they are, where they need to be, how they need to do it,” he says. “But movies are a long series of accidents that you don’t expect, as well as, occasionally, something that goes off exactly as you planned. It’s all things all at the same time.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Hanks offered this statement about the ongoing Hollywood writers strike: “I am a member of every guild there is, and there is no doubt that the economics of our business has changed in the last few years. These changes affect everybody in the making of a Motion Picture Masterpiece — and something needs to be worked out now.”\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Tom+Hanks+has+starred+in+dozens+of+movies.+Now+he%27s+written+a+novel+too&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The book spans seven decades, starting in 1947 when a U.S. Marine who served as a flamethrower returns from fighting in World War II. The uncle makes such a strong impression on his 5-year-old nephew that he makes him the superhero in a comic strip; eventually, that comic becomes the foundation of a blockbuster movie franchise, set in the present day.\u003c/p>\n\u003cp>The novel explores every step of the making of a movie: from a difficult leading actor, to eccentric writers and countless behind-the-scenes workers. Hanks says fleshing out the details was not hard for him. “I’ve got anecdotes galore,” he tells \u003cem>Morning Edition\u003c/em>‘s A Martinez.\u003c/p>\n\u003cp>All the actions and characters in his novel are drawn from the real-life experience of making a movie, he says. And he purposely focuses not only on the stars, but on the people working behind the scenes.\u003c/p>\n\u003cfigure id=\"attachment_13928885\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928885\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/hanks-jacket_custom-34ca11d293c852962d1ce11ca58e259859a4a751-800x1170.jpg\" alt=\"A book cover with an illustration of the rearview of a man walking along a road.\" width=\"800\" height=\"1170\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hanks-jacket_custom-34ca11d293c852962d1ce11ca58e259859a4a751-800x1170.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hanks-jacket_custom-34ca11d293c852962d1ce11ca58e259859a4a751-1020x1492.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hanks-jacket_custom-34ca11d293c852962d1ce11ca58e259859a4a751-160x234.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hanks-jacket_custom-34ca11d293c852962d1ce11ca58e259859a4a751-768x1123.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hanks-jacket_custom-34ca11d293c852962d1ce11ca58e259859a4a751-1050x1536.jpg 1050w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hanks-jacket_custom-34ca11d293c852962d1ce11ca58e259859a4a751-1401x2048.jpg 1401w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hanks-jacket_custom-34ca11d293c852962d1ce11ca58e259859a4a751-1920x2808.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hanks-jacket_custom-34ca11d293c852962d1ce11ca58e259859a4a751-scaled.jpg 1751w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tom Hanks has written a first novel, drawing on his decades in the movie industry. \u003ccite>(Alfred A. Knopf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“If someone is going to ask me what is the surefire way that I get to Hollywood, I would have two answers,” Hanks says. “One is as Bette Davis said, take Fountain [Boulevard]. But the other one is to solve problems.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ultimately, Hanks hopes to challenge people’s perceptions about how movies are made.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Most people think that a movie reels out like a Broadway play does or a performance of an opera. Everybody knows exactly what they are, where they need to be, how they need to do it,” he says. “But movies are a long series of accidents that you don’t expect, as well as, occasionally, something that goes off exactly as you planned. It’s all things all at the same time.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Hanks offered this statement about the ongoing Hollywood writers strike: “I am a member of every guild there is, and there is no doubt that the economics of our business has changed in the last few years. These changes affect everybody in the making of a Motion Picture Masterpiece — and something needs to be worked out now.”\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Tom+Hanks+has+starred+in+dozens+of+movies.+Now+he%27s+written+a+novel+too&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Baz Luhrmann's 'Elvis' Is All Sequins, No Soul",
"headTitle": "Baz Luhrmann’s ‘Elvis’ Is All Sequins, No Soul | KQED",
"content": "\u003cfigure id=\"attachment_13915171\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/rev-1-ELVIS-TRL-88704_High_Res_JPEG-800x332.jpeg\" alt=\"An actor playing Elvis Presley sings into a microphone as audience members reach out to touch him\" width=\"800\" height=\"332\" class=\"size-medium wp-image-13915171\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-TRL-88704_High_Res_JPEG-800x332.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-TRL-88704_High_Res_JPEG-1020x424.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-TRL-88704_High_Res_JPEG-160x66.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-TRL-88704_High_Res_JPEG-768x319.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-TRL-88704_High_Res_JPEG-1536x638.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-TRL-88704_High_Res_JPEG-2048x851.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-TRL-88704_High_Res_JPEG-1920x798.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Austin Butler as Elvis in ‘Elvis,’ co-written and directed by Baz Luhrmann. \u003ccite>(Courtesy of Warner Bros. Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Any review of \u003cem>Elvis\u003c/em>—the groaning, glitzy smorgasbord opening June 24, co-written and directed by Baz Luhrmann, the Australian filmmaker whose credo since \u003cem>Strictly Ballroom\u003c/em> (1992) is “nothing succeeds like excess”—must begin by acknowledging that Elvis Presley is a sequin-encrusted figment of our mythmaking machinery.\u003c/p>\n\u003cp>That is, everybody thinks they know Elvis’s story and, consequently, everybody thinks they know Elvis. He is immortal. But the realm of immortality is assuredly not the world of reality.\u003c/p>\n\u003cp>The same could be said of any number of pop-culture touchstones. Marilyn Monroe, Abraham Lincoln and Jesus Christ. Princess Diana and Dr. Martin Luther King, Jr. Lesser icons Jimi, Janis and Jim, as well as Jerry and Kurt, all have bungalows adjacent to the main house. Each has been masticated, milked and massaged to the point where it’s nearly impossible for any movie to offer a fresh perspective or a new insight. A film can only engage in dialogue with the myth, and either repeat, rehash or reject it (and who’s that brave or foolhardy?).\u003c/p>\n\u003cfigure id=\"attachment_13915172\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/rev-1-201208_ONSET_0549r_High_Res_JPEG-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915172\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/rev-1-201208_ONSET_0549r_High_Res_JPEG-800x640.jpeg\" alt=\"A still from the film 'Elvis,' featuring a woman and three men, including Tom Hanks as Elvis's manager, dressed in 1950s attire.\" width=\"800\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-201208_ONSET_0549r_High_Res_JPEG-800x640.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-201208_ONSET_0549r_High_Res_JPEG-1020x816.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-201208_ONSET_0549r_High_Res_JPEG-160x128.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-201208_ONSET_0549r_High_Res_JPEG-768x614.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-201208_ONSET_0549r_High_Res_JPEG-1536x1229.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-201208_ONSET_0549r_High_Res_JPEG-2048x1638.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-201208_ONSET_0549r_High_Res_JPEG-1920x1536.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Left to right: Austin Butler as Elvis, Helen Thomson as Gladys, Tom Hanks as Colonel Tom Parker and Richard Roxburgh as Vernon in Warner Bros. Pictures’ ‘Elvis.’ \u003ccite>(Hugh Stewart)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Luhrmann’s preposterous entry point is appointing Elvis’s manager and manipulator, Col. Tom Parker, as omniscient narrator. This calculating, ruthless parasite is the last person on Earth through whose eyes we want to see Elvis Presley. The character’s odiousness isn’t remotely mitigated by the casting of All-World good guy Tom Hanks, who plays the Colonel as a cross between Lyndon B. Johnson and the Penguin (another cigar-waving Warner Bros. villain) with a grotesque Mittel European accent.\u003c/p>\n\u003cp>The film’s conceit is that Parker was a huckster, a carnival-sideshow booster, a conman with an eye for talent and the knowhow to pick American pockets. Presley was Parker’s ticket from the big top to the big time, his unwitting puppet: a singular yet unformed talent, innocent yet sexy, ambitious yet devoted to his mother, a white admirer (and assimilator) of Memphis blues and gospel with more charisma than Brando or Dean.\u003c/p>\n\u003cfigure id=\"attachment_13915174\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/210125DAY68KKONSET01__3471.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915174\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/210125DAY68KKONSET01__3471-800x559.jpg\" alt=\"A Black woman portraying gospel singer Sister Rosetta Tharpe in a new film sings into a 1950s-style microphone\" width=\"800\" height=\"559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/210125DAY68KKONSET01__3471-800x559.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/210125DAY68KKONSET01__3471-1020x713.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/210125DAY68KKONSET01__3471-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/210125DAY68KKONSET01__3471-768x537.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/210125DAY68KKONSET01__3471-1536x1073.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/210125DAY68KKONSET01__3471-2048x1431.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/210125DAY68KKONSET01__3471-1920x1342.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Singer Yola in ‘Elvis’ as Sister Rosetta Tharpe, a gospel singer who heavily influenced Elvis Presley. \u003ccite>(Kane Skennar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Luhrmann presents this garish, sordid chunk of 1950s Americana in a rapid-fire, almost assaultive series of flamboyant set pieces. When he grants us a reprieve from the barrage by way of heart-to-heart conversations—Parker and Elvis atop an amusement park Ferris wheel, Elvis and his mama in her bedroom—the dialogue is so cloying and the performances so blatantly caricaturistic that we yearn for the blender to start up again.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Elvis\u003c/em> would like us to see Elvis as a tragic figure, a pure talent with idealistic motives demoralized, derailed and defeated by the big, bad wolf of commercialism, as embodied by Parker. The truth is far more complicated, which is perhaps the most obvious and superfluous thing I can say about \u003cem>Elvis\u003c/em>. Heck, you knew that the moment you first heard that an Elvis movie was coming down the pike.\u003c/p>\n\u003cfigure id=\"attachment_13915175\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/rev-1-ELVIS-FF-00494_High_Res_JPEG-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915175\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/rev-1-ELVIS-FF-00494_High_Res_JPEG-800x335.jpeg\" alt=\"An actor portraying Elvis Presley stares pensively out a limousine window while wearing sunglasses, as the window reflects neon lights outside.\" width=\"800\" height=\"335\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-FF-00494_High_Res_JPEG-800x335.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-FF-00494_High_Res_JPEG-1020x427.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-FF-00494_High_Res_JPEG-160x67.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-FF-00494_High_Res_JPEG-768x322.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-FF-00494_High_Res_JPEG-1536x644.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-FF-00494_High_Res_JPEG-2048x858.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-FF-00494_High_Res_JPEG-1920x804.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Austin Butler as Elvis in Warner Bros. Pictures’ ‘Elvis.’ \u003ccite>(Courtesy of Warner Bros. Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then there’s the insult of an Australian filmmaker shooting this quintessentially American story entirely Down Under, with a mostly Australian crew and cast, and peddling it to us as valid or authentic (or as authentic as a black velvet painting). On the other hand, the American star doesn’t help matters: you could fill Kezar Stadium with Elvis impersonators who have better chops, sharper moves and more innate charisma than Austin Butler.\u003c/p>\n\u003cp>But the film’s greatest sin is presenting Elvis Presley as a triumph of performance and showmanship. His singing, especially in the 1950s, was an act of personal expression and, more often than not, a work of art. (Have you listened to \u003cem>Mystery Train\u003c/em> lately?) Luhrmann has no appreciation for the music, for Elvis’s instrument or, ultimately, for the artist’s soul.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Wdqh5sEZe9Y\u003c/p>\n\u003cp>I’m saddened by the idea that someone, somewhere, will come out of \u003cem>Elvis\u003c/em> asserting a greater understanding of Presley the artist. The inspiration, the interior process, the instinct, the creativity, the practice—at best, we get a couple fleeting moments of movie shorthand. \u003cem>Elvis\u003c/em> purports to want to probe beneath the surface, but Luhrmann is too impatient and too addicted to spectacle. The movie nods at Elvis’s artistic frustration in the ’60s, and his isolation, loneliness and sense of unfulfilled potential—his midlife crisis—in the ’70s, but they are merely feints.\u003c/p>\n\u003cp>\u003cem>Elvis\u003c/em> is (yawn) about the price of fame, which in this telling Parker collected and Elvis paid. It’s about the relentless selling of a commodity to a fickle yet always insatiable American public. A winking, nodding homage to the only U.S. industry that will never be outsourced, \u003cem>Elvis\u003c/em> embodies a more contemptuous view of the marks on the carnival midway—er, at the multiplex—than any expressed by even the most cynical film critic.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13915171\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/rev-1-ELVIS-TRL-88704_High_Res_JPEG-800x332.jpeg\" alt=\"An actor playing Elvis Presley sings into a microphone as audience members reach out to touch him\" width=\"800\" height=\"332\" class=\"size-medium wp-image-13915171\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-TRL-88704_High_Res_JPEG-800x332.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-TRL-88704_High_Res_JPEG-1020x424.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-TRL-88704_High_Res_JPEG-160x66.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-TRL-88704_High_Res_JPEG-768x319.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-TRL-88704_High_Res_JPEG-1536x638.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-TRL-88704_High_Res_JPEG-2048x851.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-TRL-88704_High_Res_JPEG-1920x798.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Austin Butler as Elvis in ‘Elvis,’ co-written and directed by Baz Luhrmann. \u003ccite>(Courtesy of Warner Bros. Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Any review of \u003cem>Elvis\u003c/em>—the groaning, glitzy smorgasbord opening June 24, co-written and directed by Baz Luhrmann, the Australian filmmaker whose credo since \u003cem>Strictly Ballroom\u003c/em> (1992) is “nothing succeeds like excess”—must begin by acknowledging that Elvis Presley is a sequin-encrusted figment of our mythmaking machinery.\u003c/p>\n\u003cp>That is, everybody thinks they know Elvis’s story and, consequently, everybody thinks they know Elvis. He is immortal. But the realm of immortality is assuredly not the world of reality.\u003c/p>\n\u003cp>The same could be said of any number of pop-culture touchstones. Marilyn Monroe, Abraham Lincoln and Jesus Christ. Princess Diana and Dr. Martin Luther King, Jr. Lesser icons Jimi, Janis and Jim, as well as Jerry and Kurt, all have bungalows adjacent to the main house. Each has been masticated, milked and massaged to the point where it’s nearly impossible for any movie to offer a fresh perspective or a new insight. A film can only engage in dialogue with the myth, and either repeat, rehash or reject it (and who’s that brave or foolhardy?).\u003c/p>\n\u003cfigure id=\"attachment_13915172\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/rev-1-201208_ONSET_0549r_High_Res_JPEG-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915172\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/rev-1-201208_ONSET_0549r_High_Res_JPEG-800x640.jpeg\" alt=\"A still from the film 'Elvis,' featuring a woman and three men, including Tom Hanks as Elvis's manager, dressed in 1950s attire.\" width=\"800\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-201208_ONSET_0549r_High_Res_JPEG-800x640.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-201208_ONSET_0549r_High_Res_JPEG-1020x816.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-201208_ONSET_0549r_High_Res_JPEG-160x128.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-201208_ONSET_0549r_High_Res_JPEG-768x614.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-201208_ONSET_0549r_High_Res_JPEG-1536x1229.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-201208_ONSET_0549r_High_Res_JPEG-2048x1638.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-201208_ONSET_0549r_High_Res_JPEG-1920x1536.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Left to right: Austin Butler as Elvis, Helen Thomson as Gladys, Tom Hanks as Colonel Tom Parker and Richard Roxburgh as Vernon in Warner Bros. Pictures’ ‘Elvis.’ \u003ccite>(Hugh Stewart)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Luhrmann’s preposterous entry point is appointing Elvis’s manager and manipulator, Col. Tom Parker, as omniscient narrator. This calculating, ruthless parasite is the last person on Earth through whose eyes we want to see Elvis Presley. The character’s odiousness isn’t remotely mitigated by the casting of All-World good guy Tom Hanks, who plays the Colonel as a cross between Lyndon B. Johnson and the Penguin (another cigar-waving Warner Bros. villain) with a grotesque Mittel European accent.\u003c/p>\n\u003cp>The film’s conceit is that Parker was a huckster, a carnival-sideshow booster, a conman with an eye for talent and the knowhow to pick American pockets. Presley was Parker’s ticket from the big top to the big time, his unwitting puppet: a singular yet unformed talent, innocent yet sexy, ambitious yet devoted to his mother, a white admirer (and assimilator) of Memphis blues and gospel with more charisma than Brando or Dean.\u003c/p>\n\u003cfigure id=\"attachment_13915174\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/210125DAY68KKONSET01__3471.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915174\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/210125DAY68KKONSET01__3471-800x559.jpg\" alt=\"A Black woman portraying gospel singer Sister Rosetta Tharpe in a new film sings into a 1950s-style microphone\" width=\"800\" height=\"559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/210125DAY68KKONSET01__3471-800x559.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/210125DAY68KKONSET01__3471-1020x713.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/210125DAY68KKONSET01__3471-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/210125DAY68KKONSET01__3471-768x537.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/210125DAY68KKONSET01__3471-1536x1073.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/210125DAY68KKONSET01__3471-2048x1431.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/210125DAY68KKONSET01__3471-1920x1342.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Singer Yola in ‘Elvis’ as Sister Rosetta Tharpe, a gospel singer who heavily influenced Elvis Presley. \u003ccite>(Kane Skennar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Luhrmann presents this garish, sordid chunk of 1950s Americana in a rapid-fire, almost assaultive series of flamboyant set pieces. When he grants us a reprieve from the barrage by way of heart-to-heart conversations—Parker and Elvis atop an amusement park Ferris wheel, Elvis and his mama in her bedroom—the dialogue is so cloying and the performances so blatantly caricaturistic that we yearn for the blender to start up again.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Elvis\u003c/em> would like us to see Elvis as a tragic figure, a pure talent with idealistic motives demoralized, derailed and defeated by the big, bad wolf of commercialism, as embodied by Parker. The truth is far more complicated, which is perhaps the most obvious and superfluous thing I can say about \u003cem>Elvis\u003c/em>. Heck, you knew that the moment you first heard that an Elvis movie was coming down the pike.\u003c/p>\n\u003cfigure id=\"attachment_13915175\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/rev-1-ELVIS-FF-00494_High_Res_JPEG-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915175\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/rev-1-ELVIS-FF-00494_High_Res_JPEG-800x335.jpeg\" alt=\"An actor portraying Elvis Presley stares pensively out a limousine window while wearing sunglasses, as the window reflects neon lights outside.\" width=\"800\" height=\"335\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-FF-00494_High_Res_JPEG-800x335.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-FF-00494_High_Res_JPEG-1020x427.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-FF-00494_High_Res_JPEG-160x67.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-FF-00494_High_Res_JPEG-768x322.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-FF-00494_High_Res_JPEG-1536x644.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-FF-00494_High_Res_JPEG-2048x858.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-FF-00494_High_Res_JPEG-1920x804.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Austin Butler as Elvis in Warner Bros. Pictures’ ‘Elvis.’ \u003ccite>(Courtesy of Warner Bros. Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then there’s the insult of an Australian filmmaker shooting this quintessentially American story entirely Down Under, with a mostly Australian crew and cast, and peddling it to us as valid or authentic (or as authentic as a black velvet painting). On the other hand, the American star doesn’t help matters: you could fill Kezar Stadium with Elvis impersonators who have better chops, sharper moves and more innate charisma than Austin Butler.\u003c/p>\n\u003cp>But the film’s greatest sin is presenting Elvis Presley as a triumph of performance and showmanship. His singing, especially in the 1950s, was an act of personal expression and, more often than not, a work of art. (Have you listened to \u003cem>Mystery Train\u003c/em> lately?) Luhrmann has no appreciation for the music, for Elvis’s instrument or, ultimately, for the artist’s soul.\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/Wdqh5sEZe9Y'\n title='//www.youtube.com/embed/Wdqh5sEZe9Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I’m saddened by the idea that someone, somewhere, will come out of \u003cem>Elvis\u003c/em> asserting a greater understanding of Presley the artist. The inspiration, the interior process, the instinct, the creativity, the practice—at best, we get a couple fleeting moments of movie shorthand. \u003cem>Elvis\u003c/em> purports to want to probe beneath the surface, but Luhrmann is too impatient and too addicted to spectacle. The movie nods at Elvis’s artistic frustration in the ’60s, and his isolation, loneliness and sense of unfulfilled potential—his midlife crisis—in the ’70s, but they are merely feints.\u003c/p>\n\u003cp>\u003cem>Elvis\u003c/em> is (yawn) about the price of fame, which in this telling Parker collected and Elvis paid. It’s about the relentless selling of a commodity to a fickle yet always insatiable American public. A winking, nodding homage to the only U.S. industry that will never be outsourced, \u003cem>Elvis\u003c/em> embodies a more contemptuous view of the marks on the carnival midway—er, at the multiplex—than any expressed by even the most cynical film critic.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "These Are the Movies NPR Critics Are Looking Forward to This Summer",
"headTitle": "These Are the Movies NPR Critics Are Looking Forward to This Summer | KQED",
"content": "\u003cp>Just like there’s \u003ca href=\"https://www.kqed.org/arts/13913871\" target=\"_blank\" rel=\"noopener noreferrer\">too much TV to keep track of\u003c/a>, the summer movie slate is jam-packed after years of pandemic-induced disruption.\u003c/p>\n\u003cp>As temperatures get hotter, burgers, bat mitzvahs and Baz Luhrmann are headed to the big screen. Here’s what NPR critics have their eyes on, in order of release date.\u003c/p>\n\u003ch3>The Bob’s Burgers Movie\u003c/h3>\n\u003cp>\u003cem>In theaters May 27\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hbGXqUumtqg\u003c/p>\n\u003cp>I’ve seen every episode of \u003cem>Bob’s Burgers\u003c/em> at least once. Every week my partner and I will sit down, have dinner and watch the newest episode. And we are excited for this movie.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Little has been divulged. We know the main cast will be there—Bob, Linda, Tina, all of them. Apparently, they have, like, a week to keep their restaurant afloat, and the kids get into a mystery of some sort to try and save it. The trailer is a lot of Gene yelling things at the other siblings, and lots of one-liners.\u003c/p>\n\u003cp>There are many things \u003cem>Bob’s Burgers\u003c/em> does well. But one of the best things is obviously the music and the songs, so I’m excited for those.\u003c/p>\n\u003cp>I do worry that this film has kind of gotten buried. It’s opening in theaters, but I probably would have been fine seeing it on streaming first. —\u003cstrong>Aisha Harris\u003c/strong>\u003c/p>\n\u003ch3>Fire Island\u003c/h3>\n\u003cp>\u003cem>Hulu, June 3\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6lKuKcVc3bU\u003c/p>\n\u003cp>This is a film written by and starring the very funny Joel Kim Booster, directed by Andrew Ahn. He directed two films I really like called \u003cem>Spa Night\u003c/em> and \u003cem>Driveways\u003c/em>. Both of those movies are really kind of quiet and introspective, but this doesn’t seem to be. This seems to be a kind of raucous gay romcom set in a very privileged queer vacation destination, Fire Island.\u003c/p>\n\u003cp>And the idea behind this movie is just so simple and inevitable. Take the bones of \u003cem>Pride And Prejudice\u003c/em>, and map it over the way that gay men tend to sort ourselves into these very insular cliques based on things like race and income level and age and body fat percentage, and frankly, it just works. It matters who’s telling the story, because the film’s two leads are Booster and Bowen Yang. It’s going to be telling this very familiar story from a perspective we haven’t seen a lot before. According to the trailer, at least, it’s going to be directly addressing the white, rich, cis privilege of the queer community, and of Fire Island in particular. —\u003cstrong>Glen Weldon\u003c/strong>\u003c/p>\n\u003ch3>Neptune Frost\u003c/h3>\n\u003cp>\u003cem>In theaters June 3\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Pss6jTzwxQ8\u003c/p>\n\u003cp>An afro-futurist, sci-fi musical set and shot in Rwanda, this first film by slam-poet/composer Saul Williams and actor/writer Anisia Uzeyman debuted in 2021 at Cannes, and became a festival darling invited to show at Toronto, Sundance, London, New York and a host of other fests last year. It’s enigmatic, poetic, allegorical, operatic, eerie, and so determinedly non-linear, it’s hard to tell what’s going on at any given moment. But if experimental and ambitious count as draws for you, this has plenty of both those qualities. —\u003cstrong>Bob Mondello\u003c/strong>\u003c/p>\n\u003ch3>Crimes of the Future\u003c/h3>\n\u003cp>\u003cem>In theaters June 3\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AD8dt9ndGgg\u003c/p>\n\u003cp>David Cronenberg is back, and back to his old trippy/gooey/disquietingly pulsating body-horror tricks, bless him. This time, Viggo Mortensen and Lea Seydoux are a pair of performance artists who perform live surgery in front of audiences, demonstrating how Viggo’s character can grow and mutate his internal organs due to a condition called “Accelerated Evolution Syndrome.” Sing with me: “Tale as old as tiiiiiiiiime….” —\u003cstrong>Glen Weldon\u003c/strong>\u003c/p>\n\u003ch3>Father of the Bride\u003c/h3>\n\u003cp>\u003cem>HBO Max, June 16\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Iwm0IO-NFRM\u003c/p>\n\u003cp>One of the movies that is a gigantic comfort-food pick for me is the ’90s-era Nancy Meyers \u003cem>Father Of The Bride\u003c/em> with Steve Martin. And that is obviously a remake of a Spencer Tracy movie, where Elizabeth Taylor played his daughter. Of course, you definitely do not want to spend too much time with the harried father paying for the expensive wedding. But I’ve always thought this movie was funny and ultimately, really sweet.\u003c/p>\n\u003cp>The ’90s version was a very particular era of Steve Martin. There’s a moment in that movie where Martin, who is a sneaker magnate, has a bedazzled pair of tennis shoes made for his daughter to wear under her wedding dress. And when my sister got married a few years after this movie, which we both loved, I made her a pair of bedazzled tennis shoes, which she wore at the reception under her dress when she got out of her heels.\u003c/p>\n\u003cp>They are doing a remake of this with a Latinx family; Andy Garcia is the patriarch, Gloria Estefan is the mom. And I am really psyched.\u003cstrong> —Linda Holmes\u003c/strong>\u003c/p>\n\u003ch3>Cha Cha Real Smooth\u003c/h3>\n\u003cp>\u003cem>In theaters and Apple TV+ June 17\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QRyyagJ9GPo\u003c/p>\n\u003cp>Cooper Raiff follows up his charming (if terribly titled) filmmaking debut \u003cem>S***house\u003c/em>, with an indie romance at least twice as charming. Raiff is writer/director and ingratiating leading man, fresh-out-of-college and sleeping on a cot in his little brother’s bedroom. When their mom makes him take the kid to a friend’s bat mitzvah, he meets and falls for Dakota Johnson, gets her autistic daughter to dance, and is immediately swarmed by Jewish mothers who want to hire him as a party-starter for their kids’ bar and bat mitzvahs.\u003c/p>\n\u003cp>Presumably, Raiff is more driven in real life than his character is—you don’t get two films produced in three years without having sharp elbows—but he makes puppyish vulnerability enormously appealing. \u003cstrong>—Bob Mondello\u003c/strong>\u003c/p>\n\u003ch3>Good Luck to You, Leo Grande\u003c/h3>\n\u003cp>\u003cem>In theaters and on Hulu June 17\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=UZAgk9-e_rc\u003c/p>\n\u003cp>A widowed ex-teacher (Emma Thompson) hires a much younger male escort (Daryl McCormack) hoping to make up for a lifetime of sexual timidity and boredom in this winning, surprising, funny, touching, and decidedly feminine (if not precisely feminist) take on self-discovery.\u003c/p>\n\u003cp>Sophie Hyde’s direction is sensitive, and the performers have great chemistry—Thompson initially deflecting the escort’s every attempt to do what she’s hired him to do; McCormack by turns reassuring (“you’re conflicted; conflict is interesting”) and gentle (“may I kiss you on the cheek?”). That their roles will alter over time is a given—”I have some feedback and a couple of attainment goals” says Thompson at the start of a second meeting—and the situation grows interestingly complex. —\u003cstrong>Bob Mondello\u003c/strong>\u003c/p>\n\u003ch3>Elvis\u003c/h3>\n\u003cp>\u003cem>In theaters June 24\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Gp2BNHwbwvI\u003c/p>\n\u003cp>Austin Butler is a hip-swiveling Elvis Presley and Tom Hanks his manipulative manager “Colonel” Tom Parker in what director Baz Luhrmann has been telling interviewers will be an impressionist tapestry exploring mid-20th century America, with all its hangups about race relations and celebrity culture.\u003c/p>\n\u003cp>“It’s a bit like [how] Shakespeare takes a historical figure and uses it to look at a bigger picture,” he told \u003cem>Entertainment Weekly\u003c/em>. Suspicious minds might question that, but since Luhrmann did a decent job with the Leonardo DiCaprio/Claire Danes \u003cem>Romeo and Juliet\u003c/em>, we can probably take him at his word. He went on to say it’s a tale of The King told in three acts—Elvis the punk, Elvis the family-friendly movie star, and Elvis the ’70s jumpsuit fan. \u003cstrong>—Bob Mondello\u003c/strong>\u003c/p>\n\u003ch3>The Princess\u003c/h3>\n\u003cp>\u003cem>Hulu, July 1\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13914148\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914148\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/pcs-04199_r_custom-455e7f865a983f6577d5fcfa5f1ac1c37a900912-800x533.jpg\" alt=\"A woman with wild red hair holds a bloody sword aloft as she stands back to back with another woman.\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Joey King and Veronica Ngo in ‘The Princess.’ \u003ccite>(2022 20th Century Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Little is known about this R-rated dark fantasy film, in which a princess (Joey King) refuses to marry the evil man to whom she is betrothed (Dominic Cooper), gets trapped in a tower, and proceeds to kick medieval butt to save her family as mercenaries attack. We do know it’s directed by Le-Van Kiet, the Vietnamese filmmaker whose 2019 feature \u003cem>Furie\u003c/em>, a gleefully over-the-top martial-arts action film, featured a mother rescuing her daughter from a trafficking ring. This princess is no damsel. \u003cstrong>—Glen Weldon\u003c/strong>\u003c/p>\n\u003ch3>Thor: Love and Thunder\u003c/h3>\n\u003cp>\u003cem>In theaters July 8\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Go8nTmfrQd8\u003c/p>\n\u003cp>Look, you’ve got in the world your \u003cem>Thor: Ragnarok\u003c/em> people and your not-so-much \u003cem>Thor: Ragnaro\u003c/em>k people. I am the former. I think \u003cem>Thor: Ragnarok \u003c/em>was full of good jokes. \u003cem>Thor: Love and Thunder\u003c/em> is another Taika Waititi \u003cem>Thor \u003c/em>movie, and I’m here for it.\u003c/p>\n\u003cp>Not for nothing, the thing that I liked the most about the original MCU \u003cem>Thor \u003c/em>was Natalie Portman, and Natalie Portman is coming back for this movie. You’ve also got your Chris Hemsworth, your Tessa Thompson. At this point with the MCU, I want funny movies. I am somewhat over practically everything else. \u003cstrong>—Linda Holmes\u003c/strong>\u003c/p>\n\u003ch3>Nope\u003c/h3>\n\u003cp>\u003cem>In theaters July 22\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=In8fuzj3gck\u003c/p>\n\u003cp>We know very little about what this movie is about, which is always a good sign with Jordan Peele. I feel like the less we know going into anything he’s working on, the better.\u003c/p>\n\u003cp>There are small hints in the trailer. It opens up with Keke Palmer’s character talking about how one of the first moving images created was of a Black man riding a horse. She claims that it’s her great-great-grandfather, and that she is now part of a collective of the only Black horse trainers in Hollywood. But then the trailer is just lots of images going back and forth, and it’s great. You have Stevie Wonder’s “Fingertips Part II” being cut and sliced and made into creepy music, the way we do with trailers.\u003c/p>\n\u003cp>I’ve seen people trying to decode the movie already, which – if you’re doing that, you’re doing it wrong. \u003cstrong>—Aisha Harris\u003c/strong>\u003c/p>\n\u003ch3>Bullet Train\u003c/h3>\n\u003cp>\u003cem>In theaters August 5\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0IOsk2Vlc4o\u003c/p>\n\u003cp>Five assassins are working interrelated missions on a 250-mph dash across Japan in stuntman-turned-director David Leitch’s action-comedy. Brad Pitt’s the one who left his gun at home—”if you put peace out in the world, you get peace back” he tells handler Sandra Bullock (who replaced Lady Gaga midway through the shoot).\u003c/p>\n\u003cp>Based on a novel by Kotaro Isaka, the film is encountering headwinds for casting non-Asian actors in leading roles, though the author’s on record as being enthusiastic. \u003cstrong>—Bob Mondello\u003c/strong>\u003c/p>\n\u003ch3>Three Thousand Years of Longing\u003c/h3>\n\u003cp>\u003cem>In theaters August 31\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=TWGvntl9itE\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Based on an A.S. Byatt short story, this fantasy film about a scholar (Tilda Swinton) who frees a Djinn (Idris Elba) while visiting Istanbul is co-writer/director George Miller’s first film since the jaw-dropping visual (and logistical) stunner \u003cem>Mad Max: Fury Road\u003c/em>. The trailer promises dazzling visuals, a millennia-spanning story that’s epic in scope (and kinda funny), and a protagonist who, thankfully, knows very well how stories about magical wish-granting usually end. \u003cstrong>—Glen Weldon\u003c/strong>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=These+are+the+movies+NPR+critics+are+looking+forward+to+this+summer&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "Jordan Peele's 'Nope,' 'The Bob's Burger's Movie' and 'Fire Island' with Bowen Yang all made the list. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Just like there’s \u003ca href=\"https://www.kqed.org/arts/13913871\" target=\"_blank\" rel=\"noopener noreferrer\">too much TV to keep track of\u003c/a>, the summer movie slate is jam-packed after years of pandemic-induced disruption.\u003c/p>\n\u003cp>As temperatures get hotter, burgers, bat mitzvahs and Baz Luhrmann are headed to the big screen. Here’s what NPR critics have their eyes on, in order of release date.\u003c/p>\n\u003ch3>The Bob’s Burgers Movie\u003c/h3>\n\u003cp>\u003cem>In theaters May 27\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/hbGXqUumtqg'\n title='//www.youtube.com/embed/hbGXqUumtqg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I’ve seen every episode of \u003cem>Bob’s Burgers\u003c/em> at least once. Every week my partner and I will sit down, have dinner and watch the newest episode. And we are excited for this movie.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Little has been divulged. We know the main cast will be there—Bob, Linda, Tina, all of them. Apparently, they have, like, a week to keep their restaurant afloat, and the kids get into a mystery of some sort to try and save it. The trailer is a lot of Gene yelling things at the other siblings, and lots of one-liners.\u003c/p>\n\u003cp>There are many things \u003cem>Bob’s Burgers\u003c/em> does well. But one of the best things is obviously the music and the songs, so I’m excited for those.\u003c/p>\n\u003cp>I do worry that this film has kind of gotten buried. It’s opening in theaters, but I probably would have been fine seeing it on streaming first. —\u003cstrong>Aisha Harris\u003c/strong>\u003c/p>\n\u003ch3>Fire Island\u003c/h3>\n\u003cp>\u003cem>Hulu, June 3\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/6lKuKcVc3bU'\n title='//www.youtube.com/embed/6lKuKcVc3bU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This is a film written by and starring the very funny Joel Kim Booster, directed by Andrew Ahn. He directed two films I really like called \u003cem>Spa Night\u003c/em> and \u003cem>Driveways\u003c/em>. Both of those movies are really kind of quiet and introspective, but this doesn’t seem to be. This seems to be a kind of raucous gay romcom set in a very privileged queer vacation destination, Fire Island.\u003c/p>\n\u003cp>And the idea behind this movie is just so simple and inevitable. Take the bones of \u003cem>Pride And Prejudice\u003c/em>, and map it over the way that gay men tend to sort ourselves into these very insular cliques based on things like race and income level and age and body fat percentage, and frankly, it just works. It matters who’s telling the story, because the film’s two leads are Booster and Bowen Yang. It’s going to be telling this very familiar story from a perspective we haven’t seen a lot before. According to the trailer, at least, it’s going to be directly addressing the white, rich, cis privilege of the queer community, and of Fire Island in particular. —\u003cstrong>Glen Weldon\u003c/strong>\u003c/p>\n\u003ch3>Neptune Frost\u003c/h3>\n\u003cp>\u003cem>In theaters June 3\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Pss6jTzwxQ8'\n title='//www.youtube.com/embed/Pss6jTzwxQ8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>An afro-futurist, sci-fi musical set and shot in Rwanda, this first film by slam-poet/composer Saul Williams and actor/writer Anisia Uzeyman debuted in 2021 at Cannes, and became a festival darling invited to show at Toronto, Sundance, London, New York and a host of other fests last year. It’s enigmatic, poetic, allegorical, operatic, eerie, and so determinedly non-linear, it’s hard to tell what’s going on at any given moment. But if experimental and ambitious count as draws for you, this has plenty of both those qualities. —\u003cstrong>Bob Mondello\u003c/strong>\u003c/p>\n\u003ch3>Crimes of the Future\u003c/h3>\n\u003cp>\u003cem>In theaters June 3\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/AD8dt9ndGgg'\n title='//www.youtube.com/embed/AD8dt9ndGgg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>David Cronenberg is back, and back to his old trippy/gooey/disquietingly pulsating body-horror tricks, bless him. This time, Viggo Mortensen and Lea Seydoux are a pair of performance artists who perform live surgery in front of audiences, demonstrating how Viggo’s character can grow and mutate his internal organs due to a condition called “Accelerated Evolution Syndrome.” Sing with me: “Tale as old as tiiiiiiiiime….” —\u003cstrong>Glen Weldon\u003c/strong>\u003c/p>\n\u003ch3>Father of the Bride\u003c/h3>\n\u003cp>\u003cem>HBO Max, June 16\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Iwm0IO-NFRM'\n title='//www.youtube.com/embed/Iwm0IO-NFRM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>One of the movies that is a gigantic comfort-food pick for me is the ’90s-era Nancy Meyers \u003cem>Father Of The Bride\u003c/em> with Steve Martin. And that is obviously a remake of a Spencer Tracy movie, where Elizabeth Taylor played his daughter. Of course, you definitely do not want to spend too much time with the harried father paying for the expensive wedding. But I’ve always thought this movie was funny and ultimately, really sweet.\u003c/p>\n\u003cp>The ’90s version was a very particular era of Steve Martin. There’s a moment in that movie where Martin, who is a sneaker magnate, has a bedazzled pair of tennis shoes made for his daughter to wear under her wedding dress. And when my sister got married a few years after this movie, which we both loved, I made her a pair of bedazzled tennis shoes, which she wore at the reception under her dress when she got out of her heels.\u003c/p>\n\u003cp>They are doing a remake of this with a Latinx family; Andy Garcia is the patriarch, Gloria Estefan is the mom. And I am really psyched.\u003cstrong> —Linda Holmes\u003c/strong>\u003c/p>\n\u003ch3>Cha Cha Real Smooth\u003c/h3>\n\u003cp>\u003cem>In theaters and Apple TV+ June 17\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/QRyyagJ9GPo'\n title='//www.youtube.com/embed/QRyyagJ9GPo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Cooper Raiff follows up his charming (if terribly titled) filmmaking debut \u003cem>S***house\u003c/em>, with an indie romance at least twice as charming. Raiff is writer/director and ingratiating leading man, fresh-out-of-college and sleeping on a cot in his little brother’s bedroom. When their mom makes him take the kid to a friend’s bat mitzvah, he meets and falls for Dakota Johnson, gets her autistic daughter to dance, and is immediately swarmed by Jewish mothers who want to hire him as a party-starter for their kids’ bar and bat mitzvahs.\u003c/p>\n\u003cp>Presumably, Raiff is more driven in real life than his character is—you don’t get two films produced in three years without having sharp elbows—but he makes puppyish vulnerability enormously appealing. \u003cstrong>—Bob Mondello\u003c/strong>\u003c/p>\n\u003ch3>Good Luck to You, Leo Grande\u003c/h3>\n\u003cp>\u003cem>In theaters and on Hulu June 17\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/UZAgk9-e_rc'\n title='//www.youtube.com/embed/UZAgk9-e_rc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A widowed ex-teacher (Emma Thompson) hires a much younger male escort (Daryl McCormack) hoping to make up for a lifetime of sexual timidity and boredom in this winning, surprising, funny, touching, and decidedly feminine (if not precisely feminist) take on self-discovery.\u003c/p>\n\u003cp>Sophie Hyde’s direction is sensitive, and the performers have great chemistry—Thompson initially deflecting the escort’s every attempt to do what she’s hired him to do; McCormack by turns reassuring (“you’re conflicted; conflict is interesting”) and gentle (“may I kiss you on the cheek?”). That their roles will alter over time is a given—”I have some feedback and a couple of attainment goals” says Thompson at the start of a second meeting—and the situation grows interestingly complex. —\u003cstrong>Bob Mondello\u003c/strong>\u003c/p>\n\u003ch3>Elvis\u003c/h3>\n\u003cp>\u003cem>In theaters June 24\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Gp2BNHwbwvI'\n title='//www.youtube.com/embed/Gp2BNHwbwvI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Austin Butler is a hip-swiveling Elvis Presley and Tom Hanks his manipulative manager “Colonel” Tom Parker in what director Baz Luhrmann has been telling interviewers will be an impressionist tapestry exploring mid-20th century America, with all its hangups about race relations and celebrity culture.\u003c/p>\n\u003cp>“It’s a bit like [how] Shakespeare takes a historical figure and uses it to look at a bigger picture,” he told \u003cem>Entertainment Weekly\u003c/em>. Suspicious minds might question that, but since Luhrmann did a decent job with the Leonardo DiCaprio/Claire Danes \u003cem>Romeo and Juliet\u003c/em>, we can probably take him at his word. He went on to say it’s a tale of The King told in three acts—Elvis the punk, Elvis the family-friendly movie star, and Elvis the ’70s jumpsuit fan. \u003cstrong>—Bob Mondello\u003c/strong>\u003c/p>\n\u003ch3>The Princess\u003c/h3>\n\u003cp>\u003cem>Hulu, July 1\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13914148\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914148\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/pcs-04199_r_custom-455e7f865a983f6577d5fcfa5f1ac1c37a900912-800x533.jpg\" alt=\"A woman with wild red hair holds a bloody sword aloft as she stands back to back with another woman.\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Joey King and Veronica Ngo in ‘The Princess.’ \u003ccite>(2022 20th Century Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Little is known about this R-rated dark fantasy film, in which a princess (Joey King) refuses to marry the evil man to whom she is betrothed (Dominic Cooper), gets trapped in a tower, and proceeds to kick medieval butt to save her family as mercenaries attack. We do know it’s directed by Le-Van Kiet, the Vietnamese filmmaker whose 2019 feature \u003cem>Furie\u003c/em>, a gleefully over-the-top martial-arts action film, featured a mother rescuing her daughter from a trafficking ring. This princess is no damsel. \u003cstrong>—Glen Weldon\u003c/strong>\u003c/p>\n\u003ch3>Thor: Love and Thunder\u003c/h3>\n\u003cp>\u003cem>In theaters July 8\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Go8nTmfrQd8'\n title='//www.youtube.com/embed/Go8nTmfrQd8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Look, you’ve got in the world your \u003cem>Thor: Ragnarok\u003c/em> people and your not-so-much \u003cem>Thor: Ragnaro\u003c/em>k people. I am the former. I think \u003cem>Thor: Ragnarok \u003c/em>was full of good jokes. \u003cem>Thor: Love and Thunder\u003c/em> is another Taika Waititi \u003cem>Thor \u003c/em>movie, and I’m here for it.\u003c/p>\n\u003cp>Not for nothing, the thing that I liked the most about the original MCU \u003cem>Thor \u003c/em>was Natalie Portman, and Natalie Portman is coming back for this movie. You’ve also got your Chris Hemsworth, your Tessa Thompson. At this point with the MCU, I want funny movies. I am somewhat over practically everything else. \u003cstrong>—Linda Holmes\u003c/strong>\u003c/p>\n\u003ch3>Nope\u003c/h3>\n\u003cp>\u003cem>In theaters July 22\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/In8fuzj3gck'\n title='//www.youtube.com/embed/In8fuzj3gck'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>We know very little about what this movie is about, which is always a good sign with Jordan Peele. I feel like the less we know going into anything he’s working on, the better.\u003c/p>\n\u003cp>There are small hints in the trailer. It opens up with Keke Palmer’s character talking about how one of the first moving images created was of a Black man riding a horse. She claims that it’s her great-great-grandfather, and that she is now part of a collective of the only Black horse trainers in Hollywood. But then the trailer is just lots of images going back and forth, and it’s great. You have Stevie Wonder’s “Fingertips Part II” being cut and sliced and made into creepy music, the way we do with trailers.\u003c/p>\n\u003cp>I’ve seen people trying to decode the movie already, which – if you’re doing that, you’re doing it wrong. \u003cstrong>—Aisha Harris\u003c/strong>\u003c/p>\n\u003ch3>Bullet Train\u003c/h3>\n\u003cp>\u003cem>In theaters August 5\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/0IOsk2Vlc4o'\n title='//www.youtube.com/embed/0IOsk2Vlc4o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Five assassins are working interrelated missions on a 250-mph dash across Japan in stuntman-turned-director David Leitch’s action-comedy. 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"content": "\u003cp>President-elect Joe Biden may not have big crowds at his coronavirus-limited inauguration, but he won’t be lacking for star power.\u003c/p>\n\u003cp>The Presidential Inaugural Committee announced Thursday that pop star Lady Gaga will sing the National Anthem and Jennifer Lopez will perform a musical number at the Capitol ceremony next week.\u003c/p>\n\u003cp>Other participants will include Leo J. O’Donovan, a Jesuit priest and former Georgetown University president who will lead the invocation, and Andrea Hall, the first Black woman to be named captain with the South Fulton Fire and Rescue Department in Georgia, who will lead the Pledge of Allegiance.\u003c/p>\n\u003cp>There will also be a poetry reading by Amanda Gorman, the first-ever national Youth Poet Laureate. The Rev. Silvester Beaman, pastor of Bethel African Methodist Episcopal Church in Wilmington, Del., will conduct the benediction.\u003c/p>\n\u003cp>The announcement of their participation comes one day after word that Tom Hanks will host a \u003ca href=\"https://apnews.com/article/joe-biden-inauguration-tv-special-425933c038629dba55d56ac569e83d38\" rel=\"noopener noreferrer\" target=\"_blank\">90-minute primetime TV special\u003c/a> celebrating Biden’s inauguration. Other performers for the special include Justin Timberlake, Jon Bon Jovi, Demi Lovato and Ant Clemons.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In making the inauguration announcement, the CEO of the inaugural committee, Tony Allen, said that the participants “represent one clear picture of the grand diversity of our great nation and will help honor and celebrate the time-honored traditions of the presidential inauguration as President-elect Biden and Vice President-elect Harris take the oath of office on the West Front of the U.S. Capitol.”\u003c/p>\n\u003cp>The announcement notes that Lady Gaga “worked closely with President-elect Biden’s ‘It’s On Us’ campaign to address sexual assault on college campuses” and that Lopez and her partner, former baseball player Alex Rodriguez, “have been outspoken about the disproportionate impact of coronavirus on Latinos and the need to contain the virus, rebuild the economy, and unify the country.” \u003c/p>\n\u003cp>Allen said the group is also committed to the president-elect and the vice president-elect’s “steadfast vision of a new chapter in our American story in which we are an America united in overcoming the deep divisions and challenges facing our people, unifying the country, and restoring the soul of our nation.”\u003c/p>\n\u003cp>The ceremony will be held on Jan. 20 on the West Front of the U.S. Capitol. It will take place just two weeks after the Capitol was ransacked by a pro-Trump mob seeking to stop the counting of Electoral College votes showing Biden and Harris won the election. \u003c/p>\n\u003cp>The Capitol and the U.S. Supreme Court across the street are now surrounded by nonscalable fencing with troops stationed in and around the buildings. On Wednesday, Trump became the first president to be impeached twice because of his actions leading up to the violence Jan. 6. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Attendance at the inauguration will be limited, with members of Congress being given just one ticket because of the coronavirus. In addition, local government leaders are urging people not to come to Washington that day because of threats of violence, following last week’s storming of the Capitol. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Lady+Gaga%2C+J-Lo+To+Headline+Biden+Inauguration&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In making the inauguration announcement, the CEO of the inaugural committee, Tony Allen, said that the participants “represent one clear picture of the grand diversity of our great nation and will help honor and celebrate the time-honored traditions of the presidential inauguration as President-elect Biden and Vice President-elect Harris take the oath of office on the West Front of the U.S. Capitol.”\u003c/p>\n\u003cp>The announcement notes that Lady Gaga “worked closely with President-elect Biden’s ‘It’s On Us’ campaign to address sexual assault on college campuses” and that Lopez and her partner, former baseball player Alex Rodriguez, “have been outspoken about the disproportionate impact of coronavirus on Latinos and the need to contain the virus, rebuild the economy, and unify the country.” \u003c/p>\n\u003cp>Allen said the group is also committed to the president-elect and the vice president-elect’s “steadfast vision of a new chapter in our American story in which we are an America united in overcoming the deep divisions and challenges facing our people, unifying the country, and restoring the soul of our nation.”\u003c/p>\n\u003cp>The ceremony will be held on Jan. 20 on the West Front of the U.S. Capitol. It will take place just two weeks after the Capitol was ransacked by a pro-Trump mob seeking to stop the counting of Electoral College votes showing Biden and Harris won the election. \u003c/p>\n\u003cp>The Capitol and the U.S. Supreme Court across the street are now surrounded by nonscalable fencing with troops stationed in and around the buildings. On Wednesday, Trump became the first president to be impeached twice because of his actions leading up to the violence Jan. 6. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Attendance at the inauguration will be limited, with members of Congress being given just one ticket because of the coronavirus. In addition, local government leaders are urging people not to come to Washington that day because of threats of violence, following last week’s storming of the Capitol. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Lady+Gaga%2C+J-Lo+To+Headline+Biden+Inauguration&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Tom Hanks’ screen persona is …\u003c/p>\n\u003cp>One is tempted to reach for the word \u003cem>avuncular \u003c/em>here, but that doesn’t quite pin it down. He’s not America’s Uncle, after all, he’s America’s Dad. But \u003cem>paternal \u003c/em>doesn’t get you there, either, as that word has taken on an oppressive, exclusionary patina, which are two qualities that couldn’t stick to Hanks in a million years, onscreen or off. The guy’s a dependably empathetic, inviting presence, even when he’s playing someone as inscrutable as Fred Rogers (\u003cem>A Beautiful Day in the Neighborhood\u003c/em>) or as gruff-but-lovable as Jimmy Dugan (\u003cem>A League of Their Own\u003c/em>).\u003c/p>\n\u003cp>\u003cem>Affable\u003c/em>, then. Let’s go with that.\u003c/p>\n\u003cp>On those rare occasions Hanks has attempted to run from his inherent, bone-deep likability to instead play heels, in films like \u003cem>The Ladykillers\u003c/em>, \u003cem>Charlie Wilson’s War\u003c/em> and, infamously, \u003cem>The Bonfire of the Vanities\u003c/em>, audiences recoil. It’s the Jimmy Stewart Phenomenon at work. “But you’re so affable!” we collectively insist. “We love your ability to aff! So shut up and get back to affing, already!”\u003c/p>\n\u003cp>Of course, Alfred Hitchcock found a way to twist that phenomenon to his own twisted needs; he knew he could cast Jimmy Stewart as a Peeping Tom or a creep obsessed with a dead woman and audiences would blithely accept it, because it was Jimmy Stewart. Jimmy Freaking “I’ll lasso the moon for ya” Stewart.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Having not yet found his Hitchcock, Hanks has settled into a series of roles that draft on his uncanny ability to get us to deeply identify with whomever he’s playing. But in the taut World War II film \u003cem>Greyhound\u003c/em>, dropping Friday on Apple TV+, Hanks seems to have arrived at a troubling but inevitable epiphany: He no longer has to bother creating a layered character, he can just … be \u003cem>him\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-pNgAZVrf40\u003c/p>\n\u003cp>In \u003cem>Greyhound\u003c/em>, which Hanks adapted from the 1955 novel \u003cem>The Good Shepherd\u003c/em> by C. S. Forester, he plays Ernie Krause, captain of a U.S. warship leading a convoy of merchant and troop ships through a North Atlantic infested by German U-boats in February 1942. In the book, Krause possesses a rich, deeply conflicted inner life: He was a career officer about to retire when the Pearl Harbor attack officially propelled the U.S. into World War II, so he’s at once significantly older, and far less battle-tested (this being his first wartime command) than the men he’s tasked to lead. Between U-boat attacks, he broods over his failed marriage, his devout Christian faith, his previous career disappointments, and a profound case of Imposter Syndrome as he constantly second-guesses his decisions.\u003c/p>\n\u003cp>In the film, however, Krause’s backstory and personal struggles have been loaded into a torpedo tube and fired into the murky depths of Davy Jones’ Locker. This Krause is still a Christian (read: he prays a few times), and he’s not married (read: Elisabeth Shue shows up in a flashback to smile ruefully at him and deliver all of six lines). Otherwise, he’s … Tom Hanks.\u003c/p>\n\u003cp>Which, it turns out, in a film as lean (88 minutes!) and efficiently executed as this one, is enough. \u003cem>Greyhound \u003c/em>director Aaron Schneider knows what he’s doing, and he starts doing it right away, packing the film with naval action from the jump. As soon as the convoy moves out of range of U.S. air cover and begins to cross “The Black Pit”—that yawning stretch in the middle of the Atlantic when the convoy will be on its own—the sonar operator detects a U-boat. More follow. Tension rises, released in intermittent bursts by small victories and dismaying losses.\u003c/p>\n\u003cp>The film’s several battle sequences are clearly and effectively staged: They reek of CGI, but the technology is used well, as when we zoom out in virtual drone shots that show us the action from far above—so we can see just how nearly a near-miss misses as we watch a ship slooooowly steering itself out of a torpedo’s path in the nick of time. We soon come to recognize and distinguish the various U-boats descending on the convoy, as they’ve each got different symbols painted on their conning towers.\u003c/p>\n\u003cp>In that sense, the U-boats register as stronger and more distinct personalities than any Greyhound crew member manages to, as the men that surround Hanks’ Krause are called upon to do little more than look worried, sad or happy as Hanks’ script dictates. No, this is Hanks’ show, and he seems completely in his element awash in sea-spray, peering through binoculars while shouting torrents of naval jargon. (A word about said jargon: \u003cem>Greyhound \u003c/em>is the kind of movie in which there’s always a sailor on hand to translate for an audience of landlubbers by helpfully shouting in astonishment that something will soon happen, is happening, or has just happened—often all three, just to be safe.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It doesn’t much matter that Krause and the men who serve him might as well be CGI simulations like the boats around them. Like a sailing vessel, \u003cem>Greyhound \u003c/em>benefits from the sleekness of its design and its characters’ lack of baggage, both literal and emotional. As befits his status as America’s Dad, Hanks has constructed for us the ultimate Dad Movie—all the action you could ever need or want, with no annoying characters hanging around, harboring pesky needs and wants of their own.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=World+War+II+Naval+Drama+%27Greyhound%27+Charts+A+Trim%2C+Efficient+Course&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tom Hanks’ screen persona is …\u003c/p>\n\u003cp>One is tempted to reach for the word \u003cem>avuncular \u003c/em>here, but that doesn’t quite pin it down. He’s not America’s Uncle, after all, he’s America’s Dad. But \u003cem>paternal \u003c/em>doesn’t get you there, either, as that word has taken on an oppressive, exclusionary patina, which are two qualities that couldn’t stick to Hanks in a million years, onscreen or off. The guy’s a dependably empathetic, inviting presence, even when he’s playing someone as inscrutable as Fred Rogers (\u003cem>A Beautiful Day in the Neighborhood\u003c/em>) or as gruff-but-lovable as Jimmy Dugan (\u003cem>A League of Their Own\u003c/em>).\u003c/p>\n\u003cp>\u003cem>Affable\u003c/em>, then. Let’s go with that.\u003c/p>\n\u003cp>On those rare occasions Hanks has attempted to run from his inherent, bone-deep likability to instead play heels, in films like \u003cem>The Ladykillers\u003c/em>, \u003cem>Charlie Wilson’s War\u003c/em> and, infamously, \u003cem>The Bonfire of the Vanities\u003c/em>, audiences recoil. It’s the Jimmy Stewart Phenomenon at work. “But you’re so affable!” we collectively insist. “We love your ability to aff! So shut up and get back to affing, already!”\u003c/p>\n\u003cp>Of course, Alfred Hitchcock found a way to twist that phenomenon to his own twisted needs; he knew he could cast Jimmy Stewart as a Peeping Tom or a creep obsessed with a dead woman and audiences would blithely accept it, because it was Jimmy Stewart. Jimmy Freaking “I’ll lasso the moon for ya” Stewart.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Having not yet found his Hitchcock, Hanks has settled into a series of roles that draft on his uncanny ability to get us to deeply identify with whomever he’s playing. But in the taut World War II film \u003cem>Greyhound\u003c/em>, dropping Friday on Apple TV+, Hanks seems to have arrived at a troubling but inevitable epiphany: He no longer has to bother creating a layered character, he can just … be \u003cem>him\u003c/em>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/-pNgAZVrf40'\n title='//www.youtube.com/embed/-pNgAZVrf40'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In \u003cem>Greyhound\u003c/em>, which Hanks adapted from the 1955 novel \u003cem>The Good Shepherd\u003c/em> by C. S. Forester, he plays Ernie Krause, captain of a U.S. warship leading a convoy of merchant and troop ships through a North Atlantic infested by German U-boats in February 1942. In the book, Krause possesses a rich, deeply conflicted inner life: He was a career officer about to retire when the Pearl Harbor attack officially propelled the U.S. into World War II, so he’s at once significantly older, and far less battle-tested (this being his first wartime command) than the men he’s tasked to lead. Between U-boat attacks, he broods over his failed marriage, his devout Christian faith, his previous career disappointments, and a profound case of Imposter Syndrome as he constantly second-guesses his decisions.\u003c/p>\n\u003cp>In the film, however, Krause’s backstory and personal struggles have been loaded into a torpedo tube and fired into the murky depths of Davy Jones’ Locker. This Krause is still a Christian (read: he prays a few times), and he’s not married (read: Elisabeth Shue shows up in a flashback to smile ruefully at him and deliver all of six lines). Otherwise, he’s … Tom Hanks.\u003c/p>\n\u003cp>Which, it turns out, in a film as lean (88 minutes!) and efficiently executed as this one, is enough. \u003cem>Greyhound \u003c/em>director Aaron Schneider knows what he’s doing, and he starts doing it right away, packing the film with naval action from the jump. As soon as the convoy moves out of range of U.S. air cover and begins to cross “The Black Pit”—that yawning stretch in the middle of the Atlantic when the convoy will be on its own—the sonar operator detects a U-boat. More follow. Tension rises, released in intermittent bursts by small victories and dismaying losses.\u003c/p>\n\u003cp>The film’s several battle sequences are clearly and effectively staged: They reek of CGI, but the technology is used well, as when we zoom out in virtual drone shots that show us the action from far above—so we can see just how nearly a near-miss misses as we watch a ship slooooowly steering itself out of a torpedo’s path in the nick of time. We soon come to recognize and distinguish the various U-boats descending on the convoy, as they’ve each got different symbols painted on their conning towers.\u003c/p>\n\u003cp>In that sense, the U-boats register as stronger and more distinct personalities than any Greyhound crew member manages to, as the men that surround Hanks’ Krause are called upon to do little more than look worried, sad or happy as Hanks’ script dictates. No, this is Hanks’ show, and he seems completely in his element awash in sea-spray, peering through binoculars while shouting torrents of naval jargon. (A word about said jargon: \u003cem>Greyhound \u003c/em>is the kind of movie in which there’s always a sailor on hand to translate for an audience of landlubbers by helpfully shouting in astonishment that something will soon happen, is happening, or has just happened—often all three, just to be safe.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It doesn’t much matter that Krause and the men who serve him might as well be CGI simulations like the boats around them. Like a sailing vessel, \u003cem>Greyhound \u003c/em>benefits from the sleekness of its design and its characters’ lack of baggage, both literal and emotional. As befits his status as America’s Dad, Hanks has constructed for us the ultimate Dad Movie—all the action you could ever need or want, with no annoying characters hanging around, harboring pesky needs and wants of their own.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=World+War+II+Naval+Drama+%27Greyhound%27+Charts+A+Trim%2C+Efficient+Course&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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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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"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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"title": "Selected Shorts",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
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"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
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"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
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"thebay": {
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"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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