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"content": "\u003cp>\u003cem>This article originally published in 2020. It has been lightly updated.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"#episode-transcript\">\u003ci>View the full episode transcript.\u003c/i>\u003c/a>\u003c/p>\n\u003cp>Bay Curious listener Ben Kaiser asked for our favorite movies that are filmed and set in San Francisco. While we don’t normally take on subjective questions, we figured with cozy season upon us, it was a great time to cuddle up on the sofa with some classics.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC4565381532&light=true\" width=\"100%\" we asked peter hartlaub san francisco chronicle culture critic and host carly severn kqed senior editor of audience news resident movie obsessive to share their top picks on a recent bay curious podcast episode. they shared the movies would be most likely sit down watch over holidays not necessarily critically acclaimed films. our some favorites too>Star Trek IV: The Voyage Home (1986)\n\u003cp>https://www.youtube.com/watch?v=QOhoIBkOYf0\u003c/p>\n\u003cp>\u003cstrong>Plot summary from \u003ca href=\"https://www.imdb.com/title/tt0092007/\">IMDB\u003c/a>:\u003c/strong> “To save Earth from an alien probe, Admiral James T. Kirk and his fugitive crew go back in time to San Francisco in 1986 to retrieve the only beings who can communicate with it: humpback whales.”\u003c/p>\n\u003cp>\u003cstrong>Why we love it:\u003c/strong> This charming, lighthearted movie makes the Bay Area look undeniably fun. One KQED fan said the film was “influential in shaping how I think about the environment and is the Star Trek movie with the most heart in it.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003ch1>Inside Out (2015)\u003c/h1>\n\u003cp>https://www.youtube.com/watch?v=yRUAzGQ3nSY\u003c/p>\n\u003cp>\u003cstrong>Plot summary from \u003ca href=\"https://www.imdb.com/title/tt2096673/\">IMDB\u003c/a>:\u003c/strong> “After young Riley is uprooted from her Midwest life and moved to San Francisco, her emotions — Joy, Fear, Anger, Disgust and Sadness — conflict on how best to navigate a new city, house, and school.”\u003c/p>\n\u003cp>\u003cstrong>Why we love it:\u003c/strong> Pixar has dropped Bay Area references in several animated films over the years, but “Inside Out” takes it to the next level. The film takes place in the Bay Area, and features rich and detailed imagery from around the region.\u003c/p>\n\u003ch1>Zodiac (2007)\u003c/h1>\n\u003cp>https://www.youtube.com/watch?v=yNncHPl1UXg\u003c/p>\n\u003cp>\u003cstrong>Plot summary from \u003ca href=\"https://www.imdb.com/title/tt0443706/\">IMDB\u003c/a>:\u003c/strong> “In the late 1960s/early 1970s, a San Francisco cartoonist becomes an amateur detective obsessed with tracking down the Zodiac Killer, an unidentified individual who terrorizes Northern California with a killing spree.”\u003c/p>\n\u003cp>\u003cstrong>Why we love it:\u003c/strong> “Second only to Alfred Hitchcock, director David Fincher has a great sensibility for San Francisco,” says Peter Hartlaub. “This film absolutely captures a place in time. The music choices, the visual cues, the production design. Nothing’s wasted. I was a little kid, and I remember hearing about the Zodiac killer, and this movie brought that back so well.”\u003c/p>\n\u003ch1>The Last Black Man in San Francisco (2019)\u003c/h1>\n\u003cp>https://www.youtube.com/watch?v=C0FnJDhY9-0\u003c/p>\n\u003cp>\u003cstrong>Plot summary from \u003ca href=\"https://www.imdb.com/title/tt4353250/?ref_=fn_al_tt_1\">IMDB\u003c/a>:\u003c/strong> A young man searches for home in the changing city that seems to have left him behind.\u003c/p>\n\u003cp>\u003cstrong>Why we love it:\u003c/strong> One of the few films on our list that is a commentary on the Bay Area, and how gentrification has decimated once vibrant Black neighborhoods. The cinematography will absolutely take your breath away. Pause the movie at any point and you might be inspired to hang the still image on your wall.\u003c/p>\n\u003ch1>Basic Instinct (1992)\u003c/h1>\n\u003cp>https://www.youtube.com/watch?v=4f96x3UpoaQ\u003c/p>\n\u003cp>\u003cstrong>Plot summary from \u003ca href=\"https://www.imdb.com/title/tt0103772/?ref_=fn_al_tt_1\">IMDB\u003c/a>:\u003c/strong> A violent police detective investigates a brutal murder that might involve a manipulative and seductive novelist.\u003c/p>\n\u003cp>\u003cstrong>Why we love it:\u003c/strong> “The plot is ludicrous … but it’s a romp. It’s a riot. It also looks way better than it needs to, and it sounds way better than it needs to,” says Carly Severn. “I love the way it uses San Francisco. It goes for all the classic shots — there’s North Beach, there’s Telegraph Hill.” You’ll also find lots of gorgeous helicopter shots in this one.\u003c/p>\n\u003ch1>Always Be My Maybe (2019)\u003c/h1>\n\u003cp>https://www.youtube.com/watch?v=iHBcWHY9lN4\u003c/p>\n\u003cp>\u003cstrong>Plot summary from \u003ca href=\"https://www.imdb.com/title/tt7374948/?ref_=fn_al_tt_1\">IMDB\u003c/a>:\u003c/strong> Everyone assumed Sasha and Marcus would wind up together except for Sasha and Marcus. Reconnecting after 15 years, the two start to wonder — maybe?\u003c/p>\n\u003cp>\u003cstrong>Why we love it:\u003c/strong> “It makes San Francisco look really cool, but it also makes San Francisco look normal. A lot of it is set in the Outer Richmond,” says Carly Severn. “As a resident of the Bay Area there’s such a pleasure in looking at the screen and saying, ‘Oh, I know that! That’s cool!”\u003c/p>\n\u003ch1>Invasion of the Body Snatchers (1978)\u003c/h1>\n\u003cp>https://www.youtube.com/watch?v=vc_0dlmSq7I\u003c/p>\n\u003cp>\u003cstrong>Plot summary from \u003ca href=\"https://www.imdb.com/title/tt0077745/?ref_=fn_al_tt_1\">IMDB\u003c/a>: \u003c/strong>When strange seeds drift to earth from space, mysterious pods begin to grow and invade San Francisco, where they replicate the residents into emotionless automatons one body at a time.\u003c/p>\n\u003cp>\u003cstrong>Why we love it:\u003c/strong> “I think this is the most underrated San Francisco movie,” says Peter Hartlaub. “A lot of directors come in and they love San Francisco, but they shoot from the same seven places — Telegraph Hill, the Golden Gate Bridge, The Palace of Fine Arts. Director Philip Kaufman shot in places I think he always wanted to shoot — the Tenderloin is a huge character in the movie. Civic Center. Obscure places like Pier 70.”\u003c/p>\n\u003ch1>Vertigo (1958)\u003c/h1>\n\u003cp>https://www.youtube.com/watch?v=Z5jvQwwHQNY\u003c/p>\n\u003cp>\u003cstrong>Plot summary from \u003ca href=\"https://www.imdb.com/title/tt0052357/?ref_=fn_al_tt_1\">IMDB\u003c/a>:\u003c/strong> A former police detective juggles wrestling with his personal demons and becoming obsessed with a hauntingly beautiful woman.\u003c/p>\n\u003cp>\u003cstrong>Why we love it:\u003c/strong> If you’re going to watch one movie set in San Francisco, a lot of critics would argue it should be this Alfred Hitchcock classic. The plot is woven into the location in a way that few movies can rival. And if you’re wanting to really *see* the city — this film is a hit parade of gorgeous locations.\u003c/p>\n\u003ch1>So I Married an Axe Murderer! (1993)\u003c/h1>\n\u003cp>https://www.youtube.com/watch?v=yto08I_IiAg\u003c/p>\n\u003cp>\u003cstrong>Plot summary from \u003ca href=\"https://www.imdb.com/title/tt0108174/?ref_=nv_sr_srsg_0\">IMDB\u003c/a>:\u003c/strong> A San Francisco poet who fears commitment suspects his girlfriend may have a knack for killing off her significant others.\u003c/p>\n\u003cp>\u003cstrong>Why we love it:\u003c/strong> One KQED fan says it “captures something of the SF that I grew up in” and another calls this film “a love letter to SF.” It highlights many of the city’s most famous sights — like the Golden Gate Bridge to the Palace of Fine Arts and Alcatraz.\u003c/p>\n\u003ch1>Bullitt (1968)\u003c/h1>\n\u003cp>https://www.youtube.com/watch?v=BsvD806qNM8\u003c/p>\n\u003cp>\u003cstrong>Plot summary from \u003ca href=\"https://www.imdb.com/title/tt0062765/?ref_=fn_al_tt_1\">IMDB:\u003c/a>\u003c/strong> An all guts, no glory San Francisco cop becomes determined to find the underworld kingpin that killed the witness in his protection.\u003c/p>\n\u003cp>\u003cstrong>Why we love it:\u003c/strong> Do we need to say much more than “epic car chase scenes on San Francisco hills?” This film features tons of on-location filming, so you’ll get a big taste of the city.\u003c/p>\n\u003ch1>Mrs. Doubtfire (1993)\u003c/h1>\n\u003cp>https://www.youtube.com/watch?v=3euGQ7-brs4\u003c/p>\n\u003cp>\u003cstrong>Plot summary from \u003ca href=\"https://www.imdb.com/title/tt0107614/?ref_=fn_al_tt_1\">IMDB\u003c/a>: \u003c/strong>After a bitter divorce, an actor disguises himself as a female housekeeper to spend time with his children held in custody by his former wife.\u003c/p>\n\u003cp>\u003cstrong>Why we love it:\u003c/strong> We couldn’t leave this film off the list. After all, it features one of the Bay Area’s most beloved celebrities, Robin Williams. After his death, the house featured in this film at 2640 Steiner St. became a pop-up memorial. You’ll spot everything from ordinary streets to iconic San Francisco locations throughout the film.\u003c/p>\n\u003ch1>The Rock (1996)\u003c/h1>\n\u003cp>https://www.youtube.com/watch?v=6DWu_dT0Phc\u003c/p>\n\u003cp>\u003cstrong>Plot summary from \u003ca href=\"https://www.imdb.com/title/tt0117500/?ref_=fn_al_tt_1\">IMDB\u003c/a>:\u003c/strong> A mild-mannered chemist and an ex-con must lead the counterstrike when a rogue group of military men, led by a renegade general, threaten a nerve gas attack from Alcatraz against San Francisco.\u003c/p>\n\u003cp>\u003cstrong>Why we love it:\u003c/strong> Much of the film was shot on in and around Alcatraz, a tall order given the production crew had to do it all while tour groups milled around the site of the former federal penitentiary. Other locations in the film include the Fairmont Hotel, San Francisco City Hall and Pier 39.\u003c/p>\n\u003cp>These 12 films are still just the tip of the iceberg when it comes to great movies filmed in the Bay Area. Other audience favorites include: Chan Is Missing, The Conversation, Blindspotting, Sorry to Bother You, The Princess Diaries, Parrots of Telegraph Hill and La Mission. Find even more suggestions on \u003ca href=\"https://x.com/KQED/status/1336822068541734912\">this X thread\u003c/a>, and on \u003ca href=\"https://www.facebook.com/KQED/posts/10157640695916191\">KQED’s Facebook page. \u003c/a>\u003c/p>\n\u003cp>[baycuriousquestion]\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>\u003cspan style=\"font-weight: 400;\">Hey everyone, I’m Olivia Allen Price and this is Bay Curious. Let’s go!\u003c/span>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Ben Kaiser:\u003c/b> \u003cspan style=\"font-weight: 400;\">My name is Ben Kaiser and believe it or not I live in Atlanta, Georgia.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>\u003cspan style=\"font-weight: 400;\">Ben visited San Francisco for the first time four years ago. And as soon as he got here, he felt a connection.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ben Kaiser:\u003c/b> \u003cspan style=\"font-weight: 400;\">It sort of seemed like I had been there before or that I belonged there. And I just absolutely fell in love with it. And I’ve been back in four years, probably nine or ten times.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>\u003cspan style=\"font-weight: 400;\">That’s a lot of flights between Atlanta and SFO. Now, when Ben can’t be here, he’s found a way to visit without leaving his living room.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ben Kaiser:\u003c/b> \u003cspan style=\"font-weight: 400;\">Because I don’t live in San Francisco, I want to be connected to it as much as I possibly can. And one of the ways is watching movies shot there.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b> \u003cspan style=\"font-weight: 400;\">Anything that can transport him here, even if only for a few hours. Ben’s seen a lot already, but he wants more, so he came to Bay Curious.\u003c/span>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Ben Kaiser:\u003c/b> \u003cspan style=\"font-weight: 400;\">I asked what were some of the movies set in San Francisco that were actually shot in San Francisco, and which ones are your favorites or your recommendations?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>\u003cspan style=\"font-weight: 400;\">Now we don’t often delve into subjective matters here on the show, but hey, it’s the holidays, cozy season is here, and we thought maybe we could all use some solid movie recommendations. Today’s episode will sound a little bit different from what you usually hear on Bay Curious. We’ve got a panel of local cultural experts here to convince Ben and you how you should spend some time devouring the Bay Area in all its cinematic glory. This episode first aired in 2020 and has been lightly revised for you today. So throw some popcorn in the microwave, cozy up on your couch, and press play. All right, I have to start out this episode with a confession. I, Olivia Allen Price, am really bad at movies, like possibly the last person that you would want on your trivia team during the movie round. So I called in some much needed backup on this one. Here to help me out today is Peter Hartlaub. He was born and raised in the Bay Area. He’s a cultural critic with the San Francisco Chronicle, and he writes the total SF newsletter. Welcome, Peter.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Peter Hartlaub:\u003c/b> \u003cspan style=\"font-weight: 400;\">Thank you so much for having me.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b> \u003cspan style=\"font-weight: 400;\">Yeah. Also, I’ve got Carly Severn here. She’s a senior editor here at KQED and a Bay Curious Reporter, who you are probably familiar with. She’s also a former co-host of The Cooler Podcast and one of KQED’s resident movie obsessives. Hey Carly.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Carly Severn:\u003c/b> \u003cspan style=\"font-weight: 400;\">Hey, Olivia. Hey, Peter. Lovely to be here.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b> \u003cspan style=\"font-weight: 400;\">So before we get into recommendations, I’m curious, what do you guys think makes San Francisco a good spot to shoot a film?\u003c/span>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Peter Hartlaub:\u003c/b> \u003cspan style=\"font-weight: 400;\">Internationally recognizable landmarks, Golden Gate Bridge, Alcatraz, the topography. You can get up on a hill and see those landmarks. You can have a chase scene and get a little air. But I think the biggest thing is the weather. And it’s sort of the secret ingredient because it allows a director to convey mood. And then the city sort of becomes the mood of the director. You have the fog coming in, you have the sun coming in, subtle shifts. You can’t do that in Atlanta. You can’t do it in Houston. You can’t even really do that in LA. And I think that’s a big reason why San Francisco ends up being, you know, a top pick if you’re a director and you want to shoot like a thriller or an action film, something like that.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Carly Severn:\u003c/b> \u003cspan style=\"font-weight: 400;\">I would agree with all of that and I must kind of confess I do have a similar cinematic relationship with San Francisco as listener Ben does. I grew up watching San Francisco on screen as a kid in the middle of nowhere in England and it just seemed like the coolest place in the world to me. So I get it. I get his quest.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b> \u003cspan style=\"font-weight: 400;\">Now, despite all these things, all these sort of great attributes that make, you know, San Francisco a great place to shoot, you still don’t see it in films as often as, you know, in New York or in LA or maybe even in Atlanta, even though you don’t necessarily know you’re in Atlanta when you are in Atlanta. A lot of sh movies are shot there. Why do you all think that is?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Peter Hartlaub:\u003c/b> \u003cspan style=\"font-weight: 400;\">It’s expensive to get a hotel here, much less a bunch of hotels if you’ve got a lot of people coming. People are all crammed in together. And if you’re gonna shoot Sister Act in Noe Valley, or if you’re gonna shoot a car chase scene going through Russian Hill, the neighbors are gonna notice. And I think San Francisco, more than some of those other cities, because it’s sort of compact like that, makes it harder to film. Expensive and compact.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Carly Severn:\u003c/b> \u003cspan style=\"font-weight: 400;\">Yeah, I think logistically you have all of these issues, but I do think there’s this thematic problem with San Francisco, it’s so in your face. It is it does end up being a character. If you want to just have like any town USA to set your story in, like San Francisco is not the place to come. It really isn’t, because you’ll end up having to do all of this narrative work bending over backwards to kind of explain why it’s a San Francisco story. That’s my take anyway.\u003c/span>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>\u003cspan style=\"font-weight: 400;\">Well, I do want to get on to answering Ben’s question and get to some of your San Francisco movie recommendations, but I thought we’d actually start with his because he has seen a lot of movies and he has his own thoughts.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ben Kaiser:\u003c/b> \u003cspan style=\"font-weight: 400;\">Vertigo’s probably my all time favorite movie in the fact that it’s shot in San Francisco. But, you know, a lot of the real common ones, you know, I I’m not embarrassed to say the other night I watched The Rock and enjoyed The Rock. But you know, Mrs. Doubtfire, Milk, The Room, those are just, you know, some of the ones that I enjoy.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>\u003cspan style=\"font-weight: 400;\">So it sounds like he’s definitely seen some of the classics, which I know we aren’t necessarily gonna talk as much about today in your lists, right?\u003c/span>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Peter Hartlaub:\u003c/b> \u003cspan style=\"font-weight: 400;\">Vertigo, The Conversation, the Hitchcock films, the Coppola films. If I’m teaching a film class about San Francisco, they’re gonna be right in there. If I’m turning on my TV right now ’cause I just need to chill and escape a little bit, I’ve got a whole different set of films that I’m gonna pick, my favorite films, and that’s what I’m gonna pick today.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Carly Severn:\u003c/b> \u003cspan style=\"font-weight: 400;\">A hundred percent cosign. And may I just say to Ben that he never has to be embarrassed about watching the rock. There is nothing to be embarrassed about there.\u003c/span>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Peter Hartlaub:\u003c/b> \u003cspan style=\"font-weight: 400;\">It’s totally cool to just love the rock and shout it from the rooftops.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>\u003cspan style=\"font-weight: 400;\">All right, so I asked each of you guys to bring your top three recommendations. And what we’re gonna do is go through all of those and then let Ben decide who has been the most convincing and which movie he is going to watch next. So let’s dive in, Carly. \u003c/span>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003cspan style=\"font-weight: 400;\">Let us know what is your number three pick and why.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Carly Severn: First of all, I want to kind of set up my thinking here. I wanted to pay homage to the classic TLC album Crazy Sexy Cool with three picks that make San Francisco look either crazy, sexy, or cool. And so I’m gonna start with cool. It is Always Be My Maybe. It is the 2019 Netflix movie directed by Nahnatchka Khan . It’s got Ali Wong as a celebrity chef, and she returns home to San Francisco, where she grew up, and she reconnects with her childhood boyfriend, Randall Park.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400;\">Clip from Always Be My Maybe\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Carly Severn \u003c/b>\u003cspan style=\"font-weight: 400;\">[00:07:18] \u003c/span>\u003cspan style=\"font-weight: 400;\"> I love this movie so much. It makes San Francisco look really cool, but it also makes it look really normal. And it’s not the kind of parade of Golden Gate Bridge, Golden Gate Park Ad nauseum. Like a lot of it’s set in the outer Richmond, like the farmers market that they go to. It’s not some bougie little farmer’s market. It’s the like the civic center farmers market. So as a resident of the Bay Area, there’s such a pleasure in in kind of doing that thing where you’re looking at the screen going like, Oh, I know that. That’s really cool. I should admit that so much of it is filmed in San Francisco at these amazing locations that are like super normal and super lived in. But Vancouver, of course it’s always Vancouver. Vancouver actually doubles for a lot of the San Francisco locations. Particularly Goodluck Dim sum, which is where Ali Wong it’s one of her favorite restaurants in San Francisco. She’s it’s on Clements Street. She says it’s where she grew up eating. She really wanted that set there, but they had to double the interior in Vancouver. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400;\">Clip from Always Be My Maybe \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Carly Severn: \u003c/b>\u003cspan style=\"font-weight: 400;\">She thought that the restaurant would really love the fact that she had given them the shout-out, and it turns out they they kind of didn’t care. She put on Instagram that she had gone to the restaurant, and this is her caption. So the picture is of her waiting in line at this place that she’s just made super famous in a movie. And she’s like, Me, hello, I’m Ali Wong. The dim sum scene in my movie Always Be My Maybe is based on this very place where I grew up eating. Good luck, dim sum staff. We don’t give a bleep. We have no idea who you are. Get in line.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>\u003cspan style=\"font-weight: 400;\">Oh I love that. Tough being famous in San Francisco.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003cb>Peter Hartlaub: \u003c/b>\u003cspan style=\"font-weight: 400;\">There’s a lot of little things in there that are San Francisco too. Ali Wong got Dan the Automator to do the score and also write the music for the greatest San Francisco band in a movie, Hello Peril, which do three songs in the movie, including the closing credits. My only complaint, and Carly mentioned it, and I don’t want to start like negative ad campaigns here, but we’re winning Ben’s vote, and there’s only one vote. They did the exterior on Clement Street, and they’re walking down what’s supposed to be Clement Street, and it is so not Clements Street. It is so Vancouver. I love the movie, but as a location, San Francisco location movie, I find it to be kind of hit and miss.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>\u003cspan style=\"font-weight: 400;\">All right, well let’s get on to your number three then, mister Hartlob. What do you got?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Peter Hartlaub: \u003c/b>\u003cspan style=\"font-weight: 400;\">Mine is \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\">Invasion of the Body Snatchers\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400;\">. I think it’s the most underrated San Francisco movie. Shot, it came out in 1978, a Philip Kaufman movie. He’s a San Francisco resident to this day. And it was a remake of a 1950s movie about alien pods that come in, they’re replacing the human race slowly, and you can’t fall asleep. And it’s there’s just a lot of intrigue and it’s a thriller and it’s horror. I love it as a San Francisco movie because a lot of directors come in and they love San Francisco, but they shoot from the same seven places. You know, Telegraph Hill, Golden Gate Bridge, Palace of Fine Arts. Philip Kaufman shot in places that I think he always wanted to shoot, that that really add to the movie. The tenderloin is a huge, huge character in the movie. Civic Center. There’s a couple of really cool shots there. Obscure places like Pier 70. Right here, we have Donald Sutherland in a very famous scene where he is revealing himself to be one of the pod people by screeching. The screech is a pig squeal, I believe played backwards. And he’s pointing, he’s pointing at you on the other side of the screen. He’s in the civic center, pointing at you. Great San Francisco movie, great horror movie, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\">Invasion of the Body Snatchers\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400;\">.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Carly Severn: \u003c/b>\u003cspan style=\"font-weight: 400;\">I loved this movie. I actually was ashamed to say that I hadn’t seen it before I started prepping to have this conversation with you guys. And it starts off, you know, like a little bit cheesy, and I was like, oh god, what has Peter chosen? I couldn’t have been more wrong. It is such a great movie. I I could not agree ever with more with everything he said about the way it uses San Francisco, and particularly like a lot of like civic buildings around Civic Center, and just like a lot of it set at the the Department of Public Health, which I always like it when those guys are the good guys in the movie.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>\u003cspan style=\"font-weight: 400;\">You know, I haven’t seen this movie yet. It’s now gonna be on my list, I will say, but I am I love the idea that there’s a movie that that really highlights some of the lesser used locations around San Francisco. Because I think there is, you know, a divide between how tourists experience the city and how people who live in the city experience the city. Let’s move on to your number two picks, making our way up the list. Carly, what do you have?\u003c/span>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Carly Severn: \u003c/b>\u003cspan style=\"font-weight: 400;\">Well, I did say I was gonna do Crazy Sexy Cool, and we’re now into the sexy phase of this pick. It is 1992’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\">Basic Instinct\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400;\">. And I thought long and hard before choosing this one because, you know, many parts of it haven’t aged well, let’s be honest. But it is a prime example of the 90s erotic thriller. It is made by Paul Verhoven, and the plot is ludicrous. Michael Douglas is the shady San Francisco detective. He’s investigating this bombshell crime novelist, Sharon Stone, who definitely, maybe almost certainly, killed one of her boyfriends. It’s a romp, it’s a riot, it wants to be a Hitchcock noir very, very badly. So it looks way better than it needs to, and it sounds way better than it needs to. I tried long and hard to find a safe for Bay Curious clip from this movie and failed miserably. So let’s just listen to a little bit of the trailer.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400;\">Clip from Basic Instinct \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Carly Severn: \u003c/b>\u003cspan style=\"font-weight: 400;\">I love the way it uses San Francisco. It goes for all the classic shots, like, you know, there’s North Beach, there’s Telegraph Hill. One thing I should note is that San Francisco wasn’t always thrilled about being the kind of poster child for this movie. Sharon Stone’s character is bisexual and setting a movie with an LGBTQ woman who has a lot of sex and kills the people that she sleeps with in San Francisco in 1992 at a time when AIDS was still so prevalent and claiming so many lives. Like that’s a definite choice. And this isn’t just like 2020 hindsight. The movie was picketed at the time by LGBTQ groups for being kind of prejudice in its representation of that community. So I do feel like I should flag that. A lot of that animosity, I feel like, has gone away over time, but it’s definitely something to note. Also, I think the reason people don’t like this movie is that they take it quite seriously. And I think if you look at Paul Behoven’s back catalog, like Starship Troopers, like Total Recall, like Showgirls, I think he has a sense of humor about what he’s doing. So I think that this movie should be taken as a time capsule and with a hefty fistful of salt.\u003c/span>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Peter Hartlaub:\u003c/b> \u003cspan style=\"font-weight: 400;\">I love this film. I think it’s a great pick. I think it’s underrated. There are more helicopter shots in this movie of San Francisco, of someone driving a car around a windy road. His embracing San Francisco, making love to San Francisco with his camera budget was off the charts. So I think it’s a great pick. I really like this movie a lot.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b> \u003cspan style=\"font-weight: 400;\">Definitely one that makes San Francisco look sexy, Carly. Don’t you agree?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Carly Severn:\u003c/b> \u003cspan style=\"font-weight: 400;\">Well, okay, so this is where I genuinely want you guys’ opinion, because I have spent the best part of a week thinking about this question. Is San Francisco a sexy city? And I was trying to think of cities that are like off the charts sexy, you’re right. New Orleans sprang to mind. But then I’m thinking, is it just about like sweating? Is it just like the weather? Is is is that all sexiness is to me.\u003c/span>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Peter Hartlaub:\u003c/b>\u003cspan style=\"font-weight: 400;\"> I gotta say, the the weather is it. You don’t sweat in San Francisco. LA sexy city. New Orleans sexy city. Miami. Miami Vice sexy city. Streets of San Francisco is not a sexy TV show.\u003c/span>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b> \u003cspan style=\"font-weight: 400;\">I’m gonna have to disagree with you guys and you are the cultural critics here, so your your opinion has more weight than mine, but I don’t know, I see fog and I wanna cuddle. That’s my take.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Peter Hartlaub:\u003c/b> \u003cspan style=\"font-weight: 400;\">Yeah, I don’t know.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003cb>Carly Severn:\u003c/b> \u003cspan style=\"font-weight: 400;\">I think Peter and I are of the same mind here where we’re just like It’s step one, guys.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Peter Hartlaub:\u003c/b> \u003cspan style=\"font-weight: 400;\">It’s a cuddly city. I don’t know if it’s a sexy city.\u003c/span>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Carly Severn:\u003c/b> \u003cspan style=\"font-weight: 400;\">I cuddle my dog. All right.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b> \u003cspan style=\"font-weight: 400;\">All right. Well let’s get into Peter, what’s your number two pick?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Peter Hartlaub:\u003c/b> \u003cspan style=\"font-weight: 400;\">My number two is\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\"> Zodiac\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400;\">. It is a David Fincher film. He shot \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\">The Game\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400;\"> first and then \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\">Zodiac\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400;\"> in San Francisco. And second to Hitchcock, I think he’s the one who really is a great sensibility for San Francisco. It is shot also in the San Francisco Chronicle Newsroom. They shot in our publisher’s office, I believe, outside, and they used our lobby and elevator. The story goes that David Fincher came up to our newsroom, walked inside, said an expletive and said this is too much of a mess, walked outside and they recreated our newsroom pillar for pillar. You cannot tell the difference in Los Angeles. But absolutely, absolutely captures a place in time. The music choices, the visual cues, the production design, nothing’s wasted. And honestly, even though they didn’t shoot in the Chronicle Newsroom, the newsroom banter is pitch perfect. Here’s a little bit of it right now.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400;\">Clip from Vertigo \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Peter Hartlaub: \u003c/b>\u003cspan style=\"font-weight: 400;\">So that’s the way we talk. That’s the way we talk to each other. It’s all like a David Fincher or Aaron Sorkin drama.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400;\">Clip from Vertigo\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Peter Hartlaub: \u003c/b>\u003cspan style=\"font-weight: 400;\">No, this is this is a great film, and the plot is almost secondary in this film, a killer from the 70s and 80s who they never caught, and I’m giving away the ending, but the ending isn’t the important thing. The important thing is the mood, the city, what it felt like to be in the 1970s and be scared. I was a little kid. I remember hearing about the Zodiac Killer, and this movie brought that back so well. My favorite shot in the film, it is a visual effects shot of them in sped up time building the Transamerica Pyramid, and again, just David Fincher using every little arrow in his quiver to capture that mood of San Francisco at a particular time. It’s a fantastic location movie.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b> \u003cspan style=\"font-weight: 400;\">And I think it’s the only one on this list that is based on a true story unless there’s something I need to know about \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\">Invasion of the Body Snatchers\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400;\">.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Peter Hartlaub:\u003c/b> \u003cspan style=\"font-weight: 400;\">I think that’s true. And and and you know, there there’s a little bit of myth in there, but he he’s stuck a lot closer than a lot of other people do to the facts.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b> \u003cspan style=\"font-weight: 400;\">I will say as somebody who was not living in the Bay Area at the time of Zodiac, I found \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\">Zodiac\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400;\"> to be really helpful just to kind of I guess get a sense of what it was like to be here during that time, like you experienced, Peter.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Peter Hartlaub:\u003c/b> \u003cspan style=\"font-weight: 400;\">Yeah, and people remember and if people weren’t around, they know the myth. When when people come to the chronicle and ask for a tour, the two things they want to see are Herb Kane’s typewriter and the Zodiac Files. Can you show us the Zodiac files?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b> \u003cspan style=\"font-weight: 400;\">All right, let’s get on to your top choices. These are top of your list. Let’s let’s hear it, Carly. What do you got?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Carly Severn: \u003c/b>\u003cspan style=\"font-weight: 400;\">Okay, guys, I’m reaching the climax of my crazy sexy cool plan, which I think paid off. My number one pick, it’s Crazy San Francisco. It’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\">Star Trek 4\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400;\">. 1986. It is directed by Mr. Spark himself, Leonard Nimoy. I almost find it hard to talk about this film kind of critically because I love it so much. Just to quickly tell you about the plot, it picks up where 1984’s Search for Spark, Star Trek III left off. So the Earth of the Future is being menaced by a big alien probe. Only Kirk and the crew of the Enterprise can save the planet by time traveling back to 1980s San Francisco to bring back two Wales to talk to the alien probe and get it to leave Earth alone. You have to go with it. That’s the plot, and I can’t change that, okay? It’s not the best Star Trek movie. That’s The Wrath of Khan. That’s just undisputable. But it is the best Star Trek movie set in San Francisco with Wales, which is to say, it is the only one of that. Where do I start with how wonderful this movie is? People think I’m joking when I say that it’s the reason I moved to San Francisco, and I’m like 5% joking about that. But the other 95% is really serious. Growing up with this movie and watching San Francisco just look so fun, so warm, so crazy, so inviting. Like I wanted to be a part of that. It is totally joyous. Ben, if you’re listening and you haven’t seen Star Trek 4, don’t worry. You don’t need to watch any of the other Star Trek movies. It stands alone, it’s kind of perfect in that sense. The pleasures of watching like the quite serious crew of the Enterprise traverse San Francisco and just have a ball doing it. It’s just great. So I really wanted to play you one of the most iconic scenes, which is Kirk and Spock on a Muni bus that is traveling over the Golden Gate Bridge. Mr. Spock has to take out a young punk on the bus and get him to stop playing his music. And then this happens.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400;\">Clip from Star Trek 4\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Carly Severn: \u003c/b>\u003cspan style=\"font-weight: 400;\">The gag there, of course, being that Jacqueline Cezanne and Harold Robbins. Oh, I had to look up Harold Robbins, by the way. Like, they are not the giants of literature, but it’s just hilarious to think that the people of the future have deemed them to be so. I know of no movie that is like warmer and and sweeter than Star Trek Four. So, Ben, pick me, pick Star Trek Four. The choice is easy. Come on.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Peter Hartlaub: \u003c/b>\u003cspan style=\"font-weight: 400;\">You know, I don’t even wanna argue against you, and I’m gonna pick a number one, but I love this film so much. It is just a lovely movie, funny movie, finds all kinds of different ways to explore San Francisco and make it part of the gag, but in a in a funny, warm way. It’s one of the greats, one of the classics.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b> \u003cspan style=\"font-weight: 400;\">All right, and up there with one of the greats must be your number one choice, Peter. What do you have for your number one?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Peter Hartlaub:\u003c/b> \u003cspan style=\"font-weight: 400;\">2015 Pixar film Inside Out. It takes place inside the brain of tween girl coming of age, Riley. And then also outside in San Francisco, Riley has moved from I believe Minnesota to San Francisco, and she’s horrified. And what the Pixar people did with animation is so fantastic. They take San Francisco and make it like 10 to 15% more. The streets are a little narrower, parking’s a little harder, street signs are a little more incomprehensible. Fantastic, fantastic use of San Francisco. It’s more of a character in the movie than any of their other movies. They had always kind of flirted around with the Bay Area and maybe dropped San Pablo Avenue and the Incredibles. This one, they really talk about San Francisco. And you don’t see that often. You see a lot of mainstream films set in San Francisco, and San Francisco is a backdrop and it’s almost like a prop. Very few films are a commentary on the city. Last black man in San Francisco, Medicine for Melancholy, and Inside Out. Inside Out is poking fun of the city. It is completely honest. If you live here, you totally get it. If you’re not from here, you’re gonna get some of the humor, including taking just an absolute, absolute dagger stab at our Pizza.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\">Clip from Inside Out\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Peter Hartlaub:\u003c/b> \u003cspan style=\"font-weight: 400;\">Honestly, the first time I saw this film, I didn’t love it. I liked it a lot. I’m glad I didn’t review it because I think I would have given it less than the highest rating. Upon rewatch, there’s so many little things that come out. You learn more things, and the San Francisco parts become clearer and clearer. I just think it’s a fantastic film, and it’s a fantastic San Francisco location film.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b> \u003cspan style=\"font-weight: 400;\">Well I think Ben is gonna have a really hard time deciding between all of those very compelling pitches for for movies he should be watching this weekend. Peter Hartlob, Bay Area native, culture critic with the SF Chronicle, co-host of Total SF podcast. Thank you so much. Is there anywhere that listeners can connect with you further?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Peter Hartlaub:\u003c/b> \u003cspan style=\"font-weight: 400;\">Subscribe to the Total SF newsletter, that’s where I explore the Bay Area and pass on all my favorite finds, the best hikes to take, the best tourist traps to visit, where I’m finding the best papusas to eat, and read my work at sfchronicle.com.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>\u003cspan style=\"font-weight: 400;\">Awesome. And Carly, you are my longtime pop culture, I don’t know, guru. You’ve you’ve really helped me with questions over the years. So thank you for coming on the show. Where can people connect with you?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Carly Severn:\u003c/b> \u003cspan style=\"font-weight: 400;\">Well, you can find my work for Bay Curious in the podcast feed, including my two part series on the Donner Party in the archives, since we’re now feeling the wintry vibes here in the bay. You can also visit kqbd.org slash explainers to see what me and my team are up to every day in the KQED newsroom.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b> \u003cspan style=\"font-weight: 400;\">Alright, well thanks to you both. Big thanks to Ben for asking this week’s question.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ben Kaiser:\u003c/b> \u003cspan style=\"font-weight: 400;\">Carly and Peter, I appreciate your suggestions for which San Francisco movie I should watch next. Full disclosure, three of them I’ve already seen. Those are: Always Be My Maybe, Basic Instinct and Zodiac, which is one of my all-time favorite movies. So it comes down to the other three, but I’m torn between Inside Out and Star Trek Four. But in the end, my vote is going to go to Star Trek Four. I’ve never seen a Star Trek movie, but it seems to be such a beloved film, and Carly campaigned it very, very well. So tonight, that’s what I’ll be watching.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>\u003cspan style=\"font-weight: 400;\">This is our last episode of the year, and I wanted to offer a warm thanks to you, our listeners, for your inspiring questions and your steadfast support. If you’re not yet a member of KQED, join us now by making a year-end donation. Details at kqed.org/slash donate. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Bay Curious is made at KQED in San Francisco by Katrina Schwartz, Christopher Beale and me, Olivia Allen Price. Additional Engineering by Jim Bennett. We get extra support from Maha Sanad, Katie Springer, Jen Chien,\u003c/span> \u003cspan style=\"font-weight: 400;\">Ethan Tovin Lindsay and everyone on Team KQED. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Some members of the KQED podcast team are represented by the Screen Actors Guild American Federation of Television and Radio Artists, San Francisco, Northern California local. I hope you have a wonderful holiday. I’ll see ya in twenty twenty six.\u003c/span>\u003c/p>\n\u003c/iframe>\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This article originally published in 2020. It has been lightly updated.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"#episode-transcript\">\u003ci>View the full episode transcript.\u003c/i>\u003c/a>\u003c/p>\n\u003cp>Bay Curious listener Ben Kaiser asked for our favorite movies that are filmed and set in San Francisco. While we don’t normally take on subjective questions, we figured with cozy season upon us, it was a great time to cuddle up on the sofa with some classics.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC4565381532&light=true\" width=\"100%\" we asked peter hartlaub san francisco chronicle culture critic and host carly severn kqed senior editor of audience news resident movie obsessive to share their top picks on a recent bay curious podcast episode. they shared the movies would be most likely sit down watch over holidays not necessarily critically acclaimed films. our some favorites too>Star Trek IV: The Voyage Home (1986)\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/QOhoIBkOYf0'\n title='//www.youtube.com/embed/QOhoIBkOYf0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Plot summary from \u003ca href=\"https://www.imdb.com/title/tt0092007/\">IMDB\u003c/a>:\u003c/strong> “To save Earth from an alien probe, Admiral James T. Kirk and his fugitive crew go back in time to San Francisco in 1986 to retrieve the only beings who can communicate with it: humpback whales.”\u003c/p>\n\u003cp>\u003cstrong>Why we love it:\u003c/strong> This charming, lighthearted movie makes the Bay Area look undeniably fun. One KQED fan said the film was “influential in shaping how I think about the environment and is the Star Trek movie with the most heart in it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch1>Inside Out (2015)\u003c/h1>\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/yRUAzGQ3nSY'\n title='//www.youtube.com/embed/yRUAzGQ3nSY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Plot summary from \u003ca href=\"https://www.imdb.com/title/tt2096673/\">IMDB\u003c/a>:\u003c/strong> “After young Riley is uprooted from her Midwest life and moved to San Francisco, her emotions — Joy, Fear, Anger, Disgust and Sadness — conflict on how best to navigate a new city, house, and school.”\u003c/p>\n\u003cp>\u003cstrong>Why we love it:\u003c/strong> Pixar has dropped Bay Area references in several animated films over the years, but “Inside Out” takes it to the next level. The film takes place in the Bay Area, and features rich and detailed imagery from around the region.\u003c/p>\n\u003ch1>Zodiac (2007)\u003c/h1>\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/yNncHPl1UXg'\n title='//www.youtube.com/embed/yNncHPl1UXg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Plot summary from \u003ca href=\"https://www.imdb.com/title/tt0443706/\">IMDB\u003c/a>:\u003c/strong> “In the late 1960s/early 1970s, a San Francisco cartoonist becomes an amateur detective obsessed with tracking down the Zodiac Killer, an unidentified individual who terrorizes Northern California with a killing spree.”\u003c/p>\n\u003cp>\u003cstrong>Why we love it:\u003c/strong> “Second only to Alfred Hitchcock, director David Fincher has a great sensibility for San Francisco,” says Peter Hartlaub. “This film absolutely captures a place in time. The music choices, the visual cues, the production design. Nothing’s wasted. I was a little kid, and I remember hearing about the Zodiac killer, and this movie brought that back so well.”\u003c/p>\n\u003ch1>The Last Black Man in San Francisco (2019)\u003c/h1>\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/C0FnJDhY9-0'\n title='//www.youtube.com/embed/C0FnJDhY9-0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Plot summary from \u003ca href=\"https://www.imdb.com/title/tt4353250/?ref_=fn_al_tt_1\">IMDB\u003c/a>:\u003c/strong> A young man searches for home in the changing city that seems to have left him behind.\u003c/p>\n\u003cp>\u003cstrong>Why we love it:\u003c/strong> One of the few films on our list that is a commentary on the Bay Area, and how gentrification has decimated once vibrant Black neighborhoods. The cinematography will absolutely take your breath away. Pause the movie at any point and you might be inspired to hang the still image on your wall.\u003c/p>\n\u003ch1>Basic Instinct (1992)\u003c/h1>\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/4f96x3UpoaQ'\n title='//www.youtube.com/embed/4f96x3UpoaQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Plot summary from \u003ca href=\"https://www.imdb.com/title/tt0103772/?ref_=fn_al_tt_1\">IMDB\u003c/a>:\u003c/strong> A violent police detective investigates a brutal murder that might involve a manipulative and seductive novelist.\u003c/p>\n\u003cp>\u003cstrong>Why we love it:\u003c/strong> “The plot is ludicrous … but it’s a romp. It’s a riot. It also looks way better than it needs to, and it sounds way better than it needs to,” says Carly Severn. “I love the way it uses San Francisco. It goes for all the classic shots — there’s North Beach, there’s Telegraph Hill.” You’ll also find lots of gorgeous helicopter shots in this one.\u003c/p>\n\u003ch1>Always Be My Maybe (2019)\u003c/h1>\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/iHBcWHY9lN4'\n title='//www.youtube.com/embed/iHBcWHY9lN4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Plot summary from \u003ca href=\"https://www.imdb.com/title/tt7374948/?ref_=fn_al_tt_1\">IMDB\u003c/a>:\u003c/strong> Everyone assumed Sasha and Marcus would wind up together except for Sasha and Marcus. Reconnecting after 15 years, the two start to wonder — maybe?\u003c/p>\n\u003cp>\u003cstrong>Why we love it:\u003c/strong> “It makes San Francisco look really cool, but it also makes San Francisco look normal. A lot of it is set in the Outer Richmond,” says Carly Severn. “As a resident of the Bay Area there’s such a pleasure in looking at the screen and saying, ‘Oh, I know that! That’s cool!”\u003c/p>\n\u003ch1>Invasion of the Body Snatchers (1978)\u003c/h1>\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/vc_0dlmSq7I'\n title='//www.youtube.com/embed/vc_0dlmSq7I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Plot summary from \u003ca href=\"https://www.imdb.com/title/tt0077745/?ref_=fn_al_tt_1\">IMDB\u003c/a>: \u003c/strong>When strange seeds drift to earth from space, mysterious pods begin to grow and invade San Francisco, where they replicate the residents into emotionless automatons one body at a time.\u003c/p>\n\u003cp>\u003cstrong>Why we love it:\u003c/strong> “I think this is the most underrated San Francisco movie,” says Peter Hartlaub. “A lot of directors come in and they love San Francisco, but they shoot from the same seven places — Telegraph Hill, the Golden Gate Bridge, The Palace of Fine Arts. Director Philip Kaufman shot in places I think he always wanted to shoot — the Tenderloin is a huge character in the movie. Civic Center. Obscure places like Pier 70.”\u003c/p>\n\u003ch1>Vertigo (1958)\u003c/h1>\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/Z5jvQwwHQNY'\n title='//www.youtube.com/embed/Z5jvQwwHQNY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Plot summary from \u003ca href=\"https://www.imdb.com/title/tt0052357/?ref_=fn_al_tt_1\">IMDB\u003c/a>:\u003c/strong> A former police detective juggles wrestling with his personal demons and becoming obsessed with a hauntingly beautiful woman.\u003c/p>\n\u003cp>\u003cstrong>Why we love it:\u003c/strong> If you’re going to watch one movie set in San Francisco, a lot of critics would argue it should be this Alfred Hitchcock classic. The plot is woven into the location in a way that few movies can rival. And if you’re wanting to really *see* the city — this film is a hit parade of gorgeous locations.\u003c/p>\n\u003ch1>So I Married an Axe Murderer! (1993)\u003c/h1>\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/yto08I_IiAg'\n title='//www.youtube.com/embed/yto08I_IiAg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Plot summary from \u003ca href=\"https://www.imdb.com/title/tt0108174/?ref_=nv_sr_srsg_0\">IMDB\u003c/a>:\u003c/strong> A San Francisco poet who fears commitment suspects his girlfriend may have a knack for killing off her significant others.\u003c/p>\n\u003cp>\u003cstrong>Why we love it:\u003c/strong> One KQED fan says it “captures something of the SF that I grew up in” and another calls this film “a love letter to SF.” It highlights many of the city’s most famous sights — like the Golden Gate Bridge to the Palace of Fine Arts and Alcatraz.\u003c/p>\n\u003ch1>Bullitt (1968)\u003c/h1>\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/BsvD806qNM8'\n title='//www.youtube.com/embed/BsvD806qNM8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Plot summary from \u003ca href=\"https://www.imdb.com/title/tt0062765/?ref_=fn_al_tt_1\">IMDB:\u003c/a>\u003c/strong> An all guts, no glory San Francisco cop becomes determined to find the underworld kingpin that killed the witness in his protection.\u003c/p>\n\u003cp>\u003cstrong>Why we love it:\u003c/strong> Do we need to say much more than “epic car chase scenes on San Francisco hills?” This film features tons of on-location filming, so you’ll get a big taste of the city.\u003c/p>\n\u003ch1>Mrs. Doubtfire (1993)\u003c/h1>\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/3euGQ7-brs4'\n title='//www.youtube.com/embed/3euGQ7-brs4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Plot summary from \u003ca href=\"https://www.imdb.com/title/tt0107614/?ref_=fn_al_tt_1\">IMDB\u003c/a>: \u003c/strong>After a bitter divorce, an actor disguises himself as a female housekeeper to spend time with his children held in custody by his former wife.\u003c/p>\n\u003cp>\u003cstrong>Why we love it:\u003c/strong> We couldn’t leave this film off the list. After all, it features one of the Bay Area’s most beloved celebrities, Robin Williams. After his death, the house featured in this film at 2640 Steiner St. became a pop-up memorial. You’ll spot everything from ordinary streets to iconic San Francisco locations throughout the film.\u003c/p>\n\u003ch1>The Rock (1996)\u003c/h1>\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/6DWu_dT0Phc'\n title='//www.youtube.com/embed/6DWu_dT0Phc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Plot summary from \u003ca href=\"https://www.imdb.com/title/tt0117500/?ref_=fn_al_tt_1\">IMDB\u003c/a>:\u003c/strong> A mild-mannered chemist and an ex-con must lead the counterstrike when a rogue group of military men, led by a renegade general, threaten a nerve gas attack from Alcatraz against San Francisco.\u003c/p>\n\u003cp>\u003cstrong>Why we love it:\u003c/strong> Much of the film was shot on in and around Alcatraz, a tall order given the production crew had to do it all while tour groups milled around the site of the former federal penitentiary. Other locations in the film include the Fairmont Hotel, San Francisco City Hall and Pier 39.\u003c/p>\n\u003cp>These 12 films are still just the tip of the iceberg when it comes to great movies filmed in the Bay Area. Other audience favorites include: Chan Is Missing, The Conversation, Blindspotting, Sorry to Bother You, The Princess Diaries, Parrots of Telegraph Hill and La Mission. Find even more suggestions on \u003ca href=\"https://x.com/KQED/status/1336822068541734912\">this X thread\u003c/a>, and on \u003ca href=\"https://www.facebook.com/KQED/posts/10157640695916191\">KQED’s Facebook page. \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>\u003cspan style=\"font-weight: 400;\">Hey everyone, I’m Olivia Allen Price and this is Bay Curious. Let’s go!\u003c/span>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Ben Kaiser:\u003c/b> \u003cspan style=\"font-weight: 400;\">My name is Ben Kaiser and believe it or not I live in Atlanta, Georgia.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>\u003cspan style=\"font-weight: 400;\">Ben visited San Francisco for the first time four years ago. And as soon as he got here, he felt a connection.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ben Kaiser:\u003c/b> \u003cspan style=\"font-weight: 400;\">It sort of seemed like I had been there before or that I belonged there. And I just absolutely fell in love with it. And I’ve been back in four years, probably nine or ten times.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>\u003cspan style=\"font-weight: 400;\">That’s a lot of flights between Atlanta and SFO. Now, when Ben can’t be here, he’s found a way to visit without leaving his living room.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ben Kaiser:\u003c/b> \u003cspan style=\"font-weight: 400;\">Because I don’t live in San Francisco, I want to be connected to it as much as I possibly can. And one of the ways is watching movies shot there.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b> \u003cspan style=\"font-weight: 400;\">Anything that can transport him here, even if only for a few hours. Ben’s seen a lot already, but he wants more, so he came to Bay Curious.\u003c/span>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Ben Kaiser:\u003c/b> \u003cspan style=\"font-weight: 400;\">I asked what were some of the movies set in San Francisco that were actually shot in San Francisco, and which ones are your favorites or your recommendations?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>\u003cspan style=\"font-weight: 400;\">Now we don’t often delve into subjective matters here on the show, but hey, it’s the holidays, cozy season is here, and we thought maybe we could all use some solid movie recommendations. Today’s episode will sound a little bit different from what you usually hear on Bay Curious. We’ve got a panel of local cultural experts here to convince Ben and you how you should spend some time devouring the Bay Area in all its cinematic glory. This episode first aired in 2020 and has been lightly revised for you today. So throw some popcorn in the microwave, cozy up on your couch, and press play. All right, I have to start out this episode with a confession. I, Olivia Allen Price, am really bad at movies, like possibly the last person that you would want on your trivia team during the movie round. So I called in some much needed backup on this one. Here to help me out today is Peter Hartlaub. He was born and raised in the Bay Area. He’s a cultural critic with the San Francisco Chronicle, and he writes the total SF newsletter. Welcome, Peter.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Peter Hartlaub:\u003c/b> \u003cspan style=\"font-weight: 400;\">Thank you so much for having me.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b> \u003cspan style=\"font-weight: 400;\">Yeah. Also, I’ve got Carly Severn here. She’s a senior editor here at KQED and a Bay Curious Reporter, who you are probably familiar with. She’s also a former co-host of The Cooler Podcast and one of KQED’s resident movie obsessives. Hey Carly.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Carly Severn:\u003c/b> \u003cspan style=\"font-weight: 400;\">Hey, Olivia. Hey, Peter. Lovely to be here.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b> \u003cspan style=\"font-weight: 400;\">So before we get into recommendations, I’m curious, what do you guys think makes San Francisco a good spot to shoot a film?\u003c/span>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Peter Hartlaub:\u003c/b> \u003cspan style=\"font-weight: 400;\">Internationally recognizable landmarks, Golden Gate Bridge, Alcatraz, the topography. You can get up on a hill and see those landmarks. You can have a chase scene and get a little air. But I think the biggest thing is the weather. And it’s sort of the secret ingredient because it allows a director to convey mood. And then the city sort of becomes the mood of the director. You have the fog coming in, you have the sun coming in, subtle shifts. You can’t do that in Atlanta. You can’t do it in Houston. You can’t even really do that in LA. And I think that’s a big reason why San Francisco ends up being, you know, a top pick if you’re a director and you want to shoot like a thriller or an action film, something like that.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Carly Severn:\u003c/b> \u003cspan style=\"font-weight: 400;\">I would agree with all of that and I must kind of confess I do have a similar cinematic relationship with San Francisco as listener Ben does. I grew up watching San Francisco on screen as a kid in the middle of nowhere in England and it just seemed like the coolest place in the world to me. So I get it. I get his quest.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b> \u003cspan style=\"font-weight: 400;\">Now, despite all these things, all these sort of great attributes that make, you know, San Francisco a great place to shoot, you still don’t see it in films as often as, you know, in New York or in LA or maybe even in Atlanta, even though you don’t necessarily know you’re in Atlanta when you are in Atlanta. A lot of sh movies are shot there. Why do you all think that is?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Peter Hartlaub:\u003c/b> \u003cspan style=\"font-weight: 400;\">It’s expensive to get a hotel here, much less a bunch of hotels if you’ve got a lot of people coming. People are all crammed in together. And if you’re gonna shoot Sister Act in Noe Valley, or if you’re gonna shoot a car chase scene going through Russian Hill, the neighbors are gonna notice. And I think San Francisco, more than some of those other cities, because it’s sort of compact like that, makes it harder to film. Expensive and compact.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Carly Severn:\u003c/b> \u003cspan style=\"font-weight: 400;\">Yeah, I think logistically you have all of these issues, but I do think there’s this thematic problem with San Francisco, it’s so in your face. It is it does end up being a character. If you want to just have like any town USA to set your story in, like San Francisco is not the place to come. It really isn’t, because you’ll end up having to do all of this narrative work bending over backwards to kind of explain why it’s a San Francisco story. That’s my take anyway.\u003c/span>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>\u003cspan style=\"font-weight: 400;\">Well, I do want to get on to answering Ben’s question and get to some of your San Francisco movie recommendations, but I thought we’d actually start with his because he has seen a lot of movies and he has his own thoughts.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ben Kaiser:\u003c/b> \u003cspan style=\"font-weight: 400;\">Vertigo’s probably my all time favorite movie in the fact that it’s shot in San Francisco. But, you know, a lot of the real common ones, you know, I I’m not embarrassed to say the other night I watched The Rock and enjoyed The Rock. But you know, Mrs. Doubtfire, Milk, The Room, those are just, you know, some of the ones that I enjoy.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>\u003cspan style=\"font-weight: 400;\">So it sounds like he’s definitely seen some of the classics, which I know we aren’t necessarily gonna talk as much about today in your lists, right?\u003c/span>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Peter Hartlaub:\u003c/b> \u003cspan style=\"font-weight: 400;\">Vertigo, The Conversation, the Hitchcock films, the Coppola films. If I’m teaching a film class about San Francisco, they’re gonna be right in there. If I’m turning on my TV right now ’cause I just need to chill and escape a little bit, I’ve got a whole different set of films that I’m gonna pick, my favorite films, and that’s what I’m gonna pick today.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Carly Severn:\u003c/b> \u003cspan style=\"font-weight: 400;\">A hundred percent cosign. And may I just say to Ben that he never has to be embarrassed about watching the rock. There is nothing to be embarrassed about there.\u003c/span>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Peter Hartlaub:\u003c/b> \u003cspan style=\"font-weight: 400;\">It’s totally cool to just love the rock and shout it from the rooftops.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>\u003cspan style=\"font-weight: 400;\">All right, so I asked each of you guys to bring your top three recommendations. And what we’re gonna do is go through all of those and then let Ben decide who has been the most convincing and which movie he is going to watch next. So let’s dive in, Carly. \u003c/span>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003cspan style=\"font-weight: 400;\">Let us know what is your number three pick and why.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Carly Severn: First of all, I want to kind of set up my thinking here. I wanted to pay homage to the classic TLC album Crazy Sexy Cool with three picks that make San Francisco look either crazy, sexy, or cool. And so I’m gonna start with cool. It is Always Be My Maybe. It is the 2019 Netflix movie directed by Nahnatchka Khan . It’s got Ali Wong as a celebrity chef, and she returns home to San Francisco, where she grew up, and she reconnects with her childhood boyfriend, Randall Park.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400;\">Clip from Always Be My Maybe\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Carly Severn \u003c/b>\u003cspan style=\"font-weight: 400;\">[00:07:18] \u003c/span>\u003cspan style=\"font-weight: 400;\"> I love this movie so much. It makes San Francisco look really cool, but it also makes it look really normal. And it’s not the kind of parade of Golden Gate Bridge, Golden Gate Park Ad nauseum. Like a lot of it’s set in the outer Richmond, like the farmers market that they go to. It’s not some bougie little farmer’s market. It’s the like the civic center farmers market. So as a resident of the Bay Area, there’s such a pleasure in in kind of doing that thing where you’re looking at the screen going like, Oh, I know that. That’s really cool. I should admit that so much of it is filmed in San Francisco at these amazing locations that are like super normal and super lived in. But Vancouver, of course it’s always Vancouver. Vancouver actually doubles for a lot of the San Francisco locations. Particularly Goodluck Dim sum, which is where Ali Wong it’s one of her favorite restaurants in San Francisco. She’s it’s on Clements Street. She says it’s where she grew up eating. She really wanted that set there, but they had to double the interior in Vancouver. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400;\">Clip from Always Be My Maybe \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Carly Severn: \u003c/b>\u003cspan style=\"font-weight: 400;\">She thought that the restaurant would really love the fact that she had given them the shout-out, and it turns out they they kind of didn’t care. She put on Instagram that she had gone to the restaurant, and this is her caption. So the picture is of her waiting in line at this place that she’s just made super famous in a movie. And she’s like, Me, hello, I’m Ali Wong. The dim sum scene in my movie Always Be My Maybe is based on this very place where I grew up eating. Good luck, dim sum staff. We don’t give a bleep. We have no idea who you are. Get in line.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>\u003cspan style=\"font-weight: 400;\">Oh I love that. Tough being famous in San Francisco.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003cb>Peter Hartlaub: \u003c/b>\u003cspan style=\"font-weight: 400;\">There’s a lot of little things in there that are San Francisco too. Ali Wong got Dan the Automator to do the score and also write the music for the greatest San Francisco band in a movie, Hello Peril, which do three songs in the movie, including the closing credits. My only complaint, and Carly mentioned it, and I don’t want to start like negative ad campaigns here, but we’re winning Ben’s vote, and there’s only one vote. They did the exterior on Clement Street, and they’re walking down what’s supposed to be Clement Street, and it is so not Clements Street. It is so Vancouver. I love the movie, but as a location, San Francisco location movie, I find it to be kind of hit and miss.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>\u003cspan style=\"font-weight: 400;\">All right, well let’s get on to your number three then, mister Hartlob. What do you got?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Peter Hartlaub: \u003c/b>\u003cspan style=\"font-weight: 400;\">Mine is \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\">Invasion of the Body Snatchers\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400;\">. I think it’s the most underrated San Francisco movie. Shot, it came out in 1978, a Philip Kaufman movie. He’s a San Francisco resident to this day. And it was a remake of a 1950s movie about alien pods that come in, they’re replacing the human race slowly, and you can’t fall asleep. And it’s there’s just a lot of intrigue and it’s a thriller and it’s horror. I love it as a San Francisco movie because a lot of directors come in and they love San Francisco, but they shoot from the same seven places. You know, Telegraph Hill, Golden Gate Bridge, Palace of Fine Arts. Philip Kaufman shot in places that I think he always wanted to shoot, that that really add to the movie. The tenderloin is a huge, huge character in the movie. Civic Center. There’s a couple of really cool shots there. Obscure places like Pier 70. Right here, we have Donald Sutherland in a very famous scene where he is revealing himself to be one of the pod people by screeching. The screech is a pig squeal, I believe played backwards. And he’s pointing, he’s pointing at you on the other side of the screen. He’s in the civic center, pointing at you. Great San Francisco movie, great horror movie, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\">Invasion of the Body Snatchers\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400;\">.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Carly Severn: \u003c/b>\u003cspan style=\"font-weight: 400;\">I loved this movie. I actually was ashamed to say that I hadn’t seen it before I started prepping to have this conversation with you guys. And it starts off, you know, like a little bit cheesy, and I was like, oh god, what has Peter chosen? I couldn’t have been more wrong. It is such a great movie. I I could not agree ever with more with everything he said about the way it uses San Francisco, and particularly like a lot of like civic buildings around Civic Center, and just like a lot of it set at the the Department of Public Health, which I always like it when those guys are the good guys in the movie.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>\u003cspan style=\"font-weight: 400;\">You know, I haven’t seen this movie yet. It’s now gonna be on my list, I will say, but I am I love the idea that there’s a movie that that really highlights some of the lesser used locations around San Francisco. Because I think there is, you know, a divide between how tourists experience the city and how people who live in the city experience the city. Let’s move on to your number two picks, making our way up the list. Carly, what do you have?\u003c/span>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Carly Severn: \u003c/b>\u003cspan style=\"font-weight: 400;\">Well, I did say I was gonna do Crazy Sexy Cool, and we’re now into the sexy phase of this pick. It is 1992’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\">Basic Instinct\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400;\">. And I thought long and hard before choosing this one because, you know, many parts of it haven’t aged well, let’s be honest. But it is a prime example of the 90s erotic thriller. It is made by Paul Verhoven, and the plot is ludicrous. Michael Douglas is the shady San Francisco detective. He’s investigating this bombshell crime novelist, Sharon Stone, who definitely, maybe almost certainly, killed one of her boyfriends. It’s a romp, it’s a riot, it wants to be a Hitchcock noir very, very badly. So it looks way better than it needs to, and it sounds way better than it needs to. I tried long and hard to find a safe for Bay Curious clip from this movie and failed miserably. So let’s just listen to a little bit of the trailer.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400;\">Clip from Basic Instinct \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Carly Severn: \u003c/b>\u003cspan style=\"font-weight: 400;\">I love the way it uses San Francisco. It goes for all the classic shots, like, you know, there’s North Beach, there’s Telegraph Hill. One thing I should note is that San Francisco wasn’t always thrilled about being the kind of poster child for this movie. Sharon Stone’s character is bisexual and setting a movie with an LGBTQ woman who has a lot of sex and kills the people that she sleeps with in San Francisco in 1992 at a time when AIDS was still so prevalent and claiming so many lives. Like that’s a definite choice. And this isn’t just like 2020 hindsight. The movie was picketed at the time by LGBTQ groups for being kind of prejudice in its representation of that community. So I do feel like I should flag that. A lot of that animosity, I feel like, has gone away over time, but it’s definitely something to note. Also, I think the reason people don’t like this movie is that they take it quite seriously. And I think if you look at Paul Behoven’s back catalog, like Starship Troopers, like Total Recall, like Showgirls, I think he has a sense of humor about what he’s doing. So I think that this movie should be taken as a time capsule and with a hefty fistful of salt.\u003c/span>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Peter Hartlaub:\u003c/b> \u003cspan style=\"font-weight: 400;\">I love this film. I think it’s a great pick. I think it’s underrated. There are more helicopter shots in this movie of San Francisco, of someone driving a car around a windy road. His embracing San Francisco, making love to San Francisco with his camera budget was off the charts. So I think it’s a great pick. I really like this movie a lot.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b> \u003cspan style=\"font-weight: 400;\">Definitely one that makes San Francisco look sexy, Carly. Don’t you agree?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Carly Severn:\u003c/b> \u003cspan style=\"font-weight: 400;\">Well, okay, so this is where I genuinely want you guys’ opinion, because I have spent the best part of a week thinking about this question. Is San Francisco a sexy city? And I was trying to think of cities that are like off the charts sexy, you’re right. New Orleans sprang to mind. But then I’m thinking, is it just about like sweating? Is it just like the weather? Is is is that all sexiness is to me.\u003c/span>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Peter Hartlaub:\u003c/b>\u003cspan style=\"font-weight: 400;\"> I gotta say, the the weather is it. You don’t sweat in San Francisco. LA sexy city. New Orleans sexy city. Miami. Miami Vice sexy city. Streets of San Francisco is not a sexy TV show.\u003c/span>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b> \u003cspan style=\"font-weight: 400;\">I’m gonna have to disagree with you guys and you are the cultural critics here, so your your opinion has more weight than mine, but I don’t know, I see fog and I wanna cuddle. That’s my take.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Peter Hartlaub:\u003c/b> \u003cspan style=\"font-weight: 400;\">Yeah, I don’t know.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003cb>Carly Severn:\u003c/b> \u003cspan style=\"font-weight: 400;\">I think Peter and I are of the same mind here where we’re just like It’s step one, guys.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Peter Hartlaub:\u003c/b> \u003cspan style=\"font-weight: 400;\">It’s a cuddly city. I don’t know if it’s a sexy city.\u003c/span>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Carly Severn:\u003c/b> \u003cspan style=\"font-weight: 400;\">I cuddle my dog. All right.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b> \u003cspan style=\"font-weight: 400;\">All right. Well let’s get into Peter, what’s your number two pick?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Peter Hartlaub:\u003c/b> \u003cspan style=\"font-weight: 400;\">My number two is\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\"> Zodiac\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400;\">. It is a David Fincher film. He shot \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\">The Game\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400;\"> first and then \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\">Zodiac\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400;\"> in San Francisco. And second to Hitchcock, I think he’s the one who really is a great sensibility for San Francisco. It is shot also in the San Francisco Chronicle Newsroom. They shot in our publisher’s office, I believe, outside, and they used our lobby and elevator. The story goes that David Fincher came up to our newsroom, walked inside, said an expletive and said this is too much of a mess, walked outside and they recreated our newsroom pillar for pillar. You cannot tell the difference in Los Angeles. But absolutely, absolutely captures a place in time. The music choices, the visual cues, the production design, nothing’s wasted. And honestly, even though they didn’t shoot in the Chronicle Newsroom, the newsroom banter is pitch perfect. Here’s a little bit of it right now.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400;\">Clip from Vertigo \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Peter Hartlaub: \u003c/b>\u003cspan style=\"font-weight: 400;\">So that’s the way we talk. That’s the way we talk to each other. It’s all like a David Fincher or Aaron Sorkin drama.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400;\">Clip from Vertigo\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Peter Hartlaub: \u003c/b>\u003cspan style=\"font-weight: 400;\">No, this is this is a great film, and the plot is almost secondary in this film, a killer from the 70s and 80s who they never caught, and I’m giving away the ending, but the ending isn’t the important thing. The important thing is the mood, the city, what it felt like to be in the 1970s and be scared. I was a little kid. I remember hearing about the Zodiac Killer, and this movie brought that back so well. My favorite shot in the film, it is a visual effects shot of them in sped up time building the Transamerica Pyramid, and again, just David Fincher using every little arrow in his quiver to capture that mood of San Francisco at a particular time. It’s a fantastic location movie.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b> \u003cspan style=\"font-weight: 400;\">And I think it’s the only one on this list that is based on a true story unless there’s something I need to know about \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\">Invasion of the Body Snatchers\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400;\">.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Peter Hartlaub:\u003c/b> \u003cspan style=\"font-weight: 400;\">I think that’s true. And and and you know, there there’s a little bit of myth in there, but he he’s stuck a lot closer than a lot of other people do to the facts.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b> \u003cspan style=\"font-weight: 400;\">I will say as somebody who was not living in the Bay Area at the time of Zodiac, I found \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\">Zodiac\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400;\"> to be really helpful just to kind of I guess get a sense of what it was like to be here during that time, like you experienced, Peter.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Peter Hartlaub:\u003c/b> \u003cspan style=\"font-weight: 400;\">Yeah, and people remember and if people weren’t around, they know the myth. When when people come to the chronicle and ask for a tour, the two things they want to see are Herb Kane’s typewriter and the Zodiac Files. Can you show us the Zodiac files?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b> \u003cspan style=\"font-weight: 400;\">All right, let’s get on to your top choices. These are top of your list. Let’s let’s hear it, Carly. What do you got?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Carly Severn: \u003c/b>\u003cspan style=\"font-weight: 400;\">Okay, guys, I’m reaching the climax of my crazy sexy cool plan, which I think paid off. My number one pick, it’s Crazy San Francisco. It’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\">Star Trek 4\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400;\">. 1986. It is directed by Mr. Spark himself, Leonard Nimoy. I almost find it hard to talk about this film kind of critically because I love it so much. Just to quickly tell you about the plot, it picks up where 1984’s Search for Spark, Star Trek III left off. So the Earth of the Future is being menaced by a big alien probe. Only Kirk and the crew of the Enterprise can save the planet by time traveling back to 1980s San Francisco to bring back two Wales to talk to the alien probe and get it to leave Earth alone. You have to go with it. That’s the plot, and I can’t change that, okay? It’s not the best Star Trek movie. That’s The Wrath of Khan. That’s just undisputable. But it is the best Star Trek movie set in San Francisco with Wales, which is to say, it is the only one of that. Where do I start with how wonderful this movie is? People think I’m joking when I say that it’s the reason I moved to San Francisco, and I’m like 5% joking about that. But the other 95% is really serious. Growing up with this movie and watching San Francisco just look so fun, so warm, so crazy, so inviting. Like I wanted to be a part of that. It is totally joyous. Ben, if you’re listening and you haven’t seen Star Trek 4, don’t worry. You don’t need to watch any of the other Star Trek movies. It stands alone, it’s kind of perfect in that sense. The pleasures of watching like the quite serious crew of the Enterprise traverse San Francisco and just have a ball doing it. It’s just great. So I really wanted to play you one of the most iconic scenes, which is Kirk and Spock on a Muni bus that is traveling over the Golden Gate Bridge. Mr. Spock has to take out a young punk on the bus and get him to stop playing his music. And then this happens.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400;\">Clip from Star Trek 4\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Carly Severn: \u003c/b>\u003cspan style=\"font-weight: 400;\">The gag there, of course, being that Jacqueline Cezanne and Harold Robbins. Oh, I had to look up Harold Robbins, by the way. Like, they are not the giants of literature, but it’s just hilarious to think that the people of the future have deemed them to be so. I know of no movie that is like warmer and and sweeter than Star Trek Four. So, Ben, pick me, pick Star Trek Four. The choice is easy. Come on.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Peter Hartlaub: \u003c/b>\u003cspan style=\"font-weight: 400;\">You know, I don’t even wanna argue against you, and I’m gonna pick a number one, but I love this film so much. It is just a lovely movie, funny movie, finds all kinds of different ways to explore San Francisco and make it part of the gag, but in a in a funny, warm way. It’s one of the greats, one of the classics.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b> \u003cspan style=\"font-weight: 400;\">All right, and up there with one of the greats must be your number one choice, Peter. What do you have for your number one?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Peter Hartlaub:\u003c/b> \u003cspan style=\"font-weight: 400;\">2015 Pixar film Inside Out. It takes place inside the brain of tween girl coming of age, Riley. And then also outside in San Francisco, Riley has moved from I believe Minnesota to San Francisco, and she’s horrified. And what the Pixar people did with animation is so fantastic. They take San Francisco and make it like 10 to 15% more. The streets are a little narrower, parking’s a little harder, street signs are a little more incomprehensible. Fantastic, fantastic use of San Francisco. It’s more of a character in the movie than any of their other movies. They had always kind of flirted around with the Bay Area and maybe dropped San Pablo Avenue and the Incredibles. This one, they really talk about San Francisco. And you don’t see that often. You see a lot of mainstream films set in San Francisco, and San Francisco is a backdrop and it’s almost like a prop. Very few films are a commentary on the city. Last black man in San Francisco, Medicine for Melancholy, and Inside Out. Inside Out is poking fun of the city. It is completely honest. If you live here, you totally get it. If you’re not from here, you’re gonna get some of the humor, including taking just an absolute, absolute dagger stab at our Pizza.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\">Clip from Inside Out\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Peter Hartlaub:\u003c/b> \u003cspan style=\"font-weight: 400;\">Honestly, the first time I saw this film, I didn’t love it. I liked it a lot. I’m glad I didn’t review it because I think I would have given it less than the highest rating. Upon rewatch, there’s so many little things that come out. You learn more things, and the San Francisco parts become clearer and clearer. I just think it’s a fantastic film, and it’s a fantastic San Francisco location film.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b> \u003cspan style=\"font-weight: 400;\">Well I think Ben is gonna have a really hard time deciding between all of those very compelling pitches for for movies he should be watching this weekend. Peter Hartlob, Bay Area native, culture critic with the SF Chronicle, co-host of Total SF podcast. Thank you so much. Is there anywhere that listeners can connect with you further?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Peter Hartlaub:\u003c/b> \u003cspan style=\"font-weight: 400;\">Subscribe to the Total SF newsletter, that’s where I explore the Bay Area and pass on all my favorite finds, the best hikes to take, the best tourist traps to visit, where I’m finding the best papusas to eat, and read my work at sfchronicle.com.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>\u003cspan style=\"font-weight: 400;\">Awesome. And Carly, you are my longtime pop culture, I don’t know, guru. You’ve you’ve really helped me with questions over the years. So thank you for coming on the show. Where can people connect with you?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Carly Severn:\u003c/b> \u003cspan style=\"font-weight: 400;\">Well, you can find my work for Bay Curious in the podcast feed, including my two part series on the Donner Party in the archives, since we’re now feeling the wintry vibes here in the bay. You can also visit kqbd.org slash explainers to see what me and my team are up to every day in the KQED newsroom.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b> \u003cspan style=\"font-weight: 400;\">Alright, well thanks to you both. Big thanks to Ben for asking this week’s question.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ben Kaiser:\u003c/b> \u003cspan style=\"font-weight: 400;\">Carly and Peter, I appreciate your suggestions for which San Francisco movie I should watch next. Full disclosure, three of them I’ve already seen. Those are: Always Be My Maybe, Basic Instinct and Zodiac, which is one of my all-time favorite movies. So it comes down to the other three, but I’m torn between Inside Out and Star Trek Four. But in the end, my vote is going to go to Star Trek Four. I’ve never seen a Star Trek movie, but it seems to be such a beloved film, and Carly campaigned it very, very well. So tonight, that’s what I’ll be watching.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>\u003cspan style=\"font-weight: 400;\">This is our last episode of the year, and I wanted to offer a warm thanks to you, our listeners, for your inspiring questions and your steadfast support. If you’re not yet a member of KQED, join us now by making a year-end donation. Details at kqed.org/slash donate. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Bay Curious is made at KQED in San Francisco by Katrina Schwartz, Christopher Beale and me, Olivia Allen Price. Additional Engineering by Jim Bennett. We get extra support from Maha Sanad, Katie Springer, Jen Chien,\u003c/span> \u003cspan style=\"font-weight: 400;\">Ethan Tovin Lindsay and everyone on Team KQED. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Some members of the KQED podcast team are represented by the Screen Actors Guild American Federation of Television and Radio Artists, San Francisco, Northern California local. I hope you have a wonderful holiday. I’ll see ya in twenty twenty six.\u003c/span>\u003c/p>\n\u003c/iframe>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "Missing Sundown Cinema? Other Bay Area Outdoor Movie Screenings for Adults and Older Kids",
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"content": "\u003cp>This summer, Bay Area movie lovers may already be feeling the absence of San Francisco’s Sundown Cinema, \u003ca href=\"https://www.kqed.org/arts/13975608/sundown-cinema-canceled-san-francisco-movie-series\">the annual open-air film series that was abruptly canceled last month.\u003c/a>\u003c/p>\n\u003cp>The beloved 22-year-old program was run by the nonprofit San Francisco Parks Alliance, which is currently \u003ca href=\"https://www.kqed.org/news/12041112/sf-supervisor-calls-for-parks-audit-after-nonprofit-partner-misspends-3-8-million\">facing an official review of its finances\u003c/a> by city officials.\u003c/p>\n\u003cp>But if you’re looking to fill the Sundown Cinema-shaped hole in your heart, luckily there \u003cem>are\u003c/em> other spots in the Bay Area offering ways to enjoy the movies outdoors for free this summer.\u003c/p>\n\u003cp>Many cities and counties are hosting their own film series in local parks and public spaces, which are generally free. Among the frequent repeats in the Bay Area outdoor movie slate this summer (with \u003cem>Wicked \u003c/em>and \u003cem>Clueless \u003c/em>particularly on rotation), some less expected screenings to watch for include \u003ca href=\"https://www.danville.ca.gov/calendar.aspx?Keywords=moonlight&startDate=&enddate=&CID=39,31,25,22,14,28,43,24,40&showPastEvents=false\">\u003cem>Field of Dreams\u003c/em>\u003c/a> in Danville on June 27, Jack London Square’s screenings of \u003ca href=\"https://www.visitoakland.com/event/jack-london-square%3A-waterfront-flicks/33905/\">\u003cem>Space Jam\u003c/em>\u003c/a> (July 12) and \u003ca href=\"https://www.visitoakland.com/event/jack-london-square%3A-waterfront-flicks/33905/\">\u003cem>Happy Gilmore\u003c/em>\u003c/a> (August 2) and \u003ca href=\"https://www.eventbrite.com/e/blankets-blockbusters-tickets-1368178110559?aff=erelexpmlt\">\u003cem>10 Things I Hate About You\u003c/em>\u003c/a> on August 15 at San Francisco’s Chase Center.\u003c/p>\n\u003cp>Grab a picnic blanket and keep reading for more, including local outdoor film festivals, movies on the beach in Santa Cruz and even the old-fashioned drive-in theater. (And if you’re looking for family-friendly screenings instead? Check out \u003ca href=\"https://www.kqed.org/news/12045055/outdoor-movie-screenings-for-kids-around-the-bay-area-this-summer\">our guide to Bay Area outdoor movie screenings for kids\u003c/a> this summer.)\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>Jump straight to: \u003ca href=\"#movies-bay-area-outdoors-things-to-do\">Where to see outdoor movie screenings in the Bay Area this summer\u003c/a>\u003c/strong>\u003c/li>\n\u003c/ul>\n\u003ch2>\u003cstrong>Watching movies outdoors in the Bay Area: Tips for first-timers\u003c/strong>\u003c/h2>\n\u003cp>These movies usually start just after dusk around 8:30 p.m., so audiences can see the projected screen as clearly as possible. It’s a good idea to get to the “theater” early to secure a good view of the screen. Most screenings do \u003cem>not\u003c/em> require a ticket or reservation, but some of the special showings at community pools do ask for an RSVP.[aside postID=news_12045055 hero='https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/GettyImages-1450590312-2000x1334.jpg']\u003c/p>\n\u003cp>Before heading out to any show, be sure to check the weather and see if the screening will continue in the event of rain or other disruptive weather.\u003c/p>\n\u003cp>For the comfiest experience bring picnic blankets, a sweater and (non-crackling) snacks. A camping chair could offer you the most comfort, but be mindful you’re not blocking anyone’s view of the screen with your set-up. Remember that some venues may also discourage — or outright prohibit — pets or alcohol.\u003c/p>\n\u003cp>If you are seeking captions for an outdoor movie, you may need to contact the city’s parks and recreation department at least two days in advance. For example, for the Berkeley showings, contact the city at least two days before the screening at jolee@berkeleyca.gov or (510) 926-1458, and for Santa Cruz shows, call (831) 423-5590. According to \u003ca href=\"https://beachboardwalk.com/movies/\">the Santa Cruz Movies on the Beach website\u003c/a>, a “limited number of assistive listening devices (ALDs) are available for check-out at the Mini Golf Kiosk inside Neptune’s Kingdom.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003ch1>\u003cstrong>\u003ca id=\"movies-bay-area-outdoors-things-to-do\">\u003c/a>Where to watch free movies outdoors in the Bay Area this summer\u003c/strong>\u003c/h1>\n\u003ch2>\u003cstrong>Outdoor movie screenings in June\u003c/strong>\u003c/h2>\n\u003cp>June 25: \u003ca href=\"https://www.danville.ca.gov/calendar.aspx?Keywords=moonlight&startDate=&enddate=&CID=39,31,25,22,14,28,43,24,40&showPastEvents=false\">\u003cstrong>\u003cem>Indiana Jones and the Dial of Destiny\u003c/em>\u003c/strong>\u003c/a>, Town Green, Danville\u003c/p>\n\u003cp>June 26: \u003ca href=\"https://www.redwoodcity.org/residents/redwood-city-events/movies\">\u003cstrong>\u003cem>Dune Part 2\u003c/em>\u003c/strong>\u003c/a>, Courthouse Square, Redwood City[aside postID=news_12043932 hero='https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/Light-Jacket-Reading-Series-43_qed.jpg']\u003c/p>\n\u003cp>June 27: \u003ca href=\"https://www.danville.ca.gov/calendar.aspx?Keywords=moonlight&startDate=&enddate=&CID=39,31,25,22,14,28,43,24,40&showPastEvents=false\">\u003cstrong>\u003cem>Field of Dreams\u003c/em>\u003c/strong>\u003c/a>, Town Green, Danville\u003c/p>\n\u003ch2>\u003cstrong>Outdoor movie screenings in July\u003c/strong>\u003c/h2>\n\u003cp>July 12: \u003ca href=\"https://www.visitoakland.com/event/jack-london-square%3A-waterfront-flicks/33905/\">\u003cstrong>\u003cem>Space Jam\u003c/em>\u003c/strong>\u003c/a>, Jack London Square, Oakland\u003c/p>\n\u003cp>July 17: \u003ca href=\"https://www.redwoodcity.org/residents/redwood-city-events/movies\">\u003cstrong>\u003cem>Ghostbusters: Frozen Empire\u003c/em>\u003c/strong>\u003c/a>, Courthouse Square, Redwood City\u003c/p>\n\u003cp>July 19: \u003ca href=\"https://www.chasecenter.com/events/blankets-and-blockbusters-20250719/\">\u003cstrong>\u003cem>Wicked\u003c/em>\u003c/strong>\u003c/a>, Thrive City at Chase Center, San Francisco\u003c/p>\n\u003cp>July 24, \u003ca href=\"https://www.sanjoseca.gov/your-government/departments-offices/parks-recreation-neighborhood-services/programs-activities/placemaking\">\u003cstrong>\u003cem>The Lady and the Tramp\u003c/em>\u003c/strong>\u003c/a>, Cimarron Park, San José\u003c/p>\n\u003cp>July 24: \u003ca href=\"https://www.redwoodcity.org/residents/redwood-city-events/movies\">\u003cstrong>\u003cem>Wicked\u003c/em>\u003c/strong>\u003c/a>, Courthouse Square, Redwood City\u003c/p>\n\u003ch2>\u003cstrong>Outdoor movie screenings in August \u003c/strong>\u003c/h2>\n\u003cp>August 2: \u003ca href=\"https://www.visitoakland.com/event/jack-london-square%3A-waterfront-flicks/33905/\">\u003cstrong>\u003cem>Happy Gilmore\u003c/em>\u003c/strong>\u003c/a>, Jack London Square, Oakland\u003c/p>\n\u003cp>August 5: \u003ca href=\"https://www.walnutcreekca.gov/Home/Components/Calendar/Event/19200/387?curm=8&cury=2025&selcat=31\">\u003cstrong>\u003cem>The Goonies\u003c/em>\u003c/strong>\u003c/a>\u003cem> (part of \u003c/em>\u003ca href=\"https://natw.org/\">National Night Out\u003c/a>), Civic Park, Walnut Creek\u003c/p>\n\u003cp>August 7: \u003ca href=\"https://www.redwoodcity.org/residents/redwood-city-events/movies\">\u003cstrong>\u003cem>Beetlejuice Beetlejuice\u003c/em>\u003c/strong>\u003c/a>, Courthouse Square, Redwood City\u003c/p>\n\u003cp>August 14: \u003ca href=\"https://www.redwoodcity.org/residents/redwood-city-events/movies\">\u003cstrong>\u003cem>Godzilla x Kong: The New Empire\u003c/em>\u003c/strong>\u003c/a>, Courthouse Square, Redwood City\u003c/p>\n\u003cp>August 15: \u003ca href=\"https://www.eventbrite.com/e/blankets-blockbusters-tickets-1368178110559?aff=erelexpmlt\">\u003cstrong>\u003cem>10 Things I Hate About You\u003c/em>\u003c/strong>\u003c/a>, Thrive City at Chase Center, San Francisco\u003c/p>\n\u003cp>August 16: \u003ca href=\"https://www.visitoakland.com/event/jack-london-square%3A-waterfront-flicks/33905/\">\u003cstrong>\u003cem>Clueless\u003c/em>\u003c/strong>\u003c/a>, Jack London Square, Oakland\u003c/p>\n\u003cp>August 21: \u003ca href=\"https://www.redwoodcity.org/residents/redwood-city-events/movies\">\u003cstrong>\u003cem>Clueless\u003c/em>\u003c/strong>\u003c/a>, Courthouse Square, Redwood City\u003c/p>\n\u003cp>August 28: \u003ca href=\"https://www.redwoodcity.org/residents/redwood-city-events/movies\">\u003cstrong>\u003cem>Argylle\u003c/em>\u003c/strong>\u003c/a>, Courthouse Square, Redwood City\u003c/p>\n\u003ch2>\u003cstrong>Outdoor film festivals in the Bay Area this summer\u003c/strong>\u003c/h2>\n\u003cp>As part of the 49th Frameline film festival, San Francisco’s \u003ca href=\"https://proxysf.net/events/jimmy-frameline-49\">Proxy SF\u003c/a> in Hayes Valley will be screening \u003ca href=\"https://proxysf.net/events/jimmy-frameline-49\">\u003cem>Jimmy\u003c/em>, a documentary about James Baldwin’s time in Paris\u003c/a>, on June 22.\u003c/p>\n\u003cp>Redwood City’s \u003ca href=\"https://www.redwoodcity.org/residents/redwood-city-events/movies\">Movies on the Square series\u003c/a> will also host the \u003ca href=\"https://www.redwoodcity.org/residents/redwood-city-events/movies\">BraveMaker Film Festival\u003c/a> on July 10 in the city’s Courthouse Square. The program will include three documentaries: \u003cem>This is Me, Cycling Without Age \u003c/em>and \u003cem>Everywhere.\u003c/em>[aside postID=arts_13975608 hero='https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Sister-Act-2-at-Dolores-Park-2022_1920-1020x680.jpg']\u003c/p>\n\u003ch2>\u003cstrong>Head to Santa Cruz for a movie on the beach \u003c/strong>\u003c/h2>\n\u003cp>Yes, it’s a drive from the Bay Area. But Santa Cruz’s free movie screenings take place right on the beach, in front of the historic Colonnade — with \u003ca href=\"https://beachboardwalk.com/movies/\">films on offer every Friday except the Fourth of July\u003c/a>. PG13-and-over fare this summer includes:\u003c/p>\n\u003cul>\n\u003cli>\u003cem>Men in Black\u003c/em>: June 20\u003c/li>\n\u003cli>\u003cem>Ghostbusters \u003c/em>(1984): June 27\u003c/li>\n\u003cli>\u003cem>Jumanji \u003c/em>(1995): July 11\u003c/li>\n\u003cli>\u003cem>Clueless\u003c/em>: July 18\u003c/li>\n\u003cli>\u003cem>The Goonies\u003c/em>: August 8\u003c/li>\n\u003c/ul>\n\u003ch2>\u003cstrong>Dinner and a show at Foreign Cinema\u003c/strong>\u003c/h2>\n\u003cp>If you are willing to dole out cash for a date night or a birthday celebration, \u003ca href=\"https://foreigncinema.com/films/\">Foreign Cinema\u003c/a> in San Francisco’s Mission District offers dinner accompanied by an outdoor movie screening, projected onto the wall of their covered patio.\u003c/p>\n\u003cp>Currently, they’re showing the San Francisco-based comedy \u003cem>Mrs. Doubtfire \u003c/em>through June 21. The catch is that you likely won’t \u003cem>hear\u003c/em> much — if any — sound during the movie, but in this reporter’s opinion, the vibes are still good.\u003c/p>\n\u003ch2>\u003cstrong>And finally … don’t forget the drive-in theater\u003c/strong>\u003c/h2>\n\u003cp>Curling up in the comfort of your car at the classic drive-in theater is a unique way to catch a newly-released movie under the stars.\u003c/p>\n\u003cp>The Bay Area has two major West Wind drive-in theaters in \u003ca href=\"https://www.westwinddi.com/locations/capitol\">San José\u003c/a> and \u003ca href=\"https://www.westwinddi.com/locations/solano\">Concord\u003c/a>, as well as \u003ca href=\"https://www.westwinddi.com/locations/sacramento\">Sacramento\u003c/a>. New releases currently playing include: \u003cem>Materialists\u003c/em>, \u003cem>Ballerina\u003c/em>, \u003cem>Lilo and Stitch\u003c/em> and \u003cem>Final Destination: Bloodlines\u003c/em>.\u003c/p>\n\u003cp>According to \u003ca href=\"https://www.westwinddi.com/about-us/faq\">its website\u003c/a>, the theater is open even if it is raining.\u003c/p>\n\u003cp>If you’ve never been to a drive-in theater, West Wind has \u003ca href=\"https://www.westwinddi.com/about-us/faq\">a Frequently Asked Questions on its website\u003c/a>. A major tip is to keep your headlights off and if you have a larger car, like an SUV, park closer to the back of the lot so you aren’t obstructing other people’s views. Your car battery isn’t likely to die during the movie, but West Wind does offer a \u003ca href=\"https://www.westwinddi.com/about-us/faq\">complimentary jump-start \u003c/a>in the case that it does go down during your time at the theater.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "San Francisco's Sundown Cinema series will not be returning in 2025, but there are still plenty of other options for watching movies outdoors around the Bay this summer.",
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"title": "Missing Sundown Cinema? Other Bay Area Outdoor Movie Screenings for Adults and Older Kids | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This summer, Bay Area movie lovers may already be feeling the absence of San Francisco’s Sundown Cinema, \u003ca href=\"https://www.kqed.org/arts/13975608/sundown-cinema-canceled-san-francisco-movie-series\">the annual open-air film series that was abruptly canceled last month.\u003c/a>\u003c/p>\n\u003cp>The beloved 22-year-old program was run by the nonprofit San Francisco Parks Alliance, which is currently \u003ca href=\"https://www.kqed.org/news/12041112/sf-supervisor-calls-for-parks-audit-after-nonprofit-partner-misspends-3-8-million\">facing an official review of its finances\u003c/a> by city officials.\u003c/p>\n\u003cp>But if you’re looking to fill the Sundown Cinema-shaped hole in your heart, luckily there \u003cem>are\u003c/em> other spots in the Bay Area offering ways to enjoy the movies outdoors for free this summer.\u003c/p>\n\u003cp>Many cities and counties are hosting their own film series in local parks and public spaces, which are generally free. Among the frequent repeats in the Bay Area outdoor movie slate this summer (with \u003cem>Wicked \u003c/em>and \u003cem>Clueless \u003c/em>particularly on rotation), some less expected screenings to watch for include \u003ca href=\"https://www.danville.ca.gov/calendar.aspx?Keywords=moonlight&startDate=&enddate=&CID=39,31,25,22,14,28,43,24,40&showPastEvents=false\">\u003cem>Field of Dreams\u003c/em>\u003c/a> in Danville on June 27, Jack London Square’s screenings of \u003ca href=\"https://www.visitoakland.com/event/jack-london-square%3A-waterfront-flicks/33905/\">\u003cem>Space Jam\u003c/em>\u003c/a> (July 12) and \u003ca href=\"https://www.visitoakland.com/event/jack-london-square%3A-waterfront-flicks/33905/\">\u003cem>Happy Gilmore\u003c/em>\u003c/a> (August 2) and \u003ca href=\"https://www.eventbrite.com/e/blankets-blockbusters-tickets-1368178110559?aff=erelexpmlt\">\u003cem>10 Things I Hate About You\u003c/em>\u003c/a> on August 15 at San Francisco’s Chase Center.\u003c/p>\n\u003cp>Grab a picnic blanket and keep reading for more, including local outdoor film festivals, movies on the beach in Santa Cruz and even the old-fashioned drive-in theater. (And if you’re looking for family-friendly screenings instead? Check out \u003ca href=\"https://www.kqed.org/news/12045055/outdoor-movie-screenings-for-kids-around-the-bay-area-this-summer\">our guide to Bay Area outdoor movie screenings for kids\u003c/a> this summer.)\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>Jump straight to: \u003ca href=\"#movies-bay-area-outdoors-things-to-do\">Where to see outdoor movie screenings in the Bay Area this summer\u003c/a>\u003c/strong>\u003c/li>\n\u003c/ul>\n\u003ch2>\u003cstrong>Watching movies outdoors in the Bay Area: Tips for first-timers\u003c/strong>\u003c/h2>\n\u003cp>These movies usually start just after dusk around 8:30 p.m., so audiences can see the projected screen as clearly as possible. It’s a good idea to get to the “theater” early to secure a good view of the screen. Most screenings do \u003cem>not\u003c/em> require a ticket or reservation, but some of the special showings at community pools do ask for an RSVP.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Before heading out to any show, be sure to check the weather and see if the screening will continue in the event of rain or other disruptive weather.\u003c/p>\n\u003cp>For the comfiest experience bring picnic blankets, a sweater and (non-crackling) snacks. A camping chair could offer you the most comfort, but be mindful you’re not blocking anyone’s view of the screen with your set-up. Remember that some venues may also discourage — or outright prohibit — pets or alcohol.\u003c/p>\n\u003cp>If you are seeking captions for an outdoor movie, you may need to contact the city’s parks and recreation department at least two days in advance. For example, for the Berkeley showings, contact the city at least two days before the screening at jolee@berkeleyca.gov or (510) 926-1458, and for Santa Cruz shows, call (831) 423-5590. According to \u003ca href=\"https://beachboardwalk.com/movies/\">the Santa Cruz Movies on the Beach website\u003c/a>, a “limited number of assistive listening devices (ALDs) are available for check-out at the Mini Golf Kiosk inside Neptune’s Kingdom.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch1>\u003cstrong>\u003ca id=\"movies-bay-area-outdoors-things-to-do\">\u003c/a>Where to watch free movies outdoors in the Bay Area this summer\u003c/strong>\u003c/h1>\n\u003ch2>\u003cstrong>Outdoor movie screenings in June\u003c/strong>\u003c/h2>\n\u003cp>June 25: \u003ca href=\"https://www.danville.ca.gov/calendar.aspx?Keywords=moonlight&startDate=&enddate=&CID=39,31,25,22,14,28,43,24,40&showPastEvents=false\">\u003cstrong>\u003cem>Indiana Jones and the Dial of Destiny\u003c/em>\u003c/strong>\u003c/a>, Town Green, Danville\u003c/p>\n\u003cp>June 26: \u003ca href=\"https://www.redwoodcity.org/residents/redwood-city-events/movies\">\u003cstrong>\u003cem>Dune Part 2\u003c/em>\u003c/strong>\u003c/a>, Courthouse Square, Redwood City\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>June 27: \u003ca href=\"https://www.danville.ca.gov/calendar.aspx?Keywords=moonlight&startDate=&enddate=&CID=39,31,25,22,14,28,43,24,40&showPastEvents=false\">\u003cstrong>\u003cem>Field of Dreams\u003c/em>\u003c/strong>\u003c/a>, Town Green, Danville\u003c/p>\n\u003ch2>\u003cstrong>Outdoor movie screenings in July\u003c/strong>\u003c/h2>\n\u003cp>July 12: \u003ca href=\"https://www.visitoakland.com/event/jack-london-square%3A-waterfront-flicks/33905/\">\u003cstrong>\u003cem>Space Jam\u003c/em>\u003c/strong>\u003c/a>, Jack London Square, Oakland\u003c/p>\n\u003cp>July 17: \u003ca href=\"https://www.redwoodcity.org/residents/redwood-city-events/movies\">\u003cstrong>\u003cem>Ghostbusters: Frozen Empire\u003c/em>\u003c/strong>\u003c/a>, Courthouse Square, Redwood City\u003c/p>\n\u003cp>July 19: \u003ca href=\"https://www.chasecenter.com/events/blankets-and-blockbusters-20250719/\">\u003cstrong>\u003cem>Wicked\u003c/em>\u003c/strong>\u003c/a>, Thrive City at Chase Center, San Francisco\u003c/p>\n\u003cp>July 24, \u003ca href=\"https://www.sanjoseca.gov/your-government/departments-offices/parks-recreation-neighborhood-services/programs-activities/placemaking\">\u003cstrong>\u003cem>The Lady and the Tramp\u003c/em>\u003c/strong>\u003c/a>, Cimarron Park, San José\u003c/p>\n\u003cp>July 24: \u003ca href=\"https://www.redwoodcity.org/residents/redwood-city-events/movies\">\u003cstrong>\u003cem>Wicked\u003c/em>\u003c/strong>\u003c/a>, Courthouse Square, Redwood City\u003c/p>\n\u003ch2>\u003cstrong>Outdoor movie screenings in August \u003c/strong>\u003c/h2>\n\u003cp>August 2: \u003ca href=\"https://www.visitoakland.com/event/jack-london-square%3A-waterfront-flicks/33905/\">\u003cstrong>\u003cem>Happy Gilmore\u003c/em>\u003c/strong>\u003c/a>, Jack London Square, Oakland\u003c/p>\n\u003cp>August 5: \u003ca href=\"https://www.walnutcreekca.gov/Home/Components/Calendar/Event/19200/387?curm=8&cury=2025&selcat=31\">\u003cstrong>\u003cem>The Goonies\u003c/em>\u003c/strong>\u003c/a>\u003cem> (part of \u003c/em>\u003ca href=\"https://natw.org/\">National Night Out\u003c/a>), Civic Park, Walnut Creek\u003c/p>\n\u003cp>August 7: \u003ca href=\"https://www.redwoodcity.org/residents/redwood-city-events/movies\">\u003cstrong>\u003cem>Beetlejuice Beetlejuice\u003c/em>\u003c/strong>\u003c/a>, Courthouse Square, Redwood City\u003c/p>\n\u003cp>August 14: \u003ca href=\"https://www.redwoodcity.org/residents/redwood-city-events/movies\">\u003cstrong>\u003cem>Godzilla x Kong: The New Empire\u003c/em>\u003c/strong>\u003c/a>, Courthouse Square, Redwood City\u003c/p>\n\u003cp>August 15: \u003ca href=\"https://www.eventbrite.com/e/blankets-blockbusters-tickets-1368178110559?aff=erelexpmlt\">\u003cstrong>\u003cem>10 Things I Hate About You\u003c/em>\u003c/strong>\u003c/a>, Thrive City at Chase Center, San Francisco\u003c/p>\n\u003cp>August 16: \u003ca href=\"https://www.visitoakland.com/event/jack-london-square%3A-waterfront-flicks/33905/\">\u003cstrong>\u003cem>Clueless\u003c/em>\u003c/strong>\u003c/a>, Jack London Square, Oakland\u003c/p>\n\u003cp>August 21: \u003ca href=\"https://www.redwoodcity.org/residents/redwood-city-events/movies\">\u003cstrong>\u003cem>Clueless\u003c/em>\u003c/strong>\u003c/a>, Courthouse Square, Redwood City\u003c/p>\n\u003cp>August 28: \u003ca href=\"https://www.redwoodcity.org/residents/redwood-city-events/movies\">\u003cstrong>\u003cem>Argylle\u003c/em>\u003c/strong>\u003c/a>, Courthouse Square, Redwood City\u003c/p>\n\u003ch2>\u003cstrong>Outdoor film festivals in the Bay Area this summer\u003c/strong>\u003c/h2>\n\u003cp>As part of the 49th Frameline film festival, San Francisco’s \u003ca href=\"https://proxysf.net/events/jimmy-frameline-49\">Proxy SF\u003c/a> in Hayes Valley will be screening \u003ca href=\"https://proxysf.net/events/jimmy-frameline-49\">\u003cem>Jimmy\u003c/em>, a documentary about James Baldwin’s time in Paris\u003c/a>, on June 22.\u003c/p>\n\u003cp>Redwood City’s \u003ca href=\"https://www.redwoodcity.org/residents/redwood-city-events/movies\">Movies on the Square series\u003c/a> will also host the \u003ca href=\"https://www.redwoodcity.org/residents/redwood-city-events/movies\">BraveMaker Film Festival\u003c/a> on July 10 in the city’s Courthouse Square. The program will include three documentaries: \u003cem>This is Me, Cycling Without Age \u003c/em>and \u003cem>Everywhere.\u003c/em>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>\u003cstrong>Head to Santa Cruz for a movie on the beach \u003c/strong>\u003c/h2>\n\u003cp>Yes, it’s a drive from the Bay Area. But Santa Cruz’s free movie screenings take place right on the beach, in front of the historic Colonnade — with \u003ca href=\"https://beachboardwalk.com/movies/\">films on offer every Friday except the Fourth of July\u003c/a>. PG13-and-over fare this summer includes:\u003c/p>\n\u003cul>\n\u003cli>\u003cem>Men in Black\u003c/em>: June 20\u003c/li>\n\u003cli>\u003cem>Ghostbusters \u003c/em>(1984): June 27\u003c/li>\n\u003cli>\u003cem>Jumanji \u003c/em>(1995): July 11\u003c/li>\n\u003cli>\u003cem>Clueless\u003c/em>: July 18\u003c/li>\n\u003cli>\u003cem>The Goonies\u003c/em>: August 8\u003c/li>\n\u003c/ul>\n\u003ch2>\u003cstrong>Dinner and a show at Foreign Cinema\u003c/strong>\u003c/h2>\n\u003cp>If you are willing to dole out cash for a date night or a birthday celebration, \u003ca href=\"https://foreigncinema.com/films/\">Foreign Cinema\u003c/a> in San Francisco’s Mission District offers dinner accompanied by an outdoor movie screening, projected onto the wall of their covered patio.\u003c/p>\n\u003cp>Currently, they’re showing the San Francisco-based comedy \u003cem>Mrs. Doubtfire \u003c/em>through June 21. The catch is that you likely won’t \u003cem>hear\u003c/em> much — if any — sound during the movie, but in this reporter’s opinion, the vibes are still good.\u003c/p>\n\u003ch2>\u003cstrong>And finally … don’t forget the drive-in theater\u003c/strong>\u003c/h2>\n\u003cp>Curling up in the comfort of your car at the classic drive-in theater is a unique way to catch a newly-released movie under the stars.\u003c/p>\n\u003cp>The Bay Area has two major West Wind drive-in theaters in \u003ca href=\"https://www.westwinddi.com/locations/capitol\">San José\u003c/a> and \u003ca href=\"https://www.westwinddi.com/locations/solano\">Concord\u003c/a>, as well as \u003ca href=\"https://www.westwinddi.com/locations/sacramento\">Sacramento\u003c/a>. New releases currently playing include: \u003cem>Materialists\u003c/em>, \u003cem>Ballerina\u003c/em>, \u003cem>Lilo and Stitch\u003c/em> and \u003cem>Final Destination: Bloodlines\u003c/em>.\u003c/p>\n\u003cp>According to \u003ca href=\"https://www.westwinddi.com/about-us/faq\">its website\u003c/a>, the theater is open even if it is raining.\u003c/p>\n\u003cp>If you’ve never been to a drive-in theater, West Wind has \u003ca href=\"https://www.westwinddi.com/about-us/faq\">a Frequently Asked Questions on its website\u003c/a>. A major tip is to keep your headlights off and if you have a larger car, like an SUV, park closer to the back of the lot so you aren’t obstructing other people’s views. Your car battery isn’t likely to die during the movie, but West Wind does offer a \u003ca href=\"https://www.westwinddi.com/about-us/faq\">complimentary jump-start \u003c/a>in the case that it does go down during your time at the theater.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cb>Here are the morning’s top stories on Monday, March 3, 2025…\u003c/b>\u003c/p>\n\u003cul>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">On Sunday night, Hollywood had its biggest night of the year with \u003c/span>\u003ca href=\"https://www.npr.org/2025/03/03/nx-s1-5307159/oscars-winners-2025-anora-sean-baker-mikey-madison-zoe-saldana\">\u003cspan style=\"font-weight: 400\">the Academy Awards ceremony.\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> But here’s a plot twist. None of the ten films that were up for the best picture Oscar were shot in Hollywood or the greater L.A. area. It’s just the latest example of how much film and television production now occurs outside of Los Angeles, costing local jobs and raising questions about the very future of Hollywood.\u003c/span>\u003c/li>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">On Saturday, people gathered at national parks across the country \u003c/span>\u003ca href=\"https://www.kvcrnews.org/local-news/2025-03-01/hundreds-gather-at-joshua-tree-national-park-to-protest-federal-cuts\">\u003cspan style=\"font-weight: 400\">to protest \u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">the firing of 1,000 National Park employees. Some 90 miles east of Los Angeles at Joshua Tree National Park, hundreds joined the movement. \u003c/span>\u003c/li>\n\u003cli>Declaring \u003ca href=\"https://www.gov.ca.gov/2025/03/01/with-growing-fire-risk-governor-newsom-proclaims-state-of-emergency-to-fast-track-critical-wildfire-prevention-projects-statewide/\">a state of emergency\u003c/a>, Gavin Governor Newsom has suspended two landmark state laws – the California Environmental Quality Act and the California Coastal Act.\u003c/li>\n\u003c/ul>\n\u003ch2>\u003cstrong>Can Tax Credits Help Keep TV/Film Production In California?\u003c/strong>\u003c/h2>\n\u003cp>Film and television production has long been a staple of Hollywood. But the state’s production \u003ca href=\"https://www.capradio.org/articles/2025/02/24/newsom-wants-to-more-than-double-californias-film-industry-tax-credit-would-it-pay-for-itself/\">has been in decline\u003c/a> since the 2000s. That’s why last year, Governor Gavin Newsom \u003ca href=\"https://www.gov.ca.gov/2024/10/27/governor-newsom-proposes-historic-expansion-of-film-tv-tax-credit-program/\">proposed a major expansion\u003c/a> of the state’s tv and film tax credit program. It would expand California’s Film & Television Tax Credit Program to $750 million annually, up from the current $330 million annual allocation. This proposed expansion would position California as the top state for capped film incentive programs, surpassing other states like New York.\u003c/p>\n\u003cp>“California is the entertainment capital of the world, rooted in decades of creativity, innovation, and unparalleled talent. Expanding this program will help keep production here at home, generate thousands of good-paying jobs, and strengthen the vital link between our communities and the state’s iconic film and TV industry,” Newsom said.\u003c/p>\n\u003cp>The tax credit program, first introduced in 2009, is designed to cut production costs and keep film and TV jobs in California. But is it working? Take the new NBC Peacock drama “Suits L.A.” The show was originally set to film out of state. Then, after receiving $12 million in California tax credits, it moved production to Los Angeles. In return, the show is expected to generate $25 million in wages and create more than 2,600 jobs.\u003c/p>\n\u003cp>But other states and countries are also trying to lure big productions. And it’s still unclear if these tax credits make a dent in wider economic growth. A \u003ca href=\"https://lao.ca.gov/reports/2025/5000/Film-Tax-Credit-022825.pdf\">recent report released\u003c/a> by the non-partisan Legislative Analyst’s Office expressed doubts, finding that tax credits are “rarely effective at creating broader economic development.”\u003c/p>\n\u003ch2 class=\"ArtP-headline\">\u003ca href=\"https://www.kvcrnews.org/local-news/2025-03-01/hundreds-gather-at-joshua-tree-national-park-to-protest-federal-cuts\">\u003cstrong>Hundreds Gather At Joshua Tree National Park To Protest Federal Cuts\u003c/strong>\u003c/a>\u003c/h2>\n\u003cp>On Saturday, people gathered at national parks all over the country to protest \u003ca href=\"https://www.npr.org/2025/02/26/nx-s1-5307908/national-parks-layoffs-visitors-disruptions\">the firing of 1000 national park employees.\u003c/a> At Joshua Tree National Park, hundreds joined the movement.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Six rangers were fired last month at Joshua Tree as part of the Trump administration’s push to downsize the federal workforce. Some 300 people showed up at Joshua Tree. Nick Graver, a community organizer, says he’s worried Trump’s cuts will make it harder to protect the rare Joshua trees.\u003c/p>\n\u003cp>“We don’t have that many Joshua trees to lose and our parks are understaffed and our public lands are understaffed, we’re gonna we’re gonna lose huge areas of desert,” said Graver. He’s also concerned there won’t be enough rangers to respond to emergencies— especially when temperatures soar in the summertime.\u003c/p>\n\u003ch2>\u003cstrong>Newsom Looks To Fast-Track Wildfire Prevention Projects \u003c/strong>\u003c/h2>\n\u003cp>Governor Gavin Newsom \u003ca href=\"https://www.gov.ca.gov/2025/03/01/with-growing-fire-risk-governor-newsom-proclaims-state-of-emergency-to-fast-track-critical-wildfire-prevention-projects-statewide/\">proclaimed a state of emergency\u003c/a> on Saturday in an effort to fast-track wildfire prevention projects in California. Environmental regulations like the California Environmental Quality Act and the California Coastal Act will both be suspended under the proclamation.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“This year has already seen some of the most destructive wildfires in California history, and we’re only in March. Building on unprecedented work cutting red tape and making historic investments – we’re taking action with a state of emergency to fast-track critical wildfire projects even more. These are the forest management projects we need to protect our communities most vulnerable to wildfire, and we’re going to get them done,” Newsom said in a statement.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>Here are the morning’s top stories on Monday, March 3, 2025…\u003c/b>\u003c/p>\n\u003cul>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">On Sunday night, Hollywood had its biggest night of the year with \u003c/span>\u003ca href=\"https://www.npr.org/2025/03/03/nx-s1-5307159/oscars-winners-2025-anora-sean-baker-mikey-madison-zoe-saldana\">\u003cspan style=\"font-weight: 400\">the Academy Awards ceremony.\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> But here’s a plot twist. None of the ten films that were up for the best picture Oscar were shot in Hollywood or the greater L.A. area. It’s just the latest example of how much film and television production now occurs outside of Los Angeles, costing local jobs and raising questions about the very future of Hollywood.\u003c/span>\u003c/li>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">On Saturday, people gathered at national parks across the country \u003c/span>\u003ca href=\"https://www.kvcrnews.org/local-news/2025-03-01/hundreds-gather-at-joshua-tree-national-park-to-protest-federal-cuts\">\u003cspan style=\"font-weight: 400\">to protest \u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">the firing of 1,000 National Park employees. Some 90 miles east of Los Angeles at Joshua Tree National Park, hundreds joined the movement. \u003c/span>\u003c/li>\n\u003cli>Declaring \u003ca href=\"https://www.gov.ca.gov/2025/03/01/with-growing-fire-risk-governor-newsom-proclaims-state-of-emergency-to-fast-track-critical-wildfire-prevention-projects-statewide/\">a state of emergency\u003c/a>, Gavin Governor Newsom has suspended two landmark state laws – the California Environmental Quality Act and the California Coastal Act.\u003c/li>\n\u003c/ul>\n\u003ch2>\u003cstrong>Can Tax Credits Help Keep TV/Film Production In California?\u003c/strong>\u003c/h2>\n\u003cp>Film and television production has long been a staple of Hollywood. But the state’s production \u003ca href=\"https://www.capradio.org/articles/2025/02/24/newsom-wants-to-more-than-double-californias-film-industry-tax-credit-would-it-pay-for-itself/\">has been in decline\u003c/a> since the 2000s. That’s why last year, Governor Gavin Newsom \u003ca href=\"https://www.gov.ca.gov/2024/10/27/governor-newsom-proposes-historic-expansion-of-film-tv-tax-credit-program/\">proposed a major expansion\u003c/a> of the state’s tv and film tax credit program. It would expand California’s Film & Television Tax Credit Program to $750 million annually, up from the current $330 million annual allocation. This proposed expansion would position California as the top state for capped film incentive programs, surpassing other states like New York.\u003c/p>\n\u003cp>“California is the entertainment capital of the world, rooted in decades of creativity, innovation, and unparalleled talent. Expanding this program will help keep production here at home, generate thousands of good-paying jobs, and strengthen the vital link between our communities and the state’s iconic film and TV industry,” Newsom said.\u003c/p>\n\u003cp>The tax credit program, first introduced in 2009, is designed to cut production costs and keep film and TV jobs in California. But is it working? Take the new NBC Peacock drama “Suits L.A.” The show was originally set to film out of state. Then, after receiving $12 million in California tax credits, it moved production to Los Angeles. In return, the show is expected to generate $25 million in wages and create more than 2,600 jobs.\u003c/p>\n\u003cp>But other states and countries are also trying to lure big productions. And it’s still unclear if these tax credits make a dent in wider economic growth. A \u003ca href=\"https://lao.ca.gov/reports/2025/5000/Film-Tax-Credit-022825.pdf\">recent report released\u003c/a> by the non-partisan Legislative Analyst’s Office expressed doubts, finding that tax credits are “rarely effective at creating broader economic development.”\u003c/p>\n\u003ch2 class=\"ArtP-headline\">\u003ca href=\"https://www.kvcrnews.org/local-news/2025-03-01/hundreds-gather-at-joshua-tree-national-park-to-protest-federal-cuts\">\u003cstrong>Hundreds Gather At Joshua Tree National Park To Protest Federal Cuts\u003c/strong>\u003c/a>\u003c/h2>\n\u003cp>On Saturday, people gathered at national parks all over the country to protest \u003ca href=\"https://www.npr.org/2025/02/26/nx-s1-5307908/national-parks-layoffs-visitors-disruptions\">the firing of 1000 national park employees.\u003c/a> At Joshua Tree National Park, hundreds joined the movement.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Six rangers were fired last month at Joshua Tree as part of the Trump administration’s push to downsize the federal workforce. Some 300 people showed up at Joshua Tree. Nick Graver, a community organizer, says he’s worried Trump’s cuts will make it harder to protect the rare Joshua trees.\u003c/p>\n\u003cp>“We don’t have that many Joshua trees to lose and our parks are understaffed and our public lands are understaffed, we’re gonna we’re gonna lose huge areas of desert,” said Graver. He’s also concerned there won’t be enough rangers to respond to emergencies— especially when temperatures soar in the summertime.\u003c/p>\n\u003ch2>\u003cstrong>Newsom Looks To Fast-Track Wildfire Prevention Projects \u003c/strong>\u003c/h2>\n\u003cp>Governor Gavin Newsom \u003ca href=\"https://www.gov.ca.gov/2025/03/01/with-growing-fire-risk-governor-newsom-proclaims-state-of-emergency-to-fast-track-critical-wildfire-prevention-projects-statewide/\">proclaimed a state of emergency\u003c/a> on Saturday in an effort to fast-track wildfire prevention projects in California. Environmental regulations like the California Environmental Quality Act and the California Coastal Act will both be suspended under the proclamation.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“This year has already seen some of the most destructive wildfires in California history, and we’re only in March. Building on unprecedented work cutting red tape and making historic investments – we’re taking action with a state of emergency to fast-track critical wildfire projects even more. These are the forest management projects we need to protect our communities most vulnerable to wildfire, and we’re going to get them done,” Newsom said in a statement.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Russia invaded Ukraine nearly three years ago. As the war continues, a new documentary from a Bay Area-raised filmmaker aims to show the beauty in the midst of the destruction. \u003cem>Porcelain War,\u003c/em> one of \u003ca href=\"https://deadline.com/2024/12/best-documentaries-2024-1236243224/\">Deadline’s top ten documentaries of 2024\u003c/a>, \u003ca href=\"https://www.porcelainwar.com/tickets\">opens in Bay Area theaters\u003c/a> on Jan. 3. The film’s codirector and Palo Alto native, Brendan Bellomo, spoke with KQED’s Lakshmi Sarah.\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Lakshmi Sarah: The film, \u003cem>Porcelain War\u003c/em>, is the story of three Ukrainian artists who chose not to flee as Russian tanks barreled through their homeland. Can you share a little bit about what prompted the idea for the film? \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Brendan Bellomo: \u003c/strong>One of our producers grew up under Russian oppression and she was in communist Poland as a child, and then became a political refugee when her parents and her and her sister escaped to the United States. About eight years ago, she discovered [Ukrainian artists] \u003ca href=\"https://www.facebook.com/AnyaSlava/\">Anya and Slava’s figurines\u003c/a>. And she was so moved by them because they reminded her of home.\u003c/p>\n\u003cp>She shared them with me, and I was absolutely blown away. I’d never seen anything like them. And I couldn’t believe that something so small could have such huge stories. We all started to work together on an animation project. And then Russia invaded Ukraine. I called up Slava to ask, “When are you leaving? Are you guys okay?” And he told me, “We’re not going to leave.”\u003c/p>\n\u003cp>“We’re going to keep making our art at night,” he told me. He was in the Ukrainian special forces and training civilians. There was a story that wasn’t being told.\u003c/p>\n\u003cp>We really wanted to empower them to share their story with the world. We realized, if we can work together with a translator over Zoom and essentially create an impromptu film school, we could teach them to translate their instincts as artists into cinema. And what they captured is \u003cem>Porcelain War. \u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_12020291\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12020291\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/martiniouk_150101_9768-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1710\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/martiniouk_150101_9768-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/martiniouk_150101_9768-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/martiniouk_150101_9768-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/martiniouk_150101_9768-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/martiniouk_150101_9768-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/martiniouk_150101_9768-2048x1368.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/martiniouk_150101_9768-1920x1282.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">(Left to Right) Artist and Codirector Slava Leontyev with fellow artist Anya Stasenko and Codirector Brendan Bellomo. \u003ccite>(Courtesy of Picturehouse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>The film is the winner of the 2024 Sundance Grand Jury Prize for a U.S. documentary and it shows ordinary people, living through extreme circumstances. Are there specific scenes that stick out to you?\u003c/strong>\u003c/p>\n\u003cp>Slava and Anya draw deep inspiration from nature, and they told me they were going to go mushroom picking and that they would film. I received a text from Slava that they’d encountered a minefield. My blood froze. Then he sent another text and he said, “Everything’s fine, I’m removing all the mines so that we can still pick mushrooms.”\u003c/p>\n\u003cp>We got this footage back and it was absolutely harrowing to realize that \u003ca href=\"https://www.washingtonpost.com/world/2023/07/22/ukraine-is-now-most-mined-country-it-will-take-decades-make-safe/\">Ukraine is now the most mined country in the world\u003c/a>. And yet, they were still choosing to live and to find creative inspiration. The contrast that occurred would be inherent in the fact that they just wanted to live their lives and participate and be inspired by the world.\u003c/p>\n\u003cp>\u003cstrong>Codirector and one of the people featured in the film, Slava Leontyev is quoted saying: “Ukraine is like porcelain, easy to break, yet impossible to destroy.” What are some ways you aimed to show this idea in the film? \u003c/strong>\u003c/p>\n\u003cp>First and foremost, it’s in the resilience of people. Everybody in the film chose to maintain their humanity, even with everything crumbling around them, and to continue being creative. When you look at the fact that when Russia first invaded, they destroyed museums and universities and they killed artists. This is, in essence, a genocidal war, and Ukrainian culture is a primary target of that aggression, so the fact that they’re choosing to continue to be creative and to continue living is an act of resistance. And to record those processes, is another form of resistance. It just shows that people are unbreakable.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dQDUGX_ueVg\u003c/p>\n\u003cp>\u003cstrong>Can you talk a little bit about using animation to bring the paintings and the story to life?\u003c/strong>\u003c/p>\n\u003cp>As Anya says in the film, “Her drawings are her language,” and there were certain places that we couldn’t bring the camera to. We don’t have a time machine to go back and see their beautiful life in Crimea before it was annexed to Russia. At the end of the film, Anya and Slava shared their dreams for a peaceful Ukraine in the future. We worked with \u003ca href=\"https://www.behance.net/BluBluStudios?locale=en_US\">BluBlu Studios in Poland\u003c/a>, a collection of artists, and they hand drew 7000 frames of animation, and that’s what brought Anya’s love of porcelain figurines to life.\u003c/p>\n\u003cp>\u003cstrong>As someone who grew up in the Bay Area, how does it feel to have the film available here in the Bay, what does that mean to you?\u003c/strong>\u003c/p>\n\u003cp>When I grew up in the Bay Area, there was a deep sense of community and of art serving both the purpose of aesthetic value, but also something that could participate and make an impact in that community. Being able to return now with my first film and with this amazing collaboration from artistic communities around the world, feels really incredible. I think the Bay Area is kind of emblematic of that type of attitude — that collaboration and artistic expression can have real meaning for people.\u003c/p>\n\u003cfigure id=\"attachment_12020216\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12020216\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/PorcelainWar_7.jpg\" alt=\"\" width=\"2000\" height=\"1044\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/PorcelainWar_7.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/PorcelainWar_7-800x418.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/PorcelainWar_7-1020x532.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/PorcelainWar_7-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/PorcelainWar_7-1536x802.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/PorcelainWar_7-1920x1002.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Special Forces soldier, Kharkiv, Ukraine, ‘Porcelain Wars.’ \u003ccite>(Courtesy of Picturehouse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Your film comes to the Bay Area just before President-elect Trump begins his second term. How are you feeling about what that means for U.S. policy and its role in Ukraine?\u003c/strong>\u003c/p>\n\u003cp>I think there’s a great deal of uncertainty. He’s expressed this eagerness to end the war quickly. But I think, given the history of his interactions with authoritarian leaders and with Russia, we don’t really know what he’s going to do. When Slava speaks about this, he’s really hopeful that the American people will continue their support and will recognize that not only does Ukraine need help as a free democratic nation that was invaded, but that the outcome of this war affects all of us.\u003c/p>\n\u003cp>You have China that is watching the outcome of this war. If Russia wins, it might embolden them to attack Taiwan. This is the largest conflict in Europe since World War II and it truly does affect all of us around the world. Freedom and democracy are at risk now more than ever. I hope there is an awareness, and I hope that this film can give an additional perspective on what everyday people are going through, and how it can affect all of us.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Russia invaded Ukraine nearly three years ago. As the war continues, a new documentary from a Bay Area-raised filmmaker aims to show the beauty in the midst of the destruction. \u003cem>Porcelain War,\u003c/em> one of \u003ca href=\"https://deadline.com/2024/12/best-documentaries-2024-1236243224/\">Deadline’s top ten documentaries of 2024\u003c/a>, \u003ca href=\"https://www.porcelainwar.com/tickets\">opens in Bay Area theaters\u003c/a> on Jan. 3. The film’s codirector and Palo Alto native, Brendan Bellomo, spoke with KQED’s Lakshmi Sarah.\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Lakshmi Sarah: The film, \u003cem>Porcelain War\u003c/em>, is the story of three Ukrainian artists who chose not to flee as Russian tanks barreled through their homeland. Can you share a little bit about what prompted the idea for the film? \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Brendan Bellomo: \u003c/strong>One of our producers grew up under Russian oppression and she was in communist Poland as a child, and then became a political refugee when her parents and her and her sister escaped to the United States. About eight years ago, she discovered [Ukrainian artists] \u003ca href=\"https://www.facebook.com/AnyaSlava/\">Anya and Slava’s figurines\u003c/a>. And she was so moved by them because they reminded her of home.\u003c/p>\n\u003cp>She shared them with me, and I was absolutely blown away. I’d never seen anything like them. And I couldn’t believe that something so small could have such huge stories. We all started to work together on an animation project. And then Russia invaded Ukraine. I called up Slava to ask, “When are you leaving? Are you guys okay?” And he told me, “We’re not going to leave.”\u003c/p>\n\u003cp>“We’re going to keep making our art at night,” he told me. He was in the Ukrainian special forces and training civilians. There was a story that wasn’t being told.\u003c/p>\n\u003cp>We really wanted to empower them to share their story with the world. We realized, if we can work together with a translator over Zoom and essentially create an impromptu film school, we could teach them to translate their instincts as artists into cinema. And what they captured is \u003cem>Porcelain War. \u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_12020291\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12020291\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/martiniouk_150101_9768-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1710\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/martiniouk_150101_9768-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/martiniouk_150101_9768-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/martiniouk_150101_9768-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/martiniouk_150101_9768-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/martiniouk_150101_9768-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/martiniouk_150101_9768-2048x1368.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/martiniouk_150101_9768-1920x1282.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">(Left to Right) Artist and Codirector Slava Leontyev with fellow artist Anya Stasenko and Codirector Brendan Bellomo. \u003ccite>(Courtesy of Picturehouse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>The film is the winner of the 2024 Sundance Grand Jury Prize for a U.S. documentary and it shows ordinary people, living through extreme circumstances. Are there specific scenes that stick out to you?\u003c/strong>\u003c/p>\n\u003cp>Slava and Anya draw deep inspiration from nature, and they told me they were going to go mushroom picking and that they would film. I received a text from Slava that they’d encountered a minefield. My blood froze. Then he sent another text and he said, “Everything’s fine, I’m removing all the mines so that we can still pick mushrooms.”\u003c/p>\n\u003cp>We got this footage back and it was absolutely harrowing to realize that \u003ca href=\"https://www.washingtonpost.com/world/2023/07/22/ukraine-is-now-most-mined-country-it-will-take-decades-make-safe/\">Ukraine is now the most mined country in the world\u003c/a>. And yet, they were still choosing to live and to find creative inspiration. The contrast that occurred would be inherent in the fact that they just wanted to live their lives and participate and be inspired by the world.\u003c/p>\n\u003cp>\u003cstrong>Codirector and one of the people featured in the film, Slava Leontyev is quoted saying: “Ukraine is like porcelain, easy to break, yet impossible to destroy.” What are some ways you aimed to show this idea in the film? \u003c/strong>\u003c/p>\n\u003cp>First and foremost, it’s in the resilience of people. Everybody in the film chose to maintain their humanity, even with everything crumbling around them, and to continue being creative. When you look at the fact that when Russia first invaded, they destroyed museums and universities and they killed artists. This is, in essence, a genocidal war, and Ukrainian culture is a primary target of that aggression, so the fact that they’re choosing to continue to be creative and to continue living is an act of resistance. And to record those processes, is another form of resistance. It just shows that people are unbreakable.\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/dQDUGX_ueVg'\n title='//www.youtube.com/embed/dQDUGX_ueVg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Can you talk a little bit about using animation to bring the paintings and the story to life?\u003c/strong>\u003c/p>\n\u003cp>As Anya says in the film, “Her drawings are her language,” and there were certain places that we couldn’t bring the camera to. We don’t have a time machine to go back and see their beautiful life in Crimea before it was annexed to Russia. At the end of the film, Anya and Slava shared their dreams for a peaceful Ukraine in the future. We worked with \u003ca href=\"https://www.behance.net/BluBluStudios?locale=en_US\">BluBlu Studios in Poland\u003c/a>, a collection of artists, and they hand drew 7000 frames of animation, and that’s what brought Anya’s love of porcelain figurines to life.\u003c/p>\n\u003cp>\u003cstrong>As someone who grew up in the Bay Area, how does it feel to have the film available here in the Bay, what does that mean to you?\u003c/strong>\u003c/p>\n\u003cp>When I grew up in the Bay Area, there was a deep sense of community and of art serving both the purpose of aesthetic value, but also something that could participate and make an impact in that community. Being able to return now with my first film and with this amazing collaboration from artistic communities around the world, feels really incredible. I think the Bay Area is kind of emblematic of that type of attitude — that collaboration and artistic expression can have real meaning for people.\u003c/p>\n\u003cfigure id=\"attachment_12020216\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12020216\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/PorcelainWar_7.jpg\" alt=\"\" width=\"2000\" height=\"1044\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/PorcelainWar_7.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/PorcelainWar_7-800x418.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/PorcelainWar_7-1020x532.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/PorcelainWar_7-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/PorcelainWar_7-1536x802.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/PorcelainWar_7-1920x1002.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Special Forces soldier, Kharkiv, Ukraine, ‘Porcelain Wars.’ \u003ccite>(Courtesy of Picturehouse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Your film comes to the Bay Area just before President-elect Trump begins his second term. How are you feeling about what that means for U.S. policy and its role in Ukraine?\u003c/strong>\u003c/p>\n\u003cp>I think there’s a great deal of uncertainty. He’s expressed this eagerness to end the war quickly. But I think, given the history of his interactions with authoritarian leaders and with Russia, we don’t really know what he’s going to do. When Slava speaks about this, he’s really hopeful that the American people will continue their support and will recognize that not only does Ukraine need help as a free democratic nation that was invaded, but that the outcome of this war affects all of us.\u003c/p>\n\u003cp>You have China that is watching the outcome of this war. If Russia wins, it might embolden them to attack Taiwan. This is the largest conflict in Europe since World War II and it truly does affect all of us around the world. Freedom and democracy are at risk now more than ever. I hope there is an awareness, and I hope that this film can give an additional perspective on what everyday people are going through, and how it can affect all of us.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Making engaging movies or TV shows is all about creating a convincing fantasy. Take the show \u003ca href=\"https://www.imdb.com/title/tt0804503/\">\u003cem>Mad Men\u003c/em>\u003c/a> for example: The mid-century furniture, soundtrack and clothes all work together to create a mood.\u003c/p>\n\u003cp>Perhaps less obvious, but no less important, is the food seen on screen — tomato aspic, salmon mousse or cocktail party weenies in grape jelly that take us right back to the 1960s.\u003c/p>\n\u003cp>Behind every dish on screen, there’s a person or a team of people researching it, cooking it and keeping it fresh on set take after take. It may seem simple, but food styling requires a unique combination of organizational skills, culinary expertise and creativity.\u003c/p>\n\u003cp>While much of the \u003ca href=\"https://www.washingtonpost.com/lifestyle/2023/08/27/hollywood-writers-strike-issues-studios/\">media attention is focused on the Hollywood writers and actors strike\u003c/a>, thousands of \u003ca href=\"https://www.kcrw.com/news/shows/press-play-with-madeleine-brand/hollywood-indictment-crypto-space/wga-sag-aftra-economic-costs\">other movie industry workers are impacted\u003c/a> by the work stoppage. People like food stylist Melissa McSorley, whose work is often invisible.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003ch2>Behind the scenes with Hollywood’s food stylist\u003c/h2>\n\u003cp>On an early morning in March, well before the strikes began, McSorley pulled into the parking lot of a distinctly unglamorous part of Santa Clarita — an industrial-park-turned-soundstage.\u003c/p>\n\u003cp>She unloaded her SUV, packed as tightly as a perfectly played Tetris game, pulling out electric burners and what looked like a contractor’s tool bag. Instead of hammers and drills, it held hundreds of kitchen utensils, from tongs and torches to measuring cups and cutting boards.\u003c/p>\n\u003cp>McSorley moves around a lot, working on different sets most days, so she carries all her tools with her. On this particular set, she was assigned a designated space for her work kitchen — a treat — because the show, Hulu’s \u003ca href=\"https://www.imdb.com/title/tt7820906/?ref_=fn_al_tt_1\">\u003cem>Good Trouble\u003c/em>\u003c/a>, features a character who is opening a restaurant. Food is central to the show’s plot.[aside postID=news_11954383 hero='https://ww2.kqed.org/app/uploads/sites/10/2023/06/20230626-SAUCY-CHICK-05-KQED-1020x816.jpg']Before they started filming, the space was an empty shell with ceiling insulation exposed, McSorley said. But crews built a half-dozen huge plywood boxes that each hold a completely realistic room, like an office or a den.\u003c/p>\n\u003cp>“So many people touched all of this before you could even think about putting food into this set,” McSorley said, with awe.\u003cem> \u003c/em>\u003c/p>\n\u003cp>She made sure everything on the commercial kitchen set was perfect before filming began the next day when actors were expected to flip burgers and stir polenta. The set was incredibly realistic, from rubber mats covering the floor to food containers labeled with blue painter’s tape. Except, it wasn’t a real kitchen.\u003c/p>\n\u003cp>“One thing about a set, it doesn’t have practical lighting,” McSorley said. “Any light switches you see don’t really work.”\u003c/p>\n\u003cp>She had to use the flashlight on her phone to complete her inspection.\u003c/p>\n\u003ch2>An unlikely career\u003c/h2>\n\u003cp>Food styling is not the job McSorley thought she’d have.\u003c/p>\n\u003cp>She grew up in Burbank, home to many studios, but her family wasn’t involved in entertainment at all.\u003c/p>\n\u003cp>“My mom had office jobs,” McSorley said. “In fact, when I was little, she was a telephone operator. I don’t even think that exists anymore.”\u003c/p>\n\u003cp>Her stepfather owned a printing company in North Hollywood. But the entertainment industry was all around. As a girl, she remembers driving past fans lining up to watch \u003cem>The Tonight Show\u003c/em> being taped.\u003c/p>\n\u003cp>“There was [an actors’] strike that happened when I was in high school, and it affected a lot of the families that I grew up with,” she said.\u003c/p>\n\u003cp>That’s when she told her family that she would never work in entertainment.\u003c/p>\n\u003cp>“I never wanted to work in an industry where people were so expendable,” she said. “Nobody cared how many lives these strikes could disrupt. And so, I was never, ever, ever going to be in this industry.”\u003c/p>\n\u003cp>Melissa was a kid with a creative streak, growing up in a structured home.\u003c/p>\n\u003cp>“When I was in high school, I actually wanted to go to school for photography, and my parents said that I could do that as a hobby any time I wanted,” she said.[pullquote size=\"medium\" align=\"right\" citation=\"Melissa McSorley, Hollywood food stylist\"]‘I decided I was just going to do it part-time for a little while before I decided what I really wanted to do. It turned out that I loved it. And here I am, almost 20 years later.’[/pullquote]They expected her to pursue a degree that would lead to a stable career.\u003c/p>\n\u003cp>“Culinary arts falls under the term ‘arts,’ and it would not have been acceptable to my parents,” she said.\u003c/p>\n\u003cp>So she studied biology and psychology. She learned the basics of cooking as a kid by whipping up casseroles for her hungry siblings when her mom was working.\u003c/p>\n\u003cp>After college, she started taking cooking courses in her spare time. She cycled through several different careers, working at an electrical engineering company, drawing blood and producing commercials at an advertising agency.\u003c/p>\n\u003cp>But she yearned for more creative work. While working at the ad agency, she encountered her first “food stylist.”\u003c/p>\n\u003cp>“I decided I was just going to do it part-time for a little while before I decided what I really wanted to do,” McSorley said. “It turned out that I loved it. And here I am, almost 20 years later.”\u003c/p>\n\u003ch2>Not home cooking\u003c/h2>\n\u003cp>In her work kitchen on the set of \u003cem>Good Trouble\u003c/em>, McSorley demonstrated how cooking for the screen is a lot different than cooking at home. For example, in one scene an actor makes a pizza. To pull that off, she needed to prep at least 18 pizzas so the crew could shoot the actor in all stages of pizza-making.\u003c/p>\n\u003cp>“So you’ll see her grab a dough ball, that’s been proofed and looks amazing,” McSorley said.[pullquote size=\"medium\" align=\"right\" citation=\"Melissa McSorley, Hollywood food stylist\"]‘Then, you might see her start to sauce it. Then, you might see it finished, but uncooked. At the very, very end of the scene, she’ll pull out that perfect pizza.’[/pullquote]McSorley will then swap out that dough for another that’s been perfectly shaped.\u003c/p>\n\u003cp>“Then, you might see her start to sauce it. Then, you might see it finished, but uncooked,” she said. “At the very, very end of the scene, she’ll pull out that perfect pizza.”\u003c/p>\n\u003cp>And to make sure that shot is just right, McSorley will have three or four perfect pizzas prepped — just in case.\u003c/p>\n\u003cp>Her job depends on making sure that food looks as delicious as possible, and that it looks identical, take after take.\u003c/p>\n\u003ch2>A bizarre set of skills\u003c/h2>\n\u003cp>What’s clear is that a Hollywood food stylist needs an eclectic array of skills that go way beyond cooking.\u003c/p>\n\u003cp>First, they have to be organized. Even the simplest scene has many moving parts. One pivotal scene in the \u003ca href=\"https://www.imdb.com/title/tt2279339/\">2015 film \u003cem>Love the Coopers\u003c/em>\u003c/a>, for example, took place around a Christmas dinner table.\u003c/p>\n\u003cfigure id=\"attachment_11959571\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11959571\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/08/230830-Hollywood-Food-Stylist-LM-02-KQED.jpg\" alt=\"A woman with light-brown hair and black glasses holds a clipboard in one hand, a pen in the other, as she stands in front of a large refrigerator filled with food.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2023/08/230830-Hollywood-Food-Stylist-LM-02-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/08/230830-Hollywood-Food-Stylist-LM-02-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/08/230830-Hollywood-Food-Stylist-LM-02-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/08/230830-Hollywood-Food-Stylist-LM-02-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/08/230830-Hollywood-Food-Stylist-LM-02-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/08/230830-Hollywood-Food-Stylist-LM-02-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Food stylist Melissa McSorley checks the set refrigerator for ingredients needed for the next day’s shooting on the set of the Hulu series ‘Good Trouble.’ \u003ccite>(Lisa Morehouse/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>McSorley said the scene took nine days to shoot and in that time they went through more than 50 turkeys. There were full, perfect turkeys, turkeys staged just for carving, turkeys that fell on the floor, turkeys that the dog came too close to, and even turkeys in the oven. McSorley had to find them, buy them, store them and cook them.\u003c/p>\n\u003cp>“There were a lot of turkeys,” she said, shaking her head.\u003c/p>\n\u003cp>Second, a food stylist needs to be a nutritionist — and a problem-solver. In that same scene in \u003cem>Love the Coopers\u003c/em>, stars like Diane Keaton, John Goodman, Marisa Tomei and Alan Arkin all sat together.[aside postID=news_11958720 hero='https://ww2.kqed.org/app/uploads/sites/10/2023/06/RS66538_230623-wahpepahs-kitchen-05-ks-KQED-1020x679.jpg']“When you went around the table, there was a vegetarian who loves cheese; a vegan that also doesn’t do sugar or sugar substitutes; [and] other people who ate no carbs,” McSorley said. “You have to make sure that you’ve made something that everybody can eat.”\u003c/p>\n\u003cp>Third, food stylists are often technical advisors, making sure kitchens on set seem real to viewers. They’ll organize a fictional restaurant’s fridge according to safety regulations, with raw meat on the bottom level, not sitting on top of produce, for instance.\u003c/p>\n\u003ch2>Amplifying scenes with food\u003c/h2>\n\u003cp>“The highlights of my career are the times when I’ve been able to do something that is, like, so amplified,” McSorley said.\u003c/p>\n\u003cp>Like the time she dug into research for a period-perfect meal in \u003cem>Mad Men\u003c/em> or \u003cem>Perry Mason\u003c/em> or making food for imaginary worlds.\u003c/p>\n\u003cp>On \u003ca href=\"https://www.imdb.com/title/tt0844441/?ref_=fn_al_tt_1\">the vampire drama \u003cem>True Blood\u003c/em>\u003c/a>, McSorley’s first task was to concoct a substance worthy of the show’s title — a drink that actors could gulp down, that also looked and functioned like blood, not juice.\u003c/p>\n\u003cp>“It had to leave a trail when it went down the glass,” she said, “And so, that was a lot of fun, using a little bit of wheatgrass to give it the opaqueness that it needed, and then to add a little bit of methyl cellulose to get the viscosity that it needed.”\u003c/p>\n\u003cp>She added pomegranate-cherry juice to get the right color and to lend it a decent taste.\u003c/p>\n\u003cp>“It was like a little chemistry experiment in the kitchen,” she said.\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>McSorley also created the food seen in science-fiction shows like \u003ca href=\"https://www.imdb.com/title/tt8806524/?ref_=nv_sr_srsg_0_tt_2_nm_6_q_picard\">\u003cem>Star Trek:\u003c/em> \u003cem>Picard\u003c/em>\u003c/a> or \u003ca href=\"https://www.imdb.com/title/tt13668894/?ref_=nv_sr_srsg_0_tt_8_nm_0_q_boba%2520fett\">\u003cem>The Book of\u003c/em> \u003cem>Boba Fett\u003c/em>\u003c/a>. And that’s not as simple as it might seem.[pullquote size=\"medium\" align=\"right\" citation=\"Melissa McSorley, Hollywood food stylist\"]‘I was able to work with the prop master to come up with a \u003cem>nuna\u003c/em> skeleton and skin that I could work with. Then, I filled it with turkey meat so that it looked like the meat was just coming off in layers.’[/pullquote]“The food couldn’t look like anything that we’ve seen here,” McSorley said. “Was it a planet that actually had an environment: air, water to it? Was it a dry planet that maybe everything would have been from root vegetables? And then, you just figure out what exists in the edible world that you can make look like that.”\u003c/p>\n\u003cp>For one scene in \u003cem>Boba Fett\u003c/em>, McSorley helped fill a 30-foot-long table for a feast. One element was a roasted \u003cem>nuna\u003c/em>, a swamp turkey from the planet Naboo.\u003c/p>\n\u003cp>“And it was really awesome because I was able to work with the prop master to come up with a \u003cem>nuna\u003c/em> skeleton and skin that I could work with,” she said. “Then, I filled it with turkey meat so that it looked like the meat was just coming off in layers. And you really get the idea that these came from another planet.”\u003c/p>\n\u003cp>In the hands of a stylist like McSorley, food becomes a character on screen. It can help set the mood with party food, home cooking or upscale bites.\u003c/p>\n\u003cp>It can mirror the personality of a character — like a meticulous assassin who also bakes with precision. One glance at a plate and the viewer should get a sense of the person in the scene with it.\u003c/p>\n\u003cp>It takes a lot of labor to make the shimmering fantasy that Hollywood sells to the world. There are a lot of behind-the-scenes industry people like Melissa whose work is largely invisible — and they’re all feeling the impact of recent labor disputes.\u003c/p>\n\u003cp>“I guess I wish people knew that the job existed, that the food didn’t just miraculously appear on the plate,” she said.\u003c/p>\n\u003cp>\u003cem>Lisa Morehouse’s series \u003c/em>\u003ca href=\"https://californiafoodways.com/\">\u003cem>California Foodways\u003c/em>\u003c/a>\u003cem> is supported by California Humanities, a nonprofit partner of the National Endowment for the Humanities.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Making engaging movies or TV shows is all about creating a convincing fantasy. Take the show \u003ca href=\"https://www.imdb.com/title/tt0804503/\">\u003cem>Mad Men\u003c/em>\u003c/a> for example: The mid-century furniture, soundtrack and clothes all work together to create a mood.\u003c/p>\n\u003cp>Perhaps less obvious, but no less important, is the food seen on screen — tomato aspic, salmon mousse or cocktail party weenies in grape jelly that take us right back to the 1960s.\u003c/p>\n\u003cp>Behind every dish on screen, there’s a person or a team of people researching it, cooking it and keeping it fresh on set take after take. It may seem simple, but food styling requires a unique combination of organizational skills, culinary expertise and creativity.\u003c/p>\n\u003cp>While much of the \u003ca href=\"https://www.washingtonpost.com/lifestyle/2023/08/27/hollywood-writers-strike-issues-studios/\">media attention is focused on the Hollywood writers and actors strike\u003c/a>, thousands of \u003ca href=\"https://www.kcrw.com/news/shows/press-play-with-madeleine-brand/hollywood-indictment-crypto-space/wga-sag-aftra-economic-costs\">other movie industry workers are impacted\u003c/a> by the work stoppage. People like food stylist Melissa McSorley, whose work is often invisible.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>Behind the scenes with Hollywood’s food stylist\u003c/h2>\n\u003cp>On an early morning in March, well before the strikes began, McSorley pulled into the parking lot of a distinctly unglamorous part of Santa Clarita — an industrial-park-turned-soundstage.\u003c/p>\n\u003cp>She unloaded her SUV, packed as tightly as a perfectly played Tetris game, pulling out electric burners and what looked like a contractor’s tool bag. Instead of hammers and drills, it held hundreds of kitchen utensils, from tongs and torches to measuring cups and cutting boards.\u003c/p>\n\u003cp>McSorley moves around a lot, working on different sets most days, so she carries all her tools with her. On this particular set, she was assigned a designated space for her work kitchen — a treat — because the show, Hulu’s \u003ca href=\"https://www.imdb.com/title/tt7820906/?ref_=fn_al_tt_1\">\u003cem>Good Trouble\u003c/em>\u003c/a>, features a character who is opening a restaurant. Food is central to the show’s plot.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Before they started filming, the space was an empty shell with ceiling insulation exposed, McSorley said. But crews built a half-dozen huge plywood boxes that each hold a completely realistic room, like an office or a den.\u003c/p>\n\u003cp>“So many people touched all of this before you could even think about putting food into this set,” McSorley said, with awe.\u003cem> \u003c/em>\u003c/p>\n\u003cp>She made sure everything on the commercial kitchen set was perfect before filming began the next day when actors were expected to flip burgers and stir polenta. The set was incredibly realistic, from rubber mats covering the floor to food containers labeled with blue painter’s tape. Except, it wasn’t a real kitchen.\u003c/p>\n\u003cp>“One thing about a set, it doesn’t have practical lighting,” McSorley said. “Any light switches you see don’t really work.”\u003c/p>\n\u003cp>She had to use the flashlight on her phone to complete her inspection.\u003c/p>\n\u003ch2>An unlikely career\u003c/h2>\n\u003cp>Food styling is not the job McSorley thought she’d have.\u003c/p>\n\u003cp>She grew up in Burbank, home to many studios, but her family wasn’t involved in entertainment at all.\u003c/p>\n\u003cp>“My mom had office jobs,” McSorley said. “In fact, when I was little, she was a telephone operator. I don’t even think that exists anymore.”\u003c/p>\n\u003cp>Her stepfather owned a printing company in North Hollywood. But the entertainment industry was all around. As a girl, she remembers driving past fans lining up to watch \u003cem>The Tonight Show\u003c/em> being taped.\u003c/p>\n\u003cp>“There was [an actors’] strike that happened when I was in high school, and it affected a lot of the families that I grew up with,” she said.\u003c/p>\n\u003cp>That’s when she told her family that she would never work in entertainment.\u003c/p>\n\u003cp>“I never wanted to work in an industry where people were so expendable,” she said. “Nobody cared how many lives these strikes could disrupt. And so, I was never, ever, ever going to be in this industry.”\u003c/p>\n\u003cp>Melissa was a kid with a creative streak, growing up in a structured home.\u003c/p>\n\u003cp>“When I was in high school, I actually wanted to go to school for photography, and my parents said that I could do that as a hobby any time I wanted,” she said.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>They expected her to pursue a degree that would lead to a stable career.\u003c/p>\n\u003cp>“Culinary arts falls under the term ‘arts,’ and it would not have been acceptable to my parents,” she said.\u003c/p>\n\u003cp>So she studied biology and psychology. She learned the basics of cooking as a kid by whipping up casseroles for her hungry siblings when her mom was working.\u003c/p>\n\u003cp>After college, she started taking cooking courses in her spare time. She cycled through several different careers, working at an electrical engineering company, drawing blood and producing commercials at an advertising agency.\u003c/p>\n\u003cp>But she yearned for more creative work. While working at the ad agency, she encountered her first “food stylist.”\u003c/p>\n\u003cp>“I decided I was just going to do it part-time for a little while before I decided what I really wanted to do,” McSorley said. “It turned out that I loved it. And here I am, almost 20 years later.”\u003c/p>\n\u003ch2>Not home cooking\u003c/h2>\n\u003cp>In her work kitchen on the set of \u003cem>Good Trouble\u003c/em>, McSorley demonstrated how cooking for the screen is a lot different than cooking at home. For example, in one scene an actor makes a pizza. To pull that off, she needed to prep at least 18 pizzas so the crew could shoot the actor in all stages of pizza-making.\u003c/p>\n\u003cp>“So you’ll see her grab a dough ball, that’s been proofed and looks amazing,” McSorley said.\u003c/p>\u003c/div>",
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"content": "‘Then, you might see her start to sauce it. Then, you might see it finished, but uncooked. At the very, very end of the scene, she’ll pull out that perfect pizza.’",
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"content": "\u003cdiv class=\"post-body\">\u003cp>McSorley will then swap out that dough for another that’s been perfectly shaped.\u003c/p>\n\u003cp>“Then, you might see her start to sauce it. Then, you might see it finished, but uncooked,” she said. “At the very, very end of the scene, she’ll pull out that perfect pizza.”\u003c/p>\n\u003cp>And to make sure that shot is just right, McSorley will have three or four perfect pizzas prepped — just in case.\u003c/p>\n\u003cp>Her job depends on making sure that food looks as delicious as possible, and that it looks identical, take after take.\u003c/p>\n\u003ch2>A bizarre set of skills\u003c/h2>\n\u003cp>What’s clear is that a Hollywood food stylist needs an eclectic array of skills that go way beyond cooking.\u003c/p>\n\u003cp>First, they have to be organized. Even the simplest scene has many moving parts. One pivotal scene in the \u003ca href=\"https://www.imdb.com/title/tt2279339/\">2015 film \u003cem>Love the Coopers\u003c/em>\u003c/a>, for example, took place around a Christmas dinner table.\u003c/p>\n\u003cfigure id=\"attachment_11959571\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11959571\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/08/230830-Hollywood-Food-Stylist-LM-02-KQED.jpg\" alt=\"A woman with light-brown hair and black glasses holds a clipboard in one hand, a pen in the other, as she stands in front of a large refrigerator filled with food.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2023/08/230830-Hollywood-Food-Stylist-LM-02-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/08/230830-Hollywood-Food-Stylist-LM-02-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/08/230830-Hollywood-Food-Stylist-LM-02-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/08/230830-Hollywood-Food-Stylist-LM-02-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/08/230830-Hollywood-Food-Stylist-LM-02-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/08/230830-Hollywood-Food-Stylist-LM-02-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Food stylist Melissa McSorley checks the set refrigerator for ingredients needed for the next day’s shooting on the set of the Hulu series ‘Good Trouble.’ \u003ccite>(Lisa Morehouse/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>McSorley said the scene took nine days to shoot and in that time they went through more than 50 turkeys. There were full, perfect turkeys, turkeys staged just for carving, turkeys that fell on the floor, turkeys that the dog came too close to, and even turkeys in the oven. McSorley had to find them, buy them, store them and cook them.\u003c/p>\n\u003cp>“There were a lot of turkeys,” she said, shaking her head.\u003c/p>\n\u003cp>Second, a food stylist needs to be a nutritionist — and a problem-solver. In that same scene in \u003cem>Love the Coopers\u003c/em>, stars like Diane Keaton, John Goodman, Marisa Tomei and Alan Arkin all sat together.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“When you went around the table, there was a vegetarian who loves cheese; a vegan that also doesn’t do sugar or sugar substitutes; [and] other people who ate no carbs,” McSorley said. “You have to make sure that you’ve made something that everybody can eat.”\u003c/p>\n\u003cp>Third, food stylists are often technical advisors, making sure kitchens on set seem real to viewers. They’ll organize a fictional restaurant’s fridge according to safety regulations, with raw meat on the bottom level, not sitting on top of produce, for instance.\u003c/p>\n\u003ch2>Amplifying scenes with food\u003c/h2>\n\u003cp>“The highlights of my career are the times when I’ve been able to do something that is, like, so amplified,” McSorley said.\u003c/p>\n\u003cp>Like the time she dug into research for a period-perfect meal in \u003cem>Mad Men\u003c/em> or \u003cem>Perry Mason\u003c/em> or making food for imaginary worlds.\u003c/p>\n\u003cp>On \u003ca href=\"https://www.imdb.com/title/tt0844441/?ref_=fn_al_tt_1\">the vampire drama \u003cem>True Blood\u003c/em>\u003c/a>, McSorley’s first task was to concoct a substance worthy of the show’s title — a drink that actors could gulp down, that also looked and functioned like blood, not juice.\u003c/p>\n\u003cp>“It had to leave a trail when it went down the glass,” she said, “And so, that was a lot of fun, using a little bit of wheatgrass to give it the opaqueness that it needed, and then to add a little bit of methyl cellulose to get the viscosity that it needed.”\u003c/p>\n\u003cp>She added pomegranate-cherry juice to get the right color and to lend it a decent taste.\u003c/p>\n\u003cp>“It was like a little chemistry experiment in the kitchen,” she said.\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>McSorley also created the food seen in science-fiction shows like \u003ca href=\"https://www.imdb.com/title/tt8806524/?ref_=nv_sr_srsg_0_tt_2_nm_6_q_picard\">\u003cem>Star Trek:\u003c/em> \u003cem>Picard\u003c/em>\u003c/a> or \u003ca href=\"https://www.imdb.com/title/tt13668894/?ref_=nv_sr_srsg_0_tt_8_nm_0_q_boba%2520fett\">\u003cem>The Book of\u003c/em> \u003cem>Boba Fett\u003c/em>\u003c/a>. And that’s not as simple as it might seem.\u003c/p>\u003c/div>",
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"content": "‘I was able to work with the prop master to come up with a \u003cem>nuna\u003c/em> skeleton and skin that I could work with. Then, I filled it with turkey meat so that it looked like the meat was just coming off in layers.’",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“The food couldn’t look like anything that we’ve seen here,” McSorley said. “Was it a planet that actually had an environment: air, water to it? Was it a dry planet that maybe everything would have been from root vegetables? And then, you just figure out what exists in the edible world that you can make look like that.”\u003c/p>\n\u003cp>For one scene in \u003cem>Boba Fett\u003c/em>, McSorley helped fill a 30-foot-long table for a feast. One element was a roasted \u003cem>nuna\u003c/em>, a swamp turkey from the planet Naboo.\u003c/p>\n\u003cp>“And it was really awesome because I was able to work with the prop master to come up with a \u003cem>nuna\u003c/em> skeleton and skin that I could work with,” she said. “Then, I filled it with turkey meat so that it looked like the meat was just coming off in layers. And you really get the idea that these came from another planet.”\u003c/p>\n\u003cp>In the hands of a stylist like McSorley, food becomes a character on screen. It can help set the mood with party food, home cooking or upscale bites.\u003c/p>\n\u003cp>It can mirror the personality of a character — like a meticulous assassin who also bakes with precision. One glance at a plate and the viewer should get a sense of the person in the scene with it.\u003c/p>\n\u003cp>It takes a lot of labor to make the shimmering fantasy that Hollywood sells to the world. There are a lot of behind-the-scenes industry people like Melissa whose work is largely invisible — and they’re all feeling the impact of recent labor disputes.\u003c/p>\n\u003cp>“I guess I wish people knew that the job existed, that the food didn’t just miraculously appear on the plate,” she said.\u003c/p>\n\u003cp>\u003cem>Lisa Morehouse’s series \u003c/em>\u003ca href=\"https://californiafoodways.com/\">\u003cem>California Foodways\u003c/em>\u003c/a>\u003cem> is supported by California Humanities, a nonprofit partner of the National Endowment for the Humanities.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "SF Supes OK Bid to Remove Castro Theatre Seats to Make Way for Multiuse Entertainment Venue",
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"content": "\u003cp>San Francisco lawmakers on Tuesday approved an effort to change the seating plan in the \u003ca href=\"https://www.kqed.org/news/11942942/san-franciscos-castro-theatre-a-cultural-temple-facing-a-fight-for-its-future\">Castro Theatre\u003c/a>, marking a big win for its new managers who have sought to convert the famed movie house into a multiuse entertainment venue.\u003c/p>\n\u003cp>Although the full Board of Supervisors voted nearly unanimously to designate the interior of the legendary theater a historic landmark, it also narrowly passed an amendment allowing the orchestra-level seats to be removed.\u003c/p>\n\u003cp>The 6–4 vote in favor of the amendment — brought by Supervisor Rafael Mandelman, who represents the Castro neighborhood — deals a blow to local activists who waged a protracted fight to protect the movie-theater-style layout of the century-old cinema, and brings the venue’s management company one step closer to gutting the theater’s seats as part of a major renovation plan.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The move, however, still needs final approval from the city’s Historic Preservation Commission and could be delayed if opponents try to appeal.\u003c/p>\n\u003cp>“The Castro Theatre needs saving, but I don’t believe landmarking fixed seats is the answer,” said Supervisor Joel Engardio, who voted for the amendment. “The theater needs seating flexibility to offer all kinds of events and programs to ensure its survival.”\u003c/p>\n\u003cp>It’s the people that bring the theater to life, he added, not the physical seats.\u003c/p>\n\u003cp>“That’s why we must create spaces where a new generation can make new memories in a magnificent old building outfitted for the future,” Engardio said. “A theater completely preserved in amber and closed will not help the Castro neighborhood. A thriving theater will.”[pullquote size=\"medium\" align=\"right\" citation=\"Supervisor Joel Engardio\"]‘The Castro Theatre needs saving, but I don’t believe landmarking fixed seats is the answer. The theater needs seating flexibility to offer all kinds of events and programs to ensure its survival.’[/pullquote]But Supervisor Dean Preston, among the minority on the board opposing changes to the theater’s seating, said it didn’t make much sense to designate the inside of the venue a historic landmark but “exclude what are clearly key features.”\u003c/p>\n\u003cp>The ornate theater, which had long been known as a jewel of the local film scene and a beacon for the LGBTQ+ community, \u003ca href=\"https://www.savethecastrotheatre.org/history\">became San Francisco’s 100th historic landmark in 1977\u003c/a>, a designation that protected the building’s exterior from demolition or alteration, but did little to ensure the preservation of its interior.\u003c/p>\n\u003cp>In early 2022, less than two years after taking over management of the Castro, Another Planet Entertainment (APE), a locally owned concert production company that also operates Bill Graham Civic Auditorium and Oakland’s Fox Theater, among other venues, announced \u003ca href=\"https://www.kqed.org/arts/13908311/castro-theatre-to-become-live-music-and-events-venue-after-renovation\">major renovation plans\u003c/a> for the theater, including removing the current seating arrangement and adding tiered sections for standing-room concerts.\u003c/p>\n\u003cp>“We want to present all sorts of programming in the theater — comedy, music, film, community and private events and more,” \u003ca href=\"https://apeconcerts.com/venues/castro-theatre/\">APE said in a statement\u003c/a> at the time.\u003c/p>\n\u003cp>The local \u003ca href=\"https://www.kqed.org/arts/13917362/castro-theatre-seating-renovation-town-hall\">film community’s reaction\u003c/a> was swift and decisive, with many insisting that APE’s proposed changes would irrevocably compromise a hallowed cultural space.\u003c/p>\n\u003cp>What followed were rallies, the online #SaveTheSeats campaign, and hundreds of chain emails sent to officials demanding that the inside of the theater be designated a historic landmark to preserve the seat layout. Much of that organizing has been led by the Castro Theatre Conservancy, a nonprofit group whose \u003ca href=\"https://www.change.org/p/save-the-castro-theatre?recruiter=1268537657&recruited_by_id=648fcfe0-e8d4-11ec-9e25-21a94fd72a54&utm_source=share_petition&utm_campaign=share_petition&utm_term=39cfd884ff714a409131a02411f0f206&utm_medium=copylink&utm_content=cl_sharecopy_33613492_en-US%3A7\">petition to protect the existing seat configuration\u003c/a> as part of the theater’s historic landmark status has drawn more than 12,000 signatures.[aside postID=news_11942942 hero='https://ww2.kqed.org/app/uploads/sites/10/2023/03/RS30003_untitled-12-qut-1020x680.jpg']Changing the theater’s seating plan, the group argues on its petition site, “would undermine film presentation or price out LGBTQ+ events or the City’s many independent film festivals that call the Castro home.”\u003c/p>\n\u003cp>In February, more than 100 people — most opposed to the renovation — waited for hours to implore the city’s historic preservation commission to reject APE’s proposed changes to the theater. The \u003ca class=\"c-link\" href=\"https://citypln-m-extnl.sfgov.org/Commissions/HPC/2_1_2023/Commission%20Packet/2022-006075DES.pdf\">commission went on to recommend landmarking the theater’s interior (PDF)\u003c/a>, but left the final decision to the Board of Supervisors.\u003c/p>\n\u003cp>“We feel that as the only surviving theater of its type in the city that it should be protected from that,” said Harry Breaux, a local activist who was among a group of demonstrators on the steps of City Hall early Tuesday afternoon, ahead of the board’s vote.\u003c/p>\n\u003cp>Michael Petrelis, who has helped lead opposition to the renovation plan, says the seats are a crucial part of the theater’s history and character, and fears that if APE removes them, “then the interior is totally destroyed forever.”\u003c/p>\n\u003cp>“We will never get back the interior integrity of the Castro Theatre if Another Planet gets their way today,” Petrelis said, accusing APE of not respecting the community’s input and refusing to allow local groups to host traditional film screening events on nights when no concerts are scheduled. [pullquote size=\"medium\" align=\"right\" citation=\"David Perry, Castro Theatre spokesperson, Another Planet Entertainment\"]‘I can’t imagine the city of San Francisco, or the international gay community, without the Castro Theatre.’[/pullquote]Proponents of the renovation, however, argue the change would beneficially broaden the theater’s offering, transforming it into a more dynamic arts venue where queer film and performances could be equally showcased. Doing so, they say, would also give the financially struggling venue a fighting chance of surviving at a time when local movie theaters are shuttering at an alarming rate.\u003c/p>\n\u003cp>“I can’t imagine the city of San Francisco, or the international gay community, without the Castro Theatre,” said David Perry, the Castro Theatre spokesperson for APE. “The plan that Another Planet has put forward doesn’t lessen the iconic nature of the Castro. It increases its ability to become an icon for people to embrace for years to come.”\u003c/p>\n\u003cp>\u003cem>This story includes reporting from KQEDs Phoebe Quinton and Chris Beale.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But Supervisor Dean Preston, among the minority on the board opposing changes to the theater’s seating, said it didn’t make much sense to designate the inside of the venue a historic landmark but “exclude what are clearly key features.”\u003c/p>\n\u003cp>The ornate theater, which had long been known as a jewel of the local film scene and a beacon for the LGBTQ+ community, \u003ca href=\"https://www.savethecastrotheatre.org/history\">became San Francisco’s 100th historic landmark in 1977\u003c/a>, a designation that protected the building’s exterior from demolition or alteration, but did little to ensure the preservation of its interior.\u003c/p>\n\u003cp>In early 2022, less than two years after taking over management of the Castro, Another Planet Entertainment (APE), a locally owned concert production company that also operates Bill Graham Civic Auditorium and Oakland’s Fox Theater, among other venues, announced \u003ca href=\"https://www.kqed.org/arts/13908311/castro-theatre-to-become-live-music-and-events-venue-after-renovation\">major renovation plans\u003c/a> for the theater, including removing the current seating arrangement and adding tiered sections for standing-room concerts.\u003c/p>\n\u003cp>“We want to present all sorts of programming in the theater — comedy, music, film, community and private events and more,” \u003ca href=\"https://apeconcerts.com/venues/castro-theatre/\">APE said in a statement\u003c/a> at the time.\u003c/p>\n\u003cp>The local \u003ca href=\"https://www.kqed.org/arts/13917362/castro-theatre-seating-renovation-town-hall\">film community’s reaction\u003c/a> was swift and decisive, with many insisting that APE’s proposed changes would irrevocably compromise a hallowed cultural space.\u003c/p>\n\u003cp>What followed were rallies, the online #SaveTheSeats campaign, and hundreds of chain emails sent to officials demanding that the inside of the theater be designated a historic landmark to preserve the seat layout. Much of that organizing has been led by the Castro Theatre Conservancy, a nonprofit group whose \u003ca href=\"https://www.change.org/p/save-the-castro-theatre?recruiter=1268537657&recruited_by_id=648fcfe0-e8d4-11ec-9e25-21a94fd72a54&utm_source=share_petition&utm_campaign=share_petition&utm_term=39cfd884ff714a409131a02411f0f206&utm_medium=copylink&utm_content=cl_sharecopy_33613492_en-US%3A7\">petition to protect the existing seat configuration\u003c/a> as part of the theater’s historic landmark status has drawn more than 12,000 signatures.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Changing the theater’s seating plan, the group argues on its petition site, “would undermine film presentation or price out LGBTQ+ events or the City’s many independent film festivals that call the Castro home.”\u003c/p>\n\u003cp>In February, more than 100 people — most opposed to the renovation — waited for hours to implore the city’s historic preservation commission to reject APE’s proposed changes to the theater. The \u003ca class=\"c-link\" href=\"https://citypln-m-extnl.sfgov.org/Commissions/HPC/2_1_2023/Commission%20Packet/2022-006075DES.pdf\">commission went on to recommend landmarking the theater’s interior (PDF)\u003c/a>, but left the final decision to the Board of Supervisors.\u003c/p>\n\u003cp>“We feel that as the only surviving theater of its type in the city that it should be protected from that,” said Harry Breaux, a local activist who was among a group of demonstrators on the steps of City Hall early Tuesday afternoon, ahead of the board’s vote.\u003c/p>\n\u003cp>Michael Petrelis, who has helped lead opposition to the renovation plan, says the seats are a crucial part of the theater’s history and character, and fears that if APE removes them, “then the interior is totally destroyed forever.”\u003c/p>\n\u003cp>“We will never get back the interior integrity of the Castro Theatre if Another Planet gets their way today,” Petrelis said, accusing APE of not respecting the community’s input and refusing to allow local groups to host traditional film screening events on nights when no concerts are scheduled. \u003c/p>\u003c/div>",
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"content": "‘I can’t imagine the city of San Francisco, or the international gay community, without the Castro Theatre.’",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Proponents of the renovation, however, argue the change would beneficially broaden the theater’s offering, transforming it into a more dynamic arts venue where queer film and performances could be equally showcased. Doing so, they say, would also give the financially struggling venue a fighting chance of surviving at a time when local movie theaters are shuttering at an alarming rate.\u003c/p>\n\u003cp>“I can’t imagine the city of San Francisco, or the international gay community, without the Castro Theatre,” said David Perry, the Castro Theatre spokesperson for APE. “The plan that Another Planet has put forward doesn’t lessen the iconic nature of the Castro. It increases its ability to become an icon for people to embrace for years to come.”\u003c/p>\n\u003cp>\u003cem>This story includes reporting from KQEDs Phoebe Quinton and Chris Beale.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"disqusTitle": "'Everyone Was in Tears': Your Memories of Movies, Joy and Community at the Castro Theatre",
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"content": "\u003cp>There are big changes ahead for San Francisco’s legendary Castro Theatre.\u003c/p>\n\u003cp>Live music promoters \u003ca href=\"https://www.kqed.org/arts/13917362/castro-theatre-seating-renovation-town-hall\">Another Planet Entertainment have announced plans to renovate the venue\u003c/a>, part of which includes removing many of the theater’s iconic red velvet chairs. \u003ca href=\"https://www.kqed.org/arts/13917362/castro-theatre-seating-renovation-town-hall\">Read more about this complex saga from KQED Arts & Culture.\u003c/a>\u003c/p>\n\u003cp>Regardless of what the future holds, it’s the end of an era for the beloved Castro Theatre. So we wanted to create a space to highlight some of your memories.\u003c/p>\n\u003cp>We asked you: \u003ca href=\"https://www.kqed.org/arts/13917362/castro-theatre-seating-renovation-town-hall#castrotheatre\">What was your most memorable experience at the Castro?\u003c/a> From first dates and childhood memories to unforgettable movies and an overwhelming sense of community, you delivered.\u003c/p>\n\u003cp>Read on for some of the stories you sent us. And if you didn't get the chance to share your own memories and you want to do so, you can still \u003ca href=\"#castrotheatre\">send us your thoughts on the Castro Theatre here\u003c/a>.\u003c/p>\n\u003cp>\u003cem>These submissions have been lightly edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>Worked at the Castro from 1983-1986. Most memorable experience? \u003cstrong>Getting married on the mezzanine level in August 1986.\u003c/strong> Being broke, I approached my manager about getting married in the theater. He agreed as long as we were done before the Saturday matinee. — \u003cem>Linda Absher\u003c/em>\u003cspan style=\"font-weight: 400\">[aside postID=arts_13917362 hero='https://ww2.kqed.org/app/uploads/sites/2/2022/08/Castro.MAIN_-1020x680.jpg']\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>Hayao Miyazaki’s \"Spirited Away\" at the Castro was the most amazing movie experience of my life.\u003c/strong> The energy was incredible, and I remember how Japanese speakers were laughing before people reading the subtitles caught up. A representative of Studio Ghibli was there, I think it was \u003ca href=\"https://en.wikipedia.org/wiki/Toshio_Suzuki_(producer)\">[Toshio] Suzuki\u003c/a>, and I hope he went back and told Miyazaki how much the audience loved his film. — \u003cem>Anonymous\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\"Fantasia,\" 1979. The organist played first, then the movie started, and my date brought out a joint!\u003c/strong> I had never tried marijuana before — I am sure that this \"altered\" my movie experience! — \u003cem>Anonymous \u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11922228\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11922228\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/08/015_KQED_CastroTheatreInterior_08102022.jpg\" alt=\"Rows of red velvet seats in a dimmed theater.\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/08/015_KQED_CastroTheatreInterior_08102022.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/015_KQED_CastroTheatreInterior_08102022-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/015_KQED_CastroTheatreInterior_08102022-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/015_KQED_CastroTheatreInterior_08102022-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/015_KQED_CastroTheatreInterior_08102022-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The interior of the Castro Theatre in San Francisco on Aug. 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I've spent so many nights at the Castro over the decades, but one of the most memorable was a screening of \"Milk.\" Cleve Jones was there along with others from the production and those who informed it. Those of us who remembered Harvey Milk were in the audience wondering whether the Sean Penn portrayal would fit.\u003c/p>\n\u003cp>Toward the end of the film, there was a scene showing the candlelight march after the assassination moving down Market St. from the Castro.\u003cstrong> Everyone in the theater was in tears. Including myself.\u003c/strong>\u003c/p>\n\u003cp>A room full of strangers together in that space, feeling the same emotions. The Castro Theatre was the center of our experience. \u003cstrong>It was a moment for our community and in our lives that I will never forget.\u003c/strong> — \u003cem>Fred Bove\u003c/em>\u003c/p>\n\u003cp>When the \"Blade Runner\" director's cut [1992] came out, I went alone to see it at the Castro. Rain was just starting when I went into the red-and-gold, well-loved, slightly shabby Art Deco interior. I'd seen the original release and a couple of video versions; this cut's subtle changes made it that much more enthralling.\u003c/p>\n\u003cp>My head full of neon and rain, and the Bradbury building where Roy and Pris met their ends, I walked out of the theater to find the sky opened and pouring, light and reflections everywhere, water coursing down my trench coat as I walked up Castro Street. \u003cstrong>My favorite moment of immersive cinema ever.\u003c/strong> — \u003cem>Alana Dill\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11922667\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11922667\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57446_003_KQEDArts_CastroTheatre_07282022-qut.jpg\" alt=\"The frontage of the Castro Theatre, shot from a low angle below.\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57446_003_KQEDArts_CastroTheatre_07282022-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57446_003_KQEDArts_CastroTheatre_07282022-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57446_003_KQEDArts_CastroTheatre_07282022-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57446_003_KQEDArts_CastroTheatre_07282022-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57446_003_KQEDArts_CastroTheatre_07282022-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Castro Theatre in San Francisco's Castro District on July 28, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the 1970s and '80s it was wondrous to sit in the Castro Theatre, enjoy the Art Deco artistry and listen to the organ player before the retro movies began. \u003cstrong>Most of all we relished the feeling of what it must have been like in gone-by eras. \u003c/strong>Seeing the stage intact below the screen, even though the stage was no longer used, allowed me to imagine what a burlesque hall must have felt like, and how audiences during the early days of film must have felt, experiencing the transition from burlesque to film entertainment.\u003c/p>\n\u003cp>In our current era we are transitioning yet again, but if we were to radically change the Castro Theatre we would never be able to truly preserve the full legacy of showbiz and we couldn’t physically relive its former eras. \u003cstrong>If the theater can’t be profitable, let’s establish a fund to subsidize it as we would any important museum or archive.\u003c/strong> — \u003cem>Marti Schoen\u003c/em>\u003c/p>\n\u003cp>Well. \u003cstrong>I don't remember which movie it was but I had sex in the balcony once, which I feel quite proud of now!\u003c/strong> Favorite movie experience was probably \"Wuthering Heights.\" And of course many rounds of Frameline. — \u003cem>Anonymous\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11922668\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11922668\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57670_014_KQED_CastroTheatreInterior_08102022-qut.jpg\" alt=\"The proscenium of the Castro Theatre, shot from below. The lighting is purple and gold.\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57670_014_KQED_CastroTheatreInterior_08102022-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57670_014_KQED_CastroTheatreInterior_08102022-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57670_014_KQED_CastroTheatreInterior_08102022-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57670_014_KQED_CastroTheatreInterior_08102022-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57670_014_KQED_CastroTheatreInterior_08102022-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The proscenium of the Castro Theatre in San Francisco on Aug. 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a kid growing up in the Castro (born in 1944) my wife spent Saturday in the theater. Twenty cents to get in, a nickel for candy and two movies, newsreel, serial, cartoons. \u003cstrong>A day’s worth of entertainment. Family nights in the balcony. Lots of memories, all good.\u003c/strong> — \u003cem>Rose Shuck \u003c/em>\u003c/p>\n\u003cp>Highlight: \"Nights of Cabiria,\" the great Fellini movie, with a beautiful print, maybe eight years ago. \u003cstrong>The whole, packed-house audience almost held its breath at the ending.\u003c/strong>\u003c/p>\n\u003cp>Community moments: Lost Landscapes of San Francisco. The first \"BAHFest\" (Bad Ad Hoc Hypotheses) in a science festival. Realizing in an \"aha!\" moment that the Jewish Film Festival was where I would run into \u003cem>all\u003c/em> my Jewish acquaintances and friends if I attended enough shows. — \u003cem>David Grosof\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Watching \"Miracle on 34th Street\" with a sold-out crowd of movie lovers.\u003c/strong> The way everyone booed the evil company psychiatrist, then the place erupted in cheers when the bags of letters to Santa were poured out on the judge’s desk!\u003c/p>\n\u003cp>I have been to rock concerts and weddings and whatever else they are thinking this absolutely historic movie theater will be used for, and \u003cstrong>I have never experienced a thrill like it or a greater sense of shared joy.\u003c/strong> This place is the heart of a great community and if they tear it up it will be a travesty. — \u003cem>Anonymous\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11922669\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11922669\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57731_013_KQED_CastroTheatreTownHall_08112022-qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57731_013_KQED_CastroTheatreTownHall_08112022-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57731_013_KQED_CastroTheatreTownHall_08112022-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57731_013_KQED_CastroTheatreTownHall_08112022-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57731_013_KQED_CastroTheatreTownHall_08112022-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57731_013_KQED_CastroTheatreTownHall_08112022-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Attendees pick up free sodas and popcorn before the town hall to discuss planned renovations at the theater on Aug. 11, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first feature film I produced premiered at the Castro as part of the Frameline Film Festival. \u003cstrong>I will never forget my excitement as I watched the historic venue fill up with strangers coming to see my movie.\u003c/strong> My heart fills with joy thinking about it. — \u003cem>Ashley Hillis \u003c/em>\u003c/p>\n\u003cp>It was around 1992 and I had just begun a fiery relationship with a woman living in Oakland, while I was living in Berkeley. We met at the Castro Muni station and went to the theater to see the animated film version of \"Fritz the Cat,\" based on R. Crumb's comic strip.\u003c/p>\n\u003cp>\u003cstrong>It was my first time to the Castro Theatre and its breathtaking grandeur was matched by my ecstatic joy from having just fallen in love.\u003c/strong> Frankly, I remember almost nothing from the movie, but the way the theater was so romantic and such a conducive environment for us cuddling in our bliss is indelibly etched on my mind. That romance didn't last the summer, but even 30 years later I remember the magnificence of the Castro Theatre like it was yesterday. — \u003cem>Gifford Hartman \u003c/em>\u003c/p>\n\u003cp>Several years back, there was a minister in Oakland that announced the end of the world was on a certain upcoming date. Said date fell on the screening of George Cukor’s \"The Women\" at the Castro.\u003c/p>\n\u003cp>\u003cstrong>I thought to myself, \"If indeed it is the end of the world, I can think of no better place to be with my LGBT folk.\"\u003c/strong> — \u003cem>Carlos Chavarin\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11922670\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11922670\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57764_039_KQED_CastroTheatreTownHall_08112022-qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57764_039_KQED_CastroTheatreTownHall_08112022-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57764_039_KQED_CastroTheatreTownHall_08112022-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57764_039_KQED_CastroTheatreTownHall_08112022-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57764_039_KQED_CastroTheatreTownHall_08112022-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57764_039_KQED_CastroTheatreTownHall_08112022-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A group who identified themselves as queer youth from the Castro wear shirts that spell out 'Save the Seats' during a town hall meeting about planned renovations by Another Planet Entertainment at the theater on Aug. 11, 2022. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca id=\"castrotheatre\">\u003c/a>Share your own thoughts\u003c/h2>\n\u003cp>[hearken id=\"9857\" src=\"https://modules.wearehearken.com/kqed/embed/9857.js\"]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are big changes ahead for San Francisco’s legendary Castro Theatre.\u003c/p>\n\u003cp>Live music promoters \u003ca href=\"https://www.kqed.org/arts/13917362/castro-theatre-seating-renovation-town-hall\">Another Planet Entertainment have announced plans to renovate the venue\u003c/a>, part of which includes removing many of the theater’s iconic red velvet chairs. \u003ca href=\"https://www.kqed.org/arts/13917362/castro-theatre-seating-renovation-town-hall\">Read more about this complex saga from KQED Arts & Culture.\u003c/a>\u003c/p>\n\u003cp>Regardless of what the future holds, it’s the end of an era for the beloved Castro Theatre. So we wanted to create a space to highlight some of your memories.\u003c/p>\n\u003cp>We asked you: \u003ca href=\"https://www.kqed.org/arts/13917362/castro-theatre-seating-renovation-town-hall#castrotheatre\">What was your most memorable experience at the Castro?\u003c/a> From first dates and childhood memories to unforgettable movies and an overwhelming sense of community, you delivered.\u003c/p>\n\u003cp>Read on for some of the stories you sent us. And if you didn't get the chance to share your own memories and you want to do so, you can still \u003ca href=\"#castrotheatre\">send us your thoughts on the Castro Theatre here\u003c/a>.\u003c/p>\n\u003cp>\u003cem>These submissions have been lightly edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>Worked at the Castro from 1983-1986. Most memorable experience? \u003cstrong>Getting married on the mezzanine level in August 1986.\u003c/strong> Being broke, I approached my manager about getting married in the theater. He agreed as long as we were done before the Saturday matinee. — \u003cem>Linda Absher\u003c/em>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>Hayao Miyazaki’s \"Spirited Away\" at the Castro was the most amazing movie experience of my life.\u003c/strong> The energy was incredible, and I remember how Japanese speakers were laughing before people reading the subtitles caught up. A representative of Studio Ghibli was there, I think it was \u003ca href=\"https://en.wikipedia.org/wiki/Toshio_Suzuki_(producer)\">[Toshio] Suzuki\u003c/a>, and I hope he went back and told Miyazaki how much the audience loved his film. — \u003cem>Anonymous\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\"Fantasia,\" 1979. The organist played first, then the movie started, and my date brought out a joint!\u003c/strong> I had never tried marijuana before — I am sure that this \"altered\" my movie experience! — \u003cem>Anonymous \u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11922228\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11922228\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/08/015_KQED_CastroTheatreInterior_08102022.jpg\" alt=\"Rows of red velvet seats in a dimmed theater.\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/08/015_KQED_CastroTheatreInterior_08102022.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/015_KQED_CastroTheatreInterior_08102022-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/015_KQED_CastroTheatreInterior_08102022-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/015_KQED_CastroTheatreInterior_08102022-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/015_KQED_CastroTheatreInterior_08102022-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The interior of the Castro Theatre in San Francisco on Aug. 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I've spent so many nights at the Castro over the decades, but one of the most memorable was a screening of \"Milk.\" Cleve Jones was there along with others from the production and those who informed it. Those of us who remembered Harvey Milk were in the audience wondering whether the Sean Penn portrayal would fit.\u003c/p>\n\u003cp>Toward the end of the film, there was a scene showing the candlelight march after the assassination moving down Market St. from the Castro.\u003cstrong> Everyone in the theater was in tears. Including myself.\u003c/strong>\u003c/p>\n\u003cp>A room full of strangers together in that space, feeling the same emotions. The Castro Theatre was the center of our experience. \u003cstrong>It was a moment for our community and in our lives that I will never forget.\u003c/strong> — \u003cem>Fred Bove\u003c/em>\u003c/p>\n\u003cp>When the \"Blade Runner\" director's cut [1992] came out, I went alone to see it at the Castro. Rain was just starting when I went into the red-and-gold, well-loved, slightly shabby Art Deco interior. I'd seen the original release and a couple of video versions; this cut's subtle changes made it that much more enthralling.\u003c/p>\n\u003cp>My head full of neon and rain, and the Bradbury building where Roy and Pris met their ends, I walked out of the theater to find the sky opened and pouring, light and reflections everywhere, water coursing down my trench coat as I walked up Castro Street. \u003cstrong>My favorite moment of immersive cinema ever.\u003c/strong> — \u003cem>Alana Dill\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11922667\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11922667\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57446_003_KQEDArts_CastroTheatre_07282022-qut.jpg\" alt=\"The frontage of the Castro Theatre, shot from a low angle below.\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57446_003_KQEDArts_CastroTheatre_07282022-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57446_003_KQEDArts_CastroTheatre_07282022-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57446_003_KQEDArts_CastroTheatre_07282022-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57446_003_KQEDArts_CastroTheatre_07282022-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57446_003_KQEDArts_CastroTheatre_07282022-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Castro Theatre in San Francisco's Castro District on July 28, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the 1970s and '80s it was wondrous to sit in the Castro Theatre, enjoy the Art Deco artistry and listen to the organ player before the retro movies began. \u003cstrong>Most of all we relished the feeling of what it must have been like in gone-by eras. \u003c/strong>Seeing the stage intact below the screen, even though the stage was no longer used, allowed me to imagine what a burlesque hall must have felt like, and how audiences during the early days of film must have felt, experiencing the transition from burlesque to film entertainment.\u003c/p>\n\u003cp>In our current era we are transitioning yet again, but if we were to radically change the Castro Theatre we would never be able to truly preserve the full legacy of showbiz and we couldn’t physically relive its former eras. \u003cstrong>If the theater can’t be profitable, let’s establish a fund to subsidize it as we would any important museum or archive.\u003c/strong> — \u003cem>Marti Schoen\u003c/em>\u003c/p>\n\u003cp>Well. \u003cstrong>I don't remember which movie it was but I had sex in the balcony once, which I feel quite proud of now!\u003c/strong> Favorite movie experience was probably \"Wuthering Heights.\" And of course many rounds of Frameline. — \u003cem>Anonymous\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11922668\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11922668\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57670_014_KQED_CastroTheatreInterior_08102022-qut.jpg\" alt=\"The proscenium of the Castro Theatre, shot from below. The lighting is purple and gold.\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57670_014_KQED_CastroTheatreInterior_08102022-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57670_014_KQED_CastroTheatreInterior_08102022-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57670_014_KQED_CastroTheatreInterior_08102022-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57670_014_KQED_CastroTheatreInterior_08102022-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57670_014_KQED_CastroTheatreInterior_08102022-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The proscenium of the Castro Theatre in San Francisco on Aug. 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a kid growing up in the Castro (born in 1944) my wife spent Saturday in the theater. Twenty cents to get in, a nickel for candy and two movies, newsreel, serial, cartoons. \u003cstrong>A day’s worth of entertainment. Family nights in the balcony. Lots of memories, all good.\u003c/strong> — \u003cem>Rose Shuck \u003c/em>\u003c/p>\n\u003cp>Highlight: \"Nights of Cabiria,\" the great Fellini movie, with a beautiful print, maybe eight years ago. \u003cstrong>The whole, packed-house audience almost held its breath at the ending.\u003c/strong>\u003c/p>\n\u003cp>Community moments: Lost Landscapes of San Francisco. The first \"BAHFest\" (Bad Ad Hoc Hypotheses) in a science festival. Realizing in an \"aha!\" moment that the Jewish Film Festival was where I would run into \u003cem>all\u003c/em> my Jewish acquaintances and friends if I attended enough shows. — \u003cem>David Grosof\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Watching \"Miracle on 34th Street\" with a sold-out crowd of movie lovers.\u003c/strong> The way everyone booed the evil company psychiatrist, then the place erupted in cheers when the bags of letters to Santa were poured out on the judge’s desk!\u003c/p>\n\u003cp>I have been to rock concerts and weddings and whatever else they are thinking this absolutely historic movie theater will be used for, and \u003cstrong>I have never experienced a thrill like it or a greater sense of shared joy.\u003c/strong> This place is the heart of a great community and if they tear it up it will be a travesty. — \u003cem>Anonymous\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11922669\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11922669\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57731_013_KQED_CastroTheatreTownHall_08112022-qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57731_013_KQED_CastroTheatreTownHall_08112022-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57731_013_KQED_CastroTheatreTownHall_08112022-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57731_013_KQED_CastroTheatreTownHall_08112022-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57731_013_KQED_CastroTheatreTownHall_08112022-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57731_013_KQED_CastroTheatreTownHall_08112022-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Attendees pick up free sodas and popcorn before the town hall to discuss planned renovations at the theater on Aug. 11, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first feature film I produced premiered at the Castro as part of the Frameline Film Festival. \u003cstrong>I will never forget my excitement as I watched the historic venue fill up with strangers coming to see my movie.\u003c/strong> My heart fills with joy thinking about it. — \u003cem>Ashley Hillis \u003c/em>\u003c/p>\n\u003cp>It was around 1992 and I had just begun a fiery relationship with a woman living in Oakland, while I was living in Berkeley. We met at the Castro Muni station and went to the theater to see the animated film version of \"Fritz the Cat,\" based on R. Crumb's comic strip.\u003c/p>\n\u003cp>\u003cstrong>It was my first time to the Castro Theatre and its breathtaking grandeur was matched by my ecstatic joy from having just fallen in love.\u003c/strong> Frankly, I remember almost nothing from the movie, but the way the theater was so romantic and such a conducive environment for us cuddling in our bliss is indelibly etched on my mind. That romance didn't last the summer, but even 30 years later I remember the magnificence of the Castro Theatre like it was yesterday. — \u003cem>Gifford Hartman \u003c/em>\u003c/p>\n\u003cp>Several years back, there was a minister in Oakland that announced the end of the world was on a certain upcoming date. Said date fell on the screening of George Cukor’s \"The Women\" at the Castro.\u003c/p>\n\u003cp>\u003cstrong>I thought to myself, \"If indeed it is the end of the world, I can think of no better place to be with my LGBT folk.\"\u003c/strong> — \u003cem>Carlos Chavarin\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11922670\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11922670\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57764_039_KQED_CastroTheatreTownHall_08112022-qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57764_039_KQED_CastroTheatreTownHall_08112022-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57764_039_KQED_CastroTheatreTownHall_08112022-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57764_039_KQED_CastroTheatreTownHall_08112022-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57764_039_KQED_CastroTheatreTownHall_08112022-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57764_039_KQED_CastroTheatreTownHall_08112022-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A group who identified themselves as queer youth from the Castro wear shirts that spell out 'Save the Seats' during a town hall meeting about planned renovations by Another Planet Entertainment at the theater on Aug. 11, 2022. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca id=\"castrotheatre\">\u003c/a>Share your own thoughts\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "a-lot-of-trust-was-lost-what-losing-its-only-hospital-meant-to-an-east-bay-community",
"title": "'A Lot of Trust Was Lost': What Losing its Only Hospital Meant to an East Bay Community",
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"headTitle": "‘A Lot of Trust Was Lost’: What Losing its Only Hospital Meant to an East Bay Community | KQED",
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"content": "\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/trulyca/3185/bay-area-hospital-closure-impacted-explored-in-documentary-the-desert\" target=\"_blank\" rel=\"noopener noreferrer\">“The Desert”\u003c/a>, a documentary film recently released as part of \u003ca href=\"https://www.kqed.org/trulyca\" target=\"_blank\" rel=\"noopener noreferrer\">KQED’s Truly CA\u003c/a> series, looks at the ripple effects in a community after a hospital closes. Doctors Medical Center operated for 60 years, serving western Contra Costa County from its location in San Pablo, north of Richmond in the East Bay.\u003c/em>\u003c/p>\n\u003cp>\u003cem>When it \u003ca href=\"https://www.kqed.org/stateofhealth/24993/san-pablos-doctors-medical-center-to-close-tuesday\">closed in 2015\u003c/a>, after failing to bridge a stubborn $18-20 million annual deficit, it left nearly 250,000 mostly low-income residents more than a half-hour drive away from the closest hospital.\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"#film\">The film\u003c/a> was produced and directed by Bo Kovitz, who spoke with The California Report Magazine. Interview excerpts have been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11830990\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11830990\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS44121_Kovitz_Headshot-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/RS44121_Kovitz_Headshot-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/RS44121_Kovitz_Headshot-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/RS44121_Kovitz_Headshot-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/RS44121_Kovitz_Headshot-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/RS44121_Kovitz_Headshot-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bo Kovitz produced and directed ‘The Desert’ as her thesis film while at UC Berkeley’s Graduate School of Journalism. \u003ccite>(Courtesy of Bo Kovitz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cstrong>On what inspired her to make the film\u003c/strong>\u003c/h3>\n\u003cp>I had gone to a public forum about the planned closure of Alta Bates Summit Medical Center in South Berkeley. And there was a lot of discussion at the time about how we would lose another emergency room on a critical corridor of the Bay Area. There was reference to a hospital that had already closed in Richmond. It was sort of glossed over. It really piqued my interest.\u003c/p>\n\u003cp>We really take for granted this idea that we all have a hospital in our neighborhood. I thought, what does it look like to live in a community where there isn’t a hospital? I approached this wanting to hear from the doctors, the frontline workers, the patients, about what the tragedy was. They were never quite heard. And I wanted them to drive this story. I wanted them to be the storytellers.\u003c/p>\n\u003cp>I felt that the reporting and the knowledge around the closure of Doctors Medical Center was never really in the hands of the people who were living and breathing the impacts of what happened.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003ch3>\u003cstrong>On following patients who must plan a whole day around a hospital visit\u003c/strong>\u003c/h3>\n\u003cp>I think there’s been a lot of focus about the loss of (Doctors Medical Center) through the prism of emergency services and not having an emergency room in West Contra Costa County. But there’s another enormous deficit, which is specialty care.\u003c/p>\n\u003cp>There was a cancer center at Doctors Medical Center. Epigmenio Mayo and Angelica Lopez are a couple, both battling cancer. At the time the film was shot, they regularly made a trip where they would take three different buses to get to the county hospital in Martinez, where both of them were receiving cancer treatment. For them, this trip is an absolute necessity, but it’s something that they have to plan their entire day around. They are winded by the time they even show up to their appointments.\u003c/p>\n\u003cp>By the end of the film, the sun is already set. It’s a full day trip. They’ve talked a lot about how there’s no other option. As they say in the film, they prepare their minds and bodies for the trip because they know they have to take it. This is how they survive.\u003c/p>\n\u003cfigure id=\"attachment_11830987\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11830987 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS44118_desert_03-qut-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/RS44118_desert_03-qut-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/RS44118_desert_03-qut-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/RS44118_desert_03-qut-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/RS44118_desert_03-qut-912x912.jpg 912w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/RS44118_desert_03-qut-550x550.jpg 550w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/RS44118_desert_03-qut-470x470.jpg 470w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/RS44118_desert_03-qut.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Epigmenio Mayo and Angelica Lopez ride three buses to get to the hospital for their cancer treatment. \u003ccite>(Bo Kovitz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cstrong>On the urgent care clinic now across the street from the former Doctors Medical Center site\u003c/strong>\u003c/h3>\n\u003cp>They’re serving the same population with just a quarter of the staff.\u003c/p>\n\u003cp>People like Millie Callen worked at Doctors Medical Center for more than a decade. She was one of the coordinators in the E.R., which is one of the most important roles. She’s making sure that everything’s moving smoothly, bringing people in, bouncing them to their doctors, making sure their insurance is covered.\u003c/p>\n\u003cp>Even before the hospital closed, Millie was caring for her own loved ones and understood the before and after of what it’s like to lose a hospital. Her mother has a heart condition. The urgent care where Millie now works is much busier with the spike of COVID-19 cases.\u003c/p>\n\u003cfigure id=\"attachment_11831438\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2020/07/desert_still_06-copy.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11831438\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/07/desert_still_06-copy-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/desert_still_06-copy-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/desert_still_06-copy-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/desert_still_06-copy-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/desert_still_06-copy-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/desert_still_06-copy.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Millie Callen worked at Doctors Medical Center, and now works at the urgent care clinic across the street from the former hospital site. \u003ccite>(Courtesy of Bo Kovits)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For a while, they were one of the few locations that were doing COVID-19 testing. Not only are they answering a lot of patients needing primary care, but they are also dealing with an additional load of patients who were experiencing or showing symptoms of COVID-19. And then there’s that added stress of how do we sequester that person away from the rest of our patients? They had set up a tent in the back parking lot and they were running back and forth.\u003c/p>\n\u003ch3>\u003cstrong>On the firefighters and paramedics she follows in the film\u003c/strong>\u003c/h3>\n\u003cp>There isn’t a Richmond paramedic company. There’s no West Contra Costa County paramedic company. So the firefighters take on the role of being the first to arrive on scene. Firefighters can get on scene, but they’re limited in what they can do because in certain advanced or complicated cases, the ambulance and the paramedics are the ones who need to show up and then transport the person and have specialty training.\u003c/p>\n\u003cp>There are times of the day where highways are really, really congested. Wait times for the paramedics to show up can be up to 30 minutes depending on the day. And then those paramedics are often forced to transport patients outside the city or county for care.\u003c/p>\n\u003cfigure id=\"attachment_11831441\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2020/07/desert_04-wide.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11831441\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/07/desert_04-wide-800x419.jpg\" alt=\"\" width=\"800\" height=\"419\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/desert_04-wide-800x419.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/desert_04-wide-1020x534.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/desert_04-wide-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/desert_04-wide-1536x804.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/desert_04-wide.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Trevor Rogers and his fellow firefighters often care for critically ill patients — many of their calls are for health care emergencies, not fires.\u003c/figcaption>\u003c/figure>\n\u003cp>One of the paramedics that I had the opportunity to film with is Aimee Skaggs, and she has been in the community for years. She was around when Doctors Medical Center was there and brought a lot of patients there.\u003c/p>\n\u003cp>Aimee describes something that I think is unique to low income communities where 911 calls are really treated as primary care. Emergency responders are the ones who essentially are doing triage on the spot. They are having to navigate so many different layers of what it means to make the best decision for a patient.\u003c/p>\n\u003cp>It’s more than just ‘what’s the closest hospital?’ It’s ‘what makes the most financial sense? Where is going to be the closest place that the family can come without it being a hassle?’ And in cases where the issue is something really time-sensitive, paramedics like Aimee have to bring in another dimension to the decision making: how to get them somewhere fast when highways are clogged.\u003c/p>\n\u003cp>Some hospitals may not take them. Where do they go that is not going to also leave the patient riddled with hospital bills in the aftermath? [pullquote size=\"medium\" align=\"right\" citation=\"— Trevor Rogers, firefighter medic\"]‘If we happen to have three calls and there are three critical patients that need critical care, now you have three ambulances that are outside of our city… And that essentially depletes the city of our resources.’[/pullquote]\u003c/p>\n\u003ch3>\u003cstrong>On how hospital closures are playing out throughout the state\u003c/strong>\u003c/h3>\n\u003cp>There are more hospital closures that are happening in California. They’re mostly in rural communities.\u003c/p>\n\u003cp>I think the closure of Doctors Medical Center represents an accelerating trend in urban communities. Regions that are concentrated areas for Medi-Cal, Medicare or uninsured patients are losing hospitals because hospitals and ERs are trying to consolidate in urban centers where there are more privately insured patients.\u003c/p>\n\u003ch3>\u003cstrong>On the burden of shouldering COVID-19 patients now that the hospital has closed\u003c/strong>\u003c/h3>\n\u003cp>Right now, Bay Area hospitals haven’t been overwhelmed so far with COVID-19 cases — which is lucky. But if things were to get really over the top, I think people will wish Doctors Medical Center was there. There’s definitely concern about capacity. There’s also a concern that many people — especially those with chronic illnesses like diabetes, hypertension or asthma — may not be getting seen for illnesses that need to be managed right now.\u003c/p>\n\u003cp>We may never know how many people are in West Contra Costa County who may have died, who did not seek emergency care or did not seek health care, because they were afraid of being exposed to COVID-19.\u003c/p>\n\u003cp>When Doctors Medical Center closed, a lot of trust was lost among the community. A community that has historically been marginalized from the health care system now feels further marginalized because they lost a resource. They lost an institution that represented a lot of trust in the system.\u003c/p>\n\u003cp>I spoke about this with the ambulatory director at the county hospital in Martinez, Dr. Gabriela Sullivan. She says that health care is often left with the job of trying to plug all these holes that are in the social fabric of our country. And that if we are trying to leave social issues on the doorstep of health care, that’s a recipe for failure. A lot of people in the years leading up to the hospital closure said it will take a public health crisis of extreme proportions to reveal how essential Doctors Medical Center and other safety net hospitals are.\u003c/p>\n\u003cp>I think with this pandemic, it’s not just that Black and brown communities are dying and are more impacted. There’s also going to be a downstream increase of morbidity and mortality for years to come. There is a real worry that they’re holding back the dams right now in terms of acute care. The realities of the disparity are going to last far beyond this pandemic.\u003c/p>\n\u003cp>\u003cem>\u003ca id=\"film\">\u003c/a>Watch the full documentary here:\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1bjKcfSmVxU\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "'The Desert' documentary reveals the physical and mental ripple effects on West Contra Costa County when Doctors Medical Center, the only hospital for 15 miles, shut down in 2015.",
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"title": "'A Lot of Trust Was Lost': What Losing its Only Hospital Meant to an East Bay Community | KQED",
"description": "'The Desert' documentary reveals the physical and mental ripple effects on West Contra Costa County when Doctors Medical Center, the only hospital for 15 miles, shut down in 2015.",
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"headline": "'A Lot of Trust Was Lost': What Losing its Only Hospital Meant to an East Bay Community",
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"source": "The California Report Magazine",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/trulyca/3185/bay-area-hospital-closure-impacted-explored-in-documentary-the-desert\" target=\"_blank\" rel=\"noopener noreferrer\">“The Desert”\u003c/a>, a documentary film recently released as part of \u003ca href=\"https://www.kqed.org/trulyca\" target=\"_blank\" rel=\"noopener noreferrer\">KQED’s Truly CA\u003c/a> series, looks at the ripple effects in a community after a hospital closes. Doctors Medical Center operated for 60 years, serving western Contra Costa County from its location in San Pablo, north of Richmond in the East Bay.\u003c/em>\u003c/p>\n\u003cp>\u003cem>When it \u003ca href=\"https://www.kqed.org/stateofhealth/24993/san-pablos-doctors-medical-center-to-close-tuesday\">closed in 2015\u003c/a>, after failing to bridge a stubborn $18-20 million annual deficit, it left nearly 250,000 mostly low-income residents more than a half-hour drive away from the closest hospital.\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"#film\">The film\u003c/a> was produced and directed by Bo Kovitz, who spoke with The California Report Magazine. Interview excerpts have been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11830990\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11830990\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS44121_Kovitz_Headshot-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/RS44121_Kovitz_Headshot-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/RS44121_Kovitz_Headshot-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/RS44121_Kovitz_Headshot-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/RS44121_Kovitz_Headshot-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/RS44121_Kovitz_Headshot-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bo Kovitz produced and directed ‘The Desert’ as her thesis film while at UC Berkeley’s Graduate School of Journalism. \u003ccite>(Courtesy of Bo Kovitz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cstrong>On what inspired her to make the film\u003c/strong>\u003c/h3>\n\u003cp>I had gone to a public forum about the planned closure of Alta Bates Summit Medical Center in South Berkeley. And there was a lot of discussion at the time about how we would lose another emergency room on a critical corridor of the Bay Area. There was reference to a hospital that had already closed in Richmond. It was sort of glossed over. It really piqued my interest.\u003c/p>\n\u003cp>We really take for granted this idea that we all have a hospital in our neighborhood. I thought, what does it look like to live in a community where there isn’t a hospital? I approached this wanting to hear from the doctors, the frontline workers, the patients, about what the tragedy was. They were never quite heard. And I wanted them to drive this story. I wanted them to be the storytellers.\u003c/p>\n\u003cp>I felt that the reporting and the knowledge around the closure of Doctors Medical Center was never really in the hands of the people who were living and breathing the impacts of what happened.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch3>\u003cstrong>On following patients who must plan a whole day around a hospital visit\u003c/strong>\u003c/h3>\n\u003cp>I think there’s been a lot of focus about the loss of (Doctors Medical Center) through the prism of emergency services and not having an emergency room in West Contra Costa County. But there’s another enormous deficit, which is specialty care.\u003c/p>\n\u003cp>There was a cancer center at Doctors Medical Center. Epigmenio Mayo and Angelica Lopez are a couple, both battling cancer. At the time the film was shot, they regularly made a trip where they would take three different buses to get to the county hospital in Martinez, where both of them were receiving cancer treatment. For them, this trip is an absolute necessity, but it’s something that they have to plan their entire day around. They are winded by the time they even show up to their appointments.\u003c/p>\n\u003cp>By the end of the film, the sun is already set. It’s a full day trip. They’ve talked a lot about how there’s no other option. As they say in the film, they prepare their minds and bodies for the trip because they know they have to take it. This is how they survive.\u003c/p>\n\u003cfigure id=\"attachment_11830987\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11830987 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS44118_desert_03-qut-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/RS44118_desert_03-qut-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/RS44118_desert_03-qut-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/RS44118_desert_03-qut-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/RS44118_desert_03-qut-912x912.jpg 912w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/RS44118_desert_03-qut-550x550.jpg 550w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/RS44118_desert_03-qut-470x470.jpg 470w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/RS44118_desert_03-qut.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Epigmenio Mayo and Angelica Lopez ride three buses to get to the hospital for their cancer treatment. \u003ccite>(Bo Kovitz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cstrong>On the urgent care clinic now across the street from the former Doctors Medical Center site\u003c/strong>\u003c/h3>\n\u003cp>They’re serving the same population with just a quarter of the staff.\u003c/p>\n\u003cp>People like Millie Callen worked at Doctors Medical Center for more than a decade. She was one of the coordinators in the E.R., which is one of the most important roles. She’s making sure that everything’s moving smoothly, bringing people in, bouncing them to their doctors, making sure their insurance is covered.\u003c/p>\n\u003cp>Even before the hospital closed, Millie was caring for her own loved ones and understood the before and after of what it’s like to lose a hospital. Her mother has a heart condition. The urgent care where Millie now works is much busier with the spike of COVID-19 cases.\u003c/p>\n\u003cfigure id=\"attachment_11831438\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2020/07/desert_still_06-copy.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11831438\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/07/desert_still_06-copy-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/desert_still_06-copy-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/desert_still_06-copy-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/desert_still_06-copy-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/desert_still_06-copy-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/desert_still_06-copy.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Millie Callen worked at Doctors Medical Center, and now works at the urgent care clinic across the street from the former hospital site. \u003ccite>(Courtesy of Bo Kovits)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For a while, they were one of the few locations that were doing COVID-19 testing. Not only are they answering a lot of patients needing primary care, but they are also dealing with an additional load of patients who were experiencing or showing symptoms of COVID-19. And then there’s that added stress of how do we sequester that person away from the rest of our patients? They had set up a tent in the back parking lot and they were running back and forth.\u003c/p>\n\u003ch3>\u003cstrong>On the firefighters and paramedics she follows in the film\u003c/strong>\u003c/h3>\n\u003cp>There isn’t a Richmond paramedic company. There’s no West Contra Costa County paramedic company. So the firefighters take on the role of being the first to arrive on scene. Firefighters can get on scene, but they’re limited in what they can do because in certain advanced or complicated cases, the ambulance and the paramedics are the ones who need to show up and then transport the person and have specialty training.\u003c/p>\n\u003cp>There are times of the day where highways are really, really congested. Wait times for the paramedics to show up can be up to 30 minutes depending on the day. And then those paramedics are often forced to transport patients outside the city or county for care.\u003c/p>\n\u003cfigure id=\"attachment_11831441\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2020/07/desert_04-wide.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11831441\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/07/desert_04-wide-800x419.jpg\" alt=\"\" width=\"800\" height=\"419\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/desert_04-wide-800x419.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/desert_04-wide-1020x534.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/desert_04-wide-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/desert_04-wide-1536x804.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/desert_04-wide.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Trevor Rogers and his fellow firefighters often care for critically ill patients — many of their calls are for health care emergencies, not fires.\u003c/figcaption>\u003c/figure>\n\u003cp>One of the paramedics that I had the opportunity to film with is Aimee Skaggs, and she has been in the community for years. She was around when Doctors Medical Center was there and brought a lot of patients there.\u003c/p>\n\u003cp>Aimee describes something that I think is unique to low income communities where 911 calls are really treated as primary care. Emergency responders are the ones who essentially are doing triage on the spot. They are having to navigate so many different layers of what it means to make the best decision for a patient.\u003c/p>\n\u003cp>It’s more than just ‘what’s the closest hospital?’ It’s ‘what makes the most financial sense? Where is going to be the closest place that the family can come without it being a hassle?’ And in cases where the issue is something really time-sensitive, paramedics like Aimee have to bring in another dimension to the decision making: how to get them somewhere fast when highways are clogged.\u003c/p>\n\u003cp>Some hospitals may not take them. Where do they go that is not going to also leave the patient riddled with hospital bills in the aftermath? \u003c/p>\u003c/div>",
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"content": "‘If we happen to have three calls and there are three critical patients that need critical care, now you have three ambulances that are outside of our city… And that essentially depletes the city of our resources.’",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch3>\u003cstrong>On how hospital closures are playing out throughout the state\u003c/strong>\u003c/h3>\n\u003cp>There are more hospital closures that are happening in California. They’re mostly in rural communities.\u003c/p>\n\u003cp>I think the closure of Doctors Medical Center represents an accelerating trend in urban communities. Regions that are concentrated areas for Medi-Cal, Medicare or uninsured patients are losing hospitals because hospitals and ERs are trying to consolidate in urban centers where there are more privately insured patients.\u003c/p>\n\u003ch3>\u003cstrong>On the burden of shouldering COVID-19 patients now that the hospital has closed\u003c/strong>\u003c/h3>\n\u003cp>Right now, Bay Area hospitals haven’t been overwhelmed so far with COVID-19 cases — which is lucky. But if things were to get really over the top, I think people will wish Doctors Medical Center was there. There’s definitely concern about capacity. There’s also a concern that many people — especially those with chronic illnesses like diabetes, hypertension or asthma — may not be getting seen for illnesses that need to be managed right now.\u003c/p>\n\u003cp>We may never know how many people are in West Contra Costa County who may have died, who did not seek emergency care or did not seek health care, because they were afraid of being exposed to COVID-19.\u003c/p>\n\u003cp>When Doctors Medical Center closed, a lot of trust was lost among the community. A community that has historically been marginalized from the health care system now feels further marginalized because they lost a resource. They lost an institution that represented a lot of trust in the system.\u003c/p>\n\u003cp>I spoke about this with the ambulatory director at the county hospital in Martinez, Dr. Gabriela Sullivan. She says that health care is often left with the job of trying to plug all these holes that are in the social fabric of our country. And that if we are trying to leave social issues on the doorstep of health care, that’s a recipe for failure. A lot of people in the years leading up to the hospital closure said it will take a public health crisis of extreme proportions to reveal how essential Doctors Medical Center and other safety net hospitals are.\u003c/p>\n\u003cp>I think with this pandemic, it’s not just that Black and brown communities are dying and are more impacted. There’s also going to be a downstream increase of morbidity and mortality for years to come. There is a real worry that they’re holding back the dams right now in terms of acute care. The realities of the disparity are going to last far beyond this pandemic.\u003c/p>\n\u003cp>\u003cem>\u003ca id=\"film\">\u003c/a>Watch the full documentary here:\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/1bjKcfSmVxU'\n title='//www.youtube.com/embed/1bjKcfSmVxU'\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": "\u003cp>At Sunday’s Oscars, on a night when almost everything went as planned and as usual, the one true surprise came in the biggest moment of all.\u003c/p>\n\u003cp>For the first time ever, a film in a foreign language won best picture when Bong Joon-ho’s \u003ca href=\"https://www.npr.org/2019/10/10/768638368/parasite-hooks-you-with-its-emotional-power-and-extraordinary-cunning\">\u003cem>Parasite\u003c/em>,\u003c/a> a comedy-drama-thriller about class and secrets, took the big prize. \u003ca href=\"https://www.npr.org/2019/12/10/785090210/parasite-director-bong-joon-ho-wanted-to-reflect-the-truth-of-current-times\">Bong\u003c/a> also won the awards for best director and best original screenplay. He delivered three warm and generous speeches, including one when he won for his directing and thanked fellow nominees Martin Scorsese and Quentin Tarantino for inspiring him and boosting his career, respectively. (He acknowledged Sam Mendes and Todd Phillips, too.)\u003c/p>\n\u003cp>And, while he gave most of his speeches in Korean with interpreter Sharon Choi, when he won the first one, he stopped and noted in English: “This is very first Oscar to South Korea.” The affection in the room for the film was evident every time it was mentioned, as well as in its strong haul of awards (though it absurdly landed not a single nomination for its uniformly excellent cast).\u003c/p>\n\u003cp>The evening began three and a half hours earlier with a combination of the old and the new: the kind of themed singing-dancing number that used to be the typical Oscars opening, but in the absence of a traditional host, it was performed by the thoroughly modern Janelle Monáe. A version of her own song “Come Alive” was accompanied by dancers dressed in costumes saluting not just nominated films like \u003ca href=\"https://www.npr.org/2019/10/03/765082771/joker-is-wild-ly-dull\">\u003cem>Joker\u003c/em>,\u003c/a> but also conspicuously snubbed ones — several of them, but not all, from black filmmakers — including \u003ca href=\"https://www.npr.org/2019/03/21/705470655/when-you-meet-the-enemy-and-it-is-us\">\u003cem>Us\u003c/em>,\u003c/a> \u003ca href=\"https://www.npr.org/2019/11/27/782574993/a-first-date-turns-into-a-stylish-nightmare-in-queen-slim\">\u003cem>Queen and Slim\u003c/em>,\u003c/a> \u003ca href=\"https://www.npr.org/2019/10/06/765150318/a-breezy-look-at-the-making-of-a-blaxploitation-classic-dolemite-is-my-name\">\u003cem>Dolemite Is My Name\u003c/em>\u003c/a> and \u003ca href=\"https://www.npr.org/2019/07/03/738422258/midsommar-shines-a-solstice-nightmare-unfolds-in-broad-daylight\">\u003cem>Midsommar\u003c/em>.\u003c/a> The monologue that followed, however, was much more creaky and awkward, despite the best efforts of Chris Rock and Steve Martin (the latter of whom regrettably blew the name of best actress nominee Cynthia Erivo).\u003c/p>\n\u003cp>The awards in general, and the ones this season in general, have been heavily criticized for how white the nominees are, the failure to nominate any women directors in a year when several made highly regarded films, and plenty of other shortfalls in inclusivity. The Academy’s discomfort with that criticism seemed evident: There may not have been a lot of performers of color among the nominees, but there were a lot among the presenters and speakers and performers. Several presenters — as well as Monáe in her opening number — made mention of the limitations at issue, which is the kind of thing that happens when people are placed in a situation they don’t want to ignore but also aren’t there to challenge \u003cem>too\u003c/em> much.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One new inclusion was a land acknowledgment — a custom that’s commonly observed in other places, including Canada, at cultural events (I’ve personally seen them at the Toronto International Film Festival). In this case, it was writer-director \u003ca href=\"https://www.npr.org/2019/10/18/771219868/director-taika-waititi-on-jojo-rabbit\">Taika Waititi,\u003c/a> nominated for\u003ca href=\"https://www.npr.org/2019/10/17/770262214/jojo-rabbit-your-reich-is-calling\"> \u003cem>Jojo Rabbit\u003c/em>,\u003c/a> who read an acknowledgment of the indigenous people who have lived on the land where the event — in this case, the Academy Awards — takes place. Whether this gesture will be followed up by any action as to the broadening of the Academy’s taste remains, of course, to be seen.\u003c/p>\n\u003cp>\u003cem>Parasite\u003c/em>‘s win for best picture stood out particularly because almost all of the other awards that had seemed likely to go a particular way did: Legendary cinematographer \u003ca href=\"https://www.wbur.org/hereandnow/2019/12/26/1917-world-war-i-cinematography\">Roger Deakins\u003c/a> won for his work on \u003ca href=\"https://www.npr.org/2019/12/24/790207374/1917-is-gripping-visceral-and-strangely-beautiful\">\u003cem>1917\u003c/em>,\u003c/a> the WWI film engineered to look like a \u003ca href=\"https://www.npr.org/2020/02/09/802248145/who-needs-high-tech-film-editing-when-theres-the-thrill-of-the-single-shot\">continuous shot. \u003c/a>Film editing is often a precursor to other big awards, and this year the winners were the editors of racing drama \u003ca href=\"https://www.npr.org/2019/11/14/777254954/ford-v-ferrari-will-get-your-heart-racing\">\u003cem>Ford v. Ferrari\u003c/em>.\u003c/a> \u003cem>Parasite \u003c/em>had been expected to win (or at least to contend strongly) in the categories of best international feature film and for Bong Joon-ho’s original screenplay. Waititi was a favorite for best adapted screenplay, which he won.\u003c/p>\n\u003cp>The acting awards this year had heavy favorites going into the ceremony: Joaquin Phoenix as best actor in \u003ca href=\"https://www.npr.org/2019/10/02/766529122/in-joker-joaquin-phoenix-gives-a-big-performance-in-a-flat-film\">\u003cem>Joker\u003c/em>, \u003c/a>Renée Zellweger as best actress in \u003ca href=\"https://www.npr.org/2019/09/26/764642573/ren-e-zellweger-dazzles-in-a-go-for-broke-portrayal-of-judy-garland\">\u003cem>Judy\u003c/em>,\u003c/a> Brad Pitt as best supporting actor in \u003ca href=\"https://www.npr.org/2019/07/25/744189964/tarantinos-turned-on-tuned-in-tinseltown-once-upon-a-time-in-hollywood\">\u003cem>Once Upon a Time in Hollywood\u003c/em> \u003c/a>and Laura Dern as best supporting actress in \u003ca href=\"https://www.npr.org/2019/11/14/775397877/a-couple-faces-the-painful-end-of-the-line-in-marriage-story\">\u003cem>Marriage Story.\u003c/em>\u003c/a> They all won. Most of them said about what you might expect (although Phoenix surprised many of us by adding to his speech about fighting injustice a mention of the cruelty of artificially inseminating cows and then stealing their offspring, while Zellweger listed many of her heroes in a speech that matched his, meander for meander).\u003c/p>\n\u003cp>The lower-profile (but critical) behind-the-scenes awards were spread across a bunch of films. Best production design went to Quentin Tarantino’s \u003cem>Once Upon a Time in Hollywood\u003c/em>, which re-created the late-’70s L.A. landscape and aesthetic with a lot of loving attention. \u003ca href=\"https://www.npr.org/2019/12/20/789740628/little-women-again-greta-gerwig-s-adaptation-is-both-faithful-and-radical\">\u003cem>Little Women\u003c/em>\u003c/a>\u003cem> \u003c/em>won its only award of the night for Jacqueline Durran’s costume design, full of beautiful dresses both fancy and not. The transformation of actors into familiar faces from the news won an award for the hair and makeup team from \u003ca href=\"https://www.npr.org/2019/12/12/787112042/bombshell-imitates-but-fails-to-enlighten\">\u003cem>Bombshell\u003c/em>.\u003c/a> The sound editing award went to \u003cem>Ford v. Ferrari\u003c/em> and both sound mixing and visual effects went to \u003cem>1917\u003c/em>.\u003c/p>\n\u003cp>The non-surprises kept coming: \u003ca href=\"https://www.npr.org/2019/06/19/733908788/to-infinity-and-be-done-after-4-films-have-we-finally-outgrown-toy-story\">\u003cem>Toy Story 4\u003c/em>\u003c/a>\u003cem> \u003c/em>won best animated feature. Best documentary feature was awarded to \u003ca href=\"https://www.npr.org/2019/08/23/753109643/work-cultures-clash-when-a-chinese-company-reopens-an-american-factory\">\u003cem>American Factory\u003c/em>,\u003c/a> which boasts Barack and Michelle Obama as producers and which comes from Netflix. \u003ca href=\"https://www.npr.org/local/309/2020/02/06/802739449/animated-short-hair-love-brings-diverse-storytelling-to-the-oscars\">\u003cem>Hair Love\u003c/em>,\u003c/a> a lovely film about a father learning to do his daughter’s hair for the first time, written and directed by Matthew A. Cherry, won best animated short, and Cherry dedicated the award to Kobe Bryant: “May we all have a second act as great as his was.” Best live action short film went to \u003cem>The Neighbor’s Window\u003c/em>, and best documentary short subject went to \u003cem>Learning to Skateboard in a Warzone (If You’re a Girl)\u003c/em>.\u003c/p>\n\u003cp>The nominated \u003ca href=\"https://www.npr.org/2020/02/07/803636380/the-2020-oscars-best-original-song-nominees-cruelly-ranked\">best original songs\u003c/a> were performed on stage as usual. Introducer Josh Gad had some fun pointing out that Idina Menzel’s name is “pronounced exactly as it’s spelled” (take that, John Travolta) before she performed “Into the Unknown” from\u003ca href=\"https://www.npr.org/2019/11/20/779284364/frozen-ii-lets-it-go-darker\"> \u003cem>Frozen 2\u003c/em>\u003c/a>. Menzel was joined by some of the singers who have performed the song in other languages in one of the evening’s better innovations. Chrissy Metz performed “I’m Standing With You” from \u003cem>Breakthrough\u003c/em>, accompanied by the choir that’s nearly obligatory. Randy Newman performed “I Can’t Let You Throw Yourself Away” from \u003cem>Toy Story 4\u003c/em>, and Cynthia Erivo (also nominated for best actress) performed the song “Stand Up (From \u003cem>Harriet\u003c/em>),” which, as its title suggests, is from \u003cem>Harriet\u003c/em>. Elton John performed “(I’m Gonna) Love Me Again” from\u003ca href=\"https://www.npr.org/2019/05/31/728226594/elton-john-biopic-rocketman-is-a-surprising-song-and-dance-spectacular\"> \u003cem>Rocketman\u003c/em>,\u003c/a> seemingly hamstrung by a bad sound mix.\u003c/p>\n\u003cp>When they’d all been heard, “I’m Gonna Love Me Again” was victorious. Hildur Guðnadóttir won best original score for her work on \u003cem>Joker\u003c/em>.\u003c/p>\n\u003cp>The musical moment you probably would not have expected — because, really, who could? — was that actor Anthony Ramos introduced Lin-Manuel Miranda; Lin-Manuel Miranda introduced a montage saluting the music used in movies over many decades; and that montage led to Eminem performing the Oscar-winning “Lose Yourself” from \u003cem>8 Mile\u003c/em>, to which the audience responded rapturously. It wasn’t an obvious move to throw in that performance, given that it’s not celebrating any kind of round-numbered anniversary; it won at the 2003 ceremony, though Eminem didn’t perform it then. But it made people happy and got the crowd going like nothing else did all evening except \u003cem>Parasite \u003c/em>winning awards, and there’s something to be said for that. Not long after, there was a recap rap from Utkarsh Ambudkar, an actor who appeared this year in \u003ca href=\"https://www.npr.org/2019/08/22/752755460/a-fun-but-familiar-story-of-making-yourself-over-in-brittany-runs-a-marathon\">\u003cem>Brittany Runs a Marathon\u003c/em>,\u003c/a> reminding everyone what had happened so far. That’s a lot of rap for an Oscars ceremony.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Last year’s ceremony also went without a host, and it wound up being dominated by the actual wins and losses. That made big nights for \u003ca href=\"https://www.npr.org/2018/11/21/669234619/green-book-offers-by-the-book-uplift\">\u003cem>Green Book \u003c/em>\u003c/a>and \u003ca href=\"https://www.npr.org/2018/11/01/660969118/no-bed-of-roses-no-pleasure-cruise-bohemian-rhapsody\">\u003cem>Bohemian Rhapsody\u003c/em>, \u003c/a>neither of which seemed to excite the crowd, very disappointing. But this year, the fact that there’s good feeling around so many different films — and enormous respect and love for both \u003cem>Parasite \u003c/em>and Bong Joon-ho — means that this ceremony fared much better. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=At+The+Oscars%2C+%27Parasite%27+Makes+Best+Picture+History&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At Sunday’s Oscars, on a night when almost everything went as planned and as usual, the one true surprise came in the biggest moment of all.\u003c/p>\n\u003cp>For the first time ever, a film in a foreign language won best picture when Bong Joon-ho’s \u003ca href=\"https://www.npr.org/2019/10/10/768638368/parasite-hooks-you-with-its-emotional-power-and-extraordinary-cunning\">\u003cem>Parasite\u003c/em>,\u003c/a> a comedy-drama-thriller about class and secrets, took the big prize. \u003ca href=\"https://www.npr.org/2019/12/10/785090210/parasite-director-bong-joon-ho-wanted-to-reflect-the-truth-of-current-times\">Bong\u003c/a> also won the awards for best director and best original screenplay. He delivered three warm and generous speeches, including one when he won for his directing and thanked fellow nominees Martin Scorsese and Quentin Tarantino for inspiring him and boosting his career, respectively. (He acknowledged Sam Mendes and Todd Phillips, too.)\u003c/p>\n\u003cp>And, while he gave most of his speeches in Korean with interpreter Sharon Choi, when he won the first one, he stopped and noted in English: “This is very first Oscar to South Korea.” The affection in the room for the film was evident every time it was mentioned, as well as in its strong haul of awards (though it absurdly landed not a single nomination for its uniformly excellent cast).\u003c/p>\n\u003cp>The evening began three and a half hours earlier with a combination of the old and the new: the kind of themed singing-dancing number that used to be the typical Oscars opening, but in the absence of a traditional host, it was performed by the thoroughly modern Janelle Monáe. A version of her own song “Come Alive” was accompanied by dancers dressed in costumes saluting not just nominated films like \u003ca href=\"https://www.npr.org/2019/10/03/765082771/joker-is-wild-ly-dull\">\u003cem>Joker\u003c/em>,\u003c/a> but also conspicuously snubbed ones — several of them, but not all, from black filmmakers — including \u003ca href=\"https://www.npr.org/2019/03/21/705470655/when-you-meet-the-enemy-and-it-is-us\">\u003cem>Us\u003c/em>,\u003c/a> \u003ca href=\"https://www.npr.org/2019/11/27/782574993/a-first-date-turns-into-a-stylish-nightmare-in-queen-slim\">\u003cem>Queen and Slim\u003c/em>,\u003c/a> \u003ca href=\"https://www.npr.org/2019/10/06/765150318/a-breezy-look-at-the-making-of-a-blaxploitation-classic-dolemite-is-my-name\">\u003cem>Dolemite Is My Name\u003c/em>\u003c/a> and \u003ca href=\"https://www.npr.org/2019/07/03/738422258/midsommar-shines-a-solstice-nightmare-unfolds-in-broad-daylight\">\u003cem>Midsommar\u003c/em>.\u003c/a> The monologue that followed, however, was much more creaky and awkward, despite the best efforts of Chris Rock and Steve Martin (the latter of whom regrettably blew the name of best actress nominee Cynthia Erivo).\u003c/p>\n\u003cp>The awards in general, and the ones this season in general, have been heavily criticized for how white the nominees are, the failure to nominate any women directors in a year when several made highly regarded films, and plenty of other shortfalls in inclusivity. The Academy’s discomfort with that criticism seemed evident: There may not have been a lot of performers of color among the nominees, but there were a lot among the presenters and speakers and performers. Several presenters — as well as Monáe in her opening number — made mention of the limitations at issue, which is the kind of thing that happens when people are placed in a situation they don’t want to ignore but also aren’t there to challenge \u003cem>too\u003c/em> much.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One new inclusion was a land acknowledgment — a custom that’s commonly observed in other places, including Canada, at cultural events (I’ve personally seen them at the Toronto International Film Festival). In this case, it was writer-director \u003ca href=\"https://www.npr.org/2019/10/18/771219868/director-taika-waititi-on-jojo-rabbit\">Taika Waititi,\u003c/a> nominated for\u003ca href=\"https://www.npr.org/2019/10/17/770262214/jojo-rabbit-your-reich-is-calling\"> \u003cem>Jojo Rabbit\u003c/em>,\u003c/a> who read an acknowledgment of the indigenous people who have lived on the land where the event — in this case, the Academy Awards — takes place. Whether this gesture will be followed up by any action as to the broadening of the Academy’s taste remains, of course, to be seen.\u003c/p>\n\u003cp>\u003cem>Parasite\u003c/em>‘s win for best picture stood out particularly because almost all of the other awards that had seemed likely to go a particular way did: Legendary cinematographer \u003ca href=\"https://www.wbur.org/hereandnow/2019/12/26/1917-world-war-i-cinematography\">Roger Deakins\u003c/a> won for his work on \u003ca href=\"https://www.npr.org/2019/12/24/790207374/1917-is-gripping-visceral-and-strangely-beautiful\">\u003cem>1917\u003c/em>,\u003c/a> the WWI film engineered to look like a \u003ca href=\"https://www.npr.org/2020/02/09/802248145/who-needs-high-tech-film-editing-when-theres-the-thrill-of-the-single-shot\">continuous shot. \u003c/a>Film editing is often a precursor to other big awards, and this year the winners were the editors of racing drama \u003ca href=\"https://www.npr.org/2019/11/14/777254954/ford-v-ferrari-will-get-your-heart-racing\">\u003cem>Ford v. Ferrari\u003c/em>.\u003c/a> \u003cem>Parasite \u003c/em>had been expected to win (or at least to contend strongly) in the categories of best international feature film and for Bong Joon-ho’s original screenplay. Waititi was a favorite for best adapted screenplay, which he won.\u003c/p>\n\u003cp>The acting awards this year had heavy favorites going into the ceremony: Joaquin Phoenix as best actor in \u003ca href=\"https://www.npr.org/2019/10/02/766529122/in-joker-joaquin-phoenix-gives-a-big-performance-in-a-flat-film\">\u003cem>Joker\u003c/em>, \u003c/a>Renée Zellweger as best actress in \u003ca href=\"https://www.npr.org/2019/09/26/764642573/ren-e-zellweger-dazzles-in-a-go-for-broke-portrayal-of-judy-garland\">\u003cem>Judy\u003c/em>,\u003c/a> Brad Pitt as best supporting actor in \u003ca href=\"https://www.npr.org/2019/07/25/744189964/tarantinos-turned-on-tuned-in-tinseltown-once-upon-a-time-in-hollywood\">\u003cem>Once Upon a Time in Hollywood\u003c/em> \u003c/a>and Laura Dern as best supporting actress in \u003ca href=\"https://www.npr.org/2019/11/14/775397877/a-couple-faces-the-painful-end-of-the-line-in-marriage-story\">\u003cem>Marriage Story.\u003c/em>\u003c/a> They all won. Most of them said about what you might expect (although Phoenix surprised many of us by adding to his speech about fighting injustice a mention of the cruelty of artificially inseminating cows and then stealing their offspring, while Zellweger listed many of her heroes in a speech that matched his, meander for meander).\u003c/p>\n\u003cp>The lower-profile (but critical) behind-the-scenes awards were spread across a bunch of films. Best production design went to Quentin Tarantino’s \u003cem>Once Upon a Time in Hollywood\u003c/em>, which re-created the late-’70s L.A. landscape and aesthetic with a lot of loving attention. \u003ca href=\"https://www.npr.org/2019/12/20/789740628/little-women-again-greta-gerwig-s-adaptation-is-both-faithful-and-radical\">\u003cem>Little Women\u003c/em>\u003c/a>\u003cem> \u003c/em>won its only award of the night for Jacqueline Durran’s costume design, full of beautiful dresses both fancy and not. The transformation of actors into familiar faces from the news won an award for the hair and makeup team from \u003ca href=\"https://www.npr.org/2019/12/12/787112042/bombshell-imitates-but-fails-to-enlighten\">\u003cem>Bombshell\u003c/em>.\u003c/a> The sound editing award went to \u003cem>Ford v. Ferrari\u003c/em> and both sound mixing and visual effects went to \u003cem>1917\u003c/em>.\u003c/p>\n\u003cp>The non-surprises kept coming: \u003ca href=\"https://www.npr.org/2019/06/19/733908788/to-infinity-and-be-done-after-4-films-have-we-finally-outgrown-toy-story\">\u003cem>Toy Story 4\u003c/em>\u003c/a>\u003cem> \u003c/em>won best animated feature. Best documentary feature was awarded to \u003ca href=\"https://www.npr.org/2019/08/23/753109643/work-cultures-clash-when-a-chinese-company-reopens-an-american-factory\">\u003cem>American Factory\u003c/em>,\u003c/a> which boasts Barack and Michelle Obama as producers and which comes from Netflix. \u003ca href=\"https://www.npr.org/local/309/2020/02/06/802739449/animated-short-hair-love-brings-diverse-storytelling-to-the-oscars\">\u003cem>Hair Love\u003c/em>,\u003c/a> a lovely film about a father learning to do his daughter’s hair for the first time, written and directed by Matthew A. Cherry, won best animated short, and Cherry dedicated the award to Kobe Bryant: “May we all have a second act as great as his was.” Best live action short film went to \u003cem>The Neighbor’s Window\u003c/em>, and best documentary short subject went to \u003cem>Learning to Skateboard in a Warzone (If You’re a Girl)\u003c/em>.\u003c/p>\n\u003cp>The nominated \u003ca href=\"https://www.npr.org/2020/02/07/803636380/the-2020-oscars-best-original-song-nominees-cruelly-ranked\">best original songs\u003c/a> were performed on stage as usual. Introducer Josh Gad had some fun pointing out that Idina Menzel’s name is “pronounced exactly as it’s spelled” (take that, John Travolta) before she performed “Into the Unknown” from\u003ca href=\"https://www.npr.org/2019/11/20/779284364/frozen-ii-lets-it-go-darker\"> \u003cem>Frozen 2\u003c/em>\u003c/a>. Menzel was joined by some of the singers who have performed the song in other languages in one of the evening’s better innovations. Chrissy Metz performed “I’m Standing With You” from \u003cem>Breakthrough\u003c/em>, accompanied by the choir that’s nearly obligatory. Randy Newman performed “I Can’t Let You Throw Yourself Away” from \u003cem>Toy Story 4\u003c/em>, and Cynthia Erivo (also nominated for best actress) performed the song “Stand Up (From \u003cem>Harriet\u003c/em>),” which, as its title suggests, is from \u003cem>Harriet\u003c/em>. Elton John performed “(I’m Gonna) Love Me Again” from\u003ca href=\"https://www.npr.org/2019/05/31/728226594/elton-john-biopic-rocketman-is-a-surprising-song-and-dance-spectacular\"> \u003cem>Rocketman\u003c/em>,\u003c/a> seemingly hamstrung by a bad sound mix.\u003c/p>\n\u003cp>When they’d all been heard, “I’m Gonna Love Me Again” was victorious. Hildur Guðnadóttir won best original score for her work on \u003cem>Joker\u003c/em>.\u003c/p>\n\u003cp>The musical moment you probably would not have expected — because, really, who could? — was that actor Anthony Ramos introduced Lin-Manuel Miranda; Lin-Manuel Miranda introduced a montage saluting the music used in movies over many decades; and that montage led to Eminem performing the Oscar-winning “Lose Yourself” from \u003cem>8 Mile\u003c/em>, to which the audience responded rapturously. It wasn’t an obvious move to throw in that performance, given that it’s not celebrating any kind of round-numbered anniversary; it won at the 2003 ceremony, though Eminem didn’t perform it then. But it made people happy and got the crowd going like nothing else did all evening except \u003cem>Parasite \u003c/em>winning awards, and there’s something to be said for that. Not long after, there was a recap rap from Utkarsh Ambudkar, an actor who appeared this year in \u003ca href=\"https://www.npr.org/2019/08/22/752755460/a-fun-but-familiar-story-of-making-yourself-over-in-brittany-runs-a-marathon\">\u003cem>Brittany Runs a Marathon\u003c/em>,\u003c/a> reminding everyone what had happened so far. That’s a lot of rap for an Oscars ceremony.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Last year’s ceremony also went without a host, and it wound up being dominated by the actual wins and losses. That made big nights for \u003ca href=\"https://www.npr.org/2018/11/21/669234619/green-book-offers-by-the-book-uplift\">\u003cem>Green Book \u003c/em>\u003c/a>and \u003ca href=\"https://www.npr.org/2018/11/01/660969118/no-bed-of-roses-no-pleasure-cruise-bohemian-rhapsody\">\u003cem>Bohemian Rhapsody\u003c/em>, \u003c/a>neither of which seemed to excite the crowd, very disappointing. But this year, the fact that there’s good feeling around so many different films — and enormous respect and love for both \u003cem>Parasite \u003c/em>and Bong Joon-ho — means that this ceremony fared much better. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=At+The+Oscars%2C+%27Parasite%27+Makes+Best+Picture+History&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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