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"content": "\u003cp>https://youtu.be/KmYNkasYthg\u003c/p>\n\u003cp>The trailer for the very last \u003cem>Hunger Games\u003c/em> movie has landed! This is an historic moment and the end of an era so what better way to experience it than with a live blog of the minute and 46 seconds?\u003c/p>\n\u003cp>0:08 - The first shot is of a wedding. Theme: heaven is a place on earth. It's been a while since I had the flu and read the books in four days so I'm gonna go with Haymitch (Woody Harrelson). Can you imagine how open the open bar would be at that shindig? RSVP me right up!\u003c/p>\n\u003cp>0:10 - A brief crowd shot delivers all the feels. You have the dearly departed Philip Seymour Hoffman (*lip tremble*), Miss Congeniality Effie Trinket (Elizabeth Banks) rocking all the accessories, Haymitch with clean hair and Johanna (Jena Malone) without any.\u003c/p>\n\u003cp>0:11 - That girl with the skull tattoo is using some device. Maybe she's Instagramming the mystery wedding?#CutesyWeddingHashtagThatIncludesACleverPun\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>0:12 - Oh, it's Finnick (Sam Claflin), a.k.a. the hottest guy to brandish a trident since Ariel's dad. He somehow has two dimples just in case the first one didn't scream I AM DESIRABLE AND YOU CAN NEVER HAVE ME enough. He's getting married to a Jessica Chastain clone.\u003c/p>\n\u003cp>0:14 - Effie approves of their tasteful first kiss (just the right amount of tongue). Gale (Liam Hemsworth) and Katniss (Jennifer Lawrence) are bored in the background.\u003c/p>\n\u003cp>0:17 - The nuptials inspire District 13's very first honky tonk.\u003c/p>\n\u003cp>0:20 - Effie pets Katniss' dominatrix outfit, while wearing a layered weave dress. Katniss looks in the mirror, wishing she were in sweats.\u003c/p>\n\u003cp>0:24 - Jennifer Lawrence uses her gravely I-just-woke-up-hungover-and-super-thirsty voice to say that President Snow (Donald Sutherland) must pay for what he has done, mainly stinking up the place with his rose smell and bleeding everywhere.\u003c/p>\n\u003cp>0:29 - Someone tells Katniss that \"one way or another, this war is going to come to an end.\" Translation: no, you cannot make a Mockingjay Part 3.\u003c/p>\n\u003cp>0:30 - Katniss watches a speaker, looking as pissed as she did at Finnick's wedding. Such an \u003ca href=\"http://ww2.kqed.org/pop/2013/11/06/which-star-wars-and-harry-potter-characters-fit-your-myers-briggs-personality/\" target=\"_blank\">ISTP\u003c/a>.\u003c/p>\n\u003cp>0:34 - Katniss smiles! Haymitch touches her knee! I ship this!\u003c/p>\n\u003cp>0:39 - Philip Seymour Hoffman again. Stop trying to make us cry, Lionsgate!\u003c/p>\n\u003cp>0:41 - President Snow is wearing gloves indoors surrounded by his white friends, with dark-skinned servants standing in the background. With a name like that, it makes sense that he's racist.\u003c/p>\n\u003cp>0:44 - Storm troopers stand on moving vehicles cause they saw \u003ca href=\"https://www.youtube.com/watch?v=2uYs0gJD-LE\" target=\"_blank\">that M.I.A. video\u003c/a>, where she's straight up chilling on the side of a BMW, filing her nails, and thought \u003cem>Hey, I wanna do that!\u003c/em>\u003c/p>\n\u003cp>0:45 - Katniss dances with her little sister, Prim (Willow Shields). It's really cute, but would be cuter if her cat was in on this. If Romy and Michele have taught us anything, it's that three is not the loneliest number, but actually the perfect formula for \u003ca href=\"https://www.youtube.com/watch?v=12ka_ZWRdqA\" target=\"_blank\">a killer dance sequence\u003c/a>.\u003c/p>\n\u003cp>0:49 - A pissed off Charlize Theron in \u003cem>Monster\u003c/em> looking lady flares her nostrils.\u003c/p>\n\u003cp>0:52 - A rocket launcher blows up an important looking building. Have we learned nothing from the Library of Alexandria? This is why we can't have nice things or historical records.\u003c/p>\n\u003cp>0:59 - Katniss walks to the Capitol. I don't think they get \u003cem>America's Next Top Model\u003c/em> in Panem because her walk needs a lot of work. Where's the side tooch?\u003c/p>\n\u003cp>1:04 - Oh, no. Peeta (Josh Hutcherson) is crying. Don't cry, Peeta. I was confused when I said I was Team Gale after reading the first book. And I shouldn't have said that I ship Haymitch and Katniss before. It was always you.\u003c/p>\n\u003cp>1:06 - Katniss is nuzzling into Peeta's neck. He isn't trying to murder her anymore! Hurray!\u003c/p>\n\u003cp>1:10 - Young rebels throw up their Mockingjay gang sign and Katniss is pleased with her brand. Take that, goop.com!\u003c/p>\n\u003cp>1:11 - An armored car explodes and flips over. They were probably just trying to merge onto the freeway. Driving is really hard! \u003ca href=\"https://www.youtube.com/watch?v=lW2JBJSaXUI\" target=\"_blank\">Just ask Dionne\u003c/a>.\u003c/p>\n\u003cp>1:14 - Katniss rocks an emerald hooded cape. \u003ca href=\"https://www.youtube.com/watch?v=5Pn0JKmy5-M\" target=\"_blank\">Yaaas, Katniss, you look so good\u003c/a>. Oh my god, yaaas.\u003c/p>\n\u003cp>1:16 - Gale looks like he's about to do something wrong, like break Miley Cyrus' heart again.\u003c/p>\n\u003cp>1:17 - More explosions because that's the way to American movie-goers' hearts.\u003c/p>\n\u003cp>1:18 - President Snow smells.\u003c/p>\n\u003cp>1:21 - Some girl gets stuck on a land mine or finds a hidden hatch or something?\u003c/p>\n\u003cp>1:23 - Everyone runs from a flood of black liquid. Your move, elevator in \u003cem>The Shining\u003c/em>.\u003c/p>\n\u003cp>1:35 - Finnick smolders and says, \"Ladies and gentlemen, welcome to the 76th Hunger Games.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>1:41 - November 20, 2015 appears out of flames. You have nearly 6 months to figure out which Effie wig you're going to wear.\u003c/p>\n\n",
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"disqusTitle": "If You Loved 'The Hunger Games: Mockingjay', Try This TV Series From the Same Director",
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"content": "\u003cp>Even if you’re not a fan of \u003ci>The Hunger Games\u003c/i>, you can probably list several items off of star Jennifer Lawrence’s filmography. But what about the franchise’s \u003ci>other \u003c/i>Lawrence? We’re referring to director \u003ca href=\"http://en.wikipedia.org/wiki/Francis_Lawrence\">Francis Lawrence\u003c/a>, who took over direction of \u003ci>The Hunger Games \u003c/i>film franchise from Gary Ross following the first installment\u003ci>. \u003c/i>Lawrence’s visual flair and talent for building cinematic worlds similar to our own made him an ideal choice for the job. Though Lawrence demonstrated these skills in \u003ci>I Am Legend \u003c/i>and \u003ci>Constantine\u003c/i>, it was his dual role as director and producer for the TV series \u003ca href=\"http://en.wikipedia.org/wiki/Kings_%28U.S._TV_series%29\">\u003ci>Kings\u003c/i>\u003c/a> that really showed his potential to take on the final three \u003ci>The Hunger Games \u003c/i>films.\u003c/p>\n\u003cp>Haven’t heard of \u003ci>Kings\u003c/i>? You’re not alone. The television drama was a mid-season premiere for NBC back in 2009, and it didn’t last long, despite its compelling plot, stunning visuals, and solid ensemble cast. Loosely based on the story of King David from the Bible, \u003ci>Kings \u003c/i>is set in an alternate modern day world in the kingdom of Gilboa (New York City stands in for the capital city Shiloh). The story begins when our young protagonist, David (Christopher Egan), a Gilboan soldier serving in the war against the Republic of Gath, takes out a Goliath-class tank to save some of his fellow soldiers -- one of whom happens to be the son of King Silas (Ian McShane). David is whisked off to the capital for a celebration in his honor and is able to witness first-hand the machinations of the monarchy, a system into which he is reluctantly pulled.\u003c/p>\n\u003cp>http://youtu.be/u5c1Vr1fcZI\u003c/p>\n\u003cp>\u003ci>Kings \u003c/i>is the perfect companion to \u003ci>The Hunger Games \u003c/i>franchise. It’s \u003ci>The Hunger Games \u003c/i>if it took place almost entirely in the Capitol with President Snow as one of many main characters. In addition to sharing a director -- Lawrence directed three episodes of the show’s 13-episode -- \u003ci>Kings \u003c/i>shares a number of defining aspects with the YA franchise...\u003c/p>\n\u003cp>\u003cb>The reluctant hero trope: \u003c/b>Katniss and David are very similar heroes. Both hail from humble backgrounds and are thrust into the spotlight via reluctant acts of heroism. Unlike many in their respective worlds, they don’t vie for celebrity or power; these things are unwanted side effects of their desire to protect the people they love. Both have lost their fathers to the demands of the nation -- Katniss’ father died in a mining accident, David’s father in the Unification War -- and both are torn between the simpler lives they left behind and the demands of the cause that has ensnared and changed them.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Worlds similar to our own: \u003c/b>Both \u003ci>Kings \u003c/i>and \u003ci>The Hunger Games \u003c/i>franchise do a wonderful job of building an alternate reality that somehow manages to feel both eerily similar to our own and distinctly different, allowing the storytellers to make unique comments on our own contemporary reality. In \u003ca href=\"https://www.youtube.com/watch?v=9ebB1U8IlTw\">a video interview\u003c/a> Lawrence did with TVWeb at the 2009 San Diego Comic-Con, he described the power of this alternate reality effect in \u003ci>Kings\u003c/i>:\u003c/p>\n\u003cp>“Whenever you have a story, whatever it is, you always want it to be somewhat relatable to today and, the great thing is [the King David story] almost just transplanted over, and so it fit everything that’s sort of going on in the world right now. And then, when we were building our version of the monarchy, and sort of getting rid of the real royalty of it -- the sashes and the medals and the pomp and circumstance and all that -- and you start to make it feel a little corporate and presidential, it starts to sort of line up to the way things are working right now in America, which is pretty interesting. It’s working out to be kind of a nice allegory.”\u003c/p>\n\u003cp>The same could be said of Panem, a vision of a dystopian future that has more in common with our current reality than many viewers would like to admit.\u003c/p>\n\u003cp>\u003cb>Strong ensemble casts: \u003c/b>I don’t need to tell you about the acting heavyweights represented in \u003ci>The Hunger Games \u003c/i>series, but \u003ci>Kings \u003c/i>boasts a similarly impressive cast. Led by the inimitable Ian McShane in a role fresh off of his turn in \u003ci>Deadwood\u003c/i>, other familiar faces include, \u003ci>Arrow\u003c/i>’s Susanna Thomas, \u003ci>The Winter Soldier\u003c/i>’s Sebastian Stan, and \u003ci>Terra Nova\u003c/i>’s Allison Miller -- and that’s just the royal family. Macaulay Culkin, Leslie Bibb, Dylan Baker, and Wes Studi all fill either regular or recurring roles in the series.\u003c/p>\n\u003cp>\u003cb>Effective visual propaganda: \u003c/b>One of the most striking visual parallels -- besides Lawrence’s talent in blending the gritty with the beautiful -- is the iconic visual language of the stories’ respective political movements. In \u003ci>Kings\u003c/i>, the butterfly is a ubiquitous motif, a tool Silas uses to represent the narrative of his rise to power. In \u003ci>The Hunger Games\u003c/i>, its equivalent is the mockingjay, for which the third and fourth film installments are named. Though this similarity may seem minor, Lawrence imbues both examples of visual propaganda with a weight lesser directors often fail to achieve. The butterfly and the mockingjay aren’t just symbols for the characters; they are an ever-shifting measure for the audience on who is winning, who is losing, and who doesn’t even bother to play the game.\u003c/p>\n\u003cp>\u003ci>Kings \u003c/i>is available to watch in its entirety on \u003ca href=\"http://www.hulu.com/kings\">Hulu\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>\u003cstrong> \u003c/strong>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Are there other on-screen stories that remind you of \u003c/i>The Hunger Games\u003ci>? Sound off in the comments below.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Even if you’re not a fan of \u003ci>The Hunger Games\u003c/i>, you can probably list several items off of star Jennifer Lawrence’s filmography. But what about the franchise’s \u003ci>other \u003c/i>Lawrence? We’re referring to director \u003ca href=\"http://en.wikipedia.org/wiki/Francis_Lawrence\">Francis Lawrence\u003c/a>, who took over direction of \u003ci>The Hunger Games \u003c/i>film franchise from Gary Ross following the first installment\u003ci>. \u003c/i>Lawrence’s visual flair and talent for building cinematic worlds similar to our own made him an ideal choice for the job. Though Lawrence demonstrated these skills in \u003ci>I Am Legend \u003c/i>and \u003ci>Constantine\u003c/i>, it was his dual role as director and producer for the TV series \u003ca href=\"http://en.wikipedia.org/wiki/Kings_%28U.S._TV_series%29\">\u003ci>Kings\u003c/i>\u003c/a> that really showed his potential to take on the final three \u003ci>The Hunger Games \u003c/i>films.\u003c/p>\n\u003cp>Haven’t heard of \u003ci>Kings\u003c/i>? You’re not alone. The television drama was a mid-season premiere for NBC back in 2009, and it didn’t last long, despite its compelling plot, stunning visuals, and solid ensemble cast. Loosely based on the story of King David from the Bible, \u003ci>Kings \u003c/i>is set in an alternate modern day world in the kingdom of Gilboa (New York City stands in for the capital city Shiloh). The story begins when our young protagonist, David (Christopher Egan), a Gilboan soldier serving in the war against the Republic of Gath, takes out a Goliath-class tank to save some of his fellow soldiers -- one of whom happens to be the son of King Silas (Ian McShane). David is whisked off to the capital for a celebration in his honor and is able to witness first-hand the machinations of the monarchy, a system into which he is reluctantly pulled.\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/u5c1Vr1fcZI'\n title='//www.youtube.com/embed/u5c1Vr1fcZI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ci>Kings \u003c/i>is the perfect companion to \u003ci>The Hunger Games \u003c/i>franchise. It’s \u003ci>The Hunger Games \u003c/i>if it took place almost entirely in the Capitol with President Snow as one of many main characters. In addition to sharing a director -- Lawrence directed three episodes of the show’s 13-episode -- \u003ci>Kings \u003c/i>shares a number of defining aspects with the YA franchise...\u003c/p>\n\u003cp>\u003cb>The reluctant hero trope: \u003c/b>Katniss and David are very similar heroes. Both hail from humble backgrounds and are thrust into the spotlight via reluctant acts of heroism. Unlike many in their respective worlds, they don’t vie for celebrity or power; these things are unwanted side effects of their desire to protect the people they love. Both have lost their fathers to the demands of the nation -- Katniss’ father died in a mining accident, David’s father in the Unification War -- and both are torn between the simpler lives they left behind and the demands of the cause that has ensnared and changed them.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Worlds similar to our own: \u003c/b>Both \u003ci>Kings \u003c/i>and \u003ci>The Hunger Games \u003c/i>franchise do a wonderful job of building an alternate reality that somehow manages to feel both eerily similar to our own and distinctly different, allowing the storytellers to make unique comments on our own contemporary reality. In \u003ca href=\"https://www.youtube.com/watch?v=9ebB1U8IlTw\">a video interview\u003c/a> Lawrence did with TVWeb at the 2009 San Diego Comic-Con, he described the power of this alternate reality effect in \u003ci>Kings\u003c/i>:\u003c/p>\n\u003cp>“Whenever you have a story, whatever it is, you always want it to be somewhat relatable to today and, the great thing is [the King David story] almost just transplanted over, and so it fit everything that’s sort of going on in the world right now. And then, when we were building our version of the monarchy, and sort of getting rid of the real royalty of it -- the sashes and the medals and the pomp and circumstance and all that -- and you start to make it feel a little corporate and presidential, it starts to sort of line up to the way things are working right now in America, which is pretty interesting. It’s working out to be kind of a nice allegory.”\u003c/p>\n\u003cp>The same could be said of Panem, a vision of a dystopian future that has more in common with our current reality than many viewers would like to admit.\u003c/p>\n\u003cp>\u003cb>Strong ensemble casts: \u003c/b>I don’t need to tell you about the acting heavyweights represented in \u003ci>The Hunger Games \u003c/i>series, but \u003ci>Kings \u003c/i>boasts a similarly impressive cast. Led by the inimitable Ian McShane in a role fresh off of his turn in \u003ci>Deadwood\u003c/i>, other familiar faces include, \u003ci>Arrow\u003c/i>’s Susanna Thomas, \u003ci>The Winter Soldier\u003c/i>’s Sebastian Stan, and \u003ci>Terra Nova\u003c/i>’s Allison Miller -- and that’s just the royal family. Macaulay Culkin, Leslie Bibb, Dylan Baker, and Wes Studi all fill either regular or recurring roles in the series.\u003c/p>\n\u003cp>\u003cb>Effective visual propaganda: \u003c/b>One of the most striking visual parallels -- besides Lawrence’s talent in blending the gritty with the beautiful -- is the iconic visual language of the stories’ respective political movements. In \u003ci>Kings\u003c/i>, the butterfly is a ubiquitous motif, a tool Silas uses to represent the narrative of his rise to power. In \u003ci>The Hunger Games\u003c/i>, its equivalent is the mockingjay, for which the third and fourth film installments are named. Though this similarity may seem minor, Lawrence imbues both examples of visual propaganda with a weight lesser directors often fail to achieve. The butterfly and the mockingjay aren’t just symbols for the characters; they are an ever-shifting measure for the audience on who is winning, who is losing, and who doesn’t even bother to play the game.\u003c/p>\n\u003cp>\u003ci>Kings \u003c/i>is available to watch in its entirety on \u003ca href=\"http://www.hulu.com/kings\">Hulu\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>\u003cstrong> \u003c/strong>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Are there other on-screen stories that remind you of \u003c/i>The Hunger Games\u003ci>? Sound off in the comments below.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "How Does 'The Hunger Games: Mockingjay' Handle the Ghost of Philip Seymour Hoffman?",
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"content": "\u003cfigure id=\"attachment_13431\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg class=\"size-full wp-image-13431\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/09/philip-seymour-hoffman1.jpg\" alt=\"Photo: Welcome to District 12\" width=\"640\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/09/philip-seymour-hoffman1.jpg 640w, https://ww2.kqed.org/app/uploads/sites/12/2014/09/philip-seymour-hoffman1-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://www.welcometodistrict12.com/\">Welcome to District 12\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>By Lily Kelting\u003c/strong>\u003c/p>\n\u003cp>Performance is supposed to be about liveness. TV is \"rawest\" live, sports are shown live, and theater has been selling liveness for millennia. This ethos rubs off even on movies and TV; there is an ongoing tension between the \"living\" work of the actors and the mechanical, “off-stage” work of post-production animators. Theater scholar Marvin Carlson writes, “One of the universals of performance is its ghostliness, its sense of return, the uncanny but inescapable impression that we are seeing what we saw before.” Performance, Carlson muses, is haunted.\u003c/p>\n\u003cp>Marvin Carlson, of course, wasn’t really talking about ghosts -- he’s talking about the way that theater doubles life, presenting cultural and historical forces a second time. But what about ghosts? The teaser trailer for the Hunger Games franchise’s third installment, \u003cem>Mockingjay: Part I\u003c/em>, begins with a voiceover from Philip Seymour Hoffman. An unmistakable throaty growl, “Listen to me...” And yes, we’re listening. This is the first glimpse of the film that viewers have been offered. “The Capitol” has been waging a very clever PR campaign, where mock-propaganda from the dystopia has been released in lieu of traditional trailers.\u003c/p>\n\u003cp>http://youtu.be/JzcYyzCZdiM\u003c/p>\n\u003cp>If theater is seeing what we have seen before, then isn't the movie trailer a way to see what we are about to see? After being tantalized by \u003ca href=\"http://screenrant.com/hunger-games-mockingjay-posters-district-heroes/\">the glossy fashion spreads\u003c/a> as if we, too, were citizens of Panem, the trailer speaks to us as an audience. It says: Come see this movie, starring Philip Seymour Hoffman, Julianne Moore, and Jennifer Lawrence! It does feel uncanny to look forward to an actor’s final film, to hear a voice that you realize is speaking from beyond the grave.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There are a handful of ways that one can deal with a deceased actor in post-production. In Heath Ledger’s last unfinished film, \u003cem>The Imaginarium of Doctor Parnassus\u003c/em>, other actors were brought in and lines were redistributed. In Bruce Lee’s last film, \u003cem>Game of Death\u003c/em>, body doubles performed stunts wearing wigs and sunglasses. When Lee had to look in a mirror, the double gazed at a cardboard cut-out. The manipulation of the image of a dead actor breaks down some deep taboos about respect for the dead, especially respect for dead bodies. Attempts to graft the moving face of a posthumous actor onto a body double ignite these same taboos: think the crass recycling of deleted footage from the first three Pink Panther movies to stitch Peter Sellers into a fourth installment, though he died 18 months before the film went into production. There’s also, of course, the ambivalently received posthumous editing of Nancy Marchand into \u003cem>The Sopranos\u003c/em> or Oliver Reed in \u003cem>Gladiator\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=uFnJhZa94wA\u003c/p>\n\u003cp>Lionsgate has clearly opted to avoid these latter, loaded solutions. In an interactive promotional packet, director Francis Lawrence and writer Nina Jacobson are clearly responding both to the negative history of technology in posthumous acting and to earlier press materials that made it sound like a CGI Hoffman would star in \u003cem>Mockingjay: Part II\u003c/em>. Lawrence explained, “We finished the majority of his work. I think he might have had 8 to 10 days left on our schedule. In most of those scenes, Phil didn’t have any dialogue. We are going to put him into those scenes, but we’re only using real footage. We’re not creating anything digital or a robotic version of him.” Jacobsen continued, “We might give a line of Plutarch’s to Haymitch or Effie, but only in circumstances that we are able to do that without undermining the intent of the scene.”\u003c/p>\n\u003cp>Part of this reactionary, anti-tech stance must come from Hoffman himself. Philip Seymour Hoffman was an “actor’s actor.” As A.O. Scott stresses, “As the heavy, the weird friend or the volatile co-worker in a big commercial movie he could offer not only comic relief but also the specific pleasure that comes from encountering an actor who takes his art seriously no matter the project. He may have specialized in unhappiness, but you were always glad to see him.” The assumption that the Mockingjay movies would form Hoffman’s epitaph seems off-putting, no matter how much gravitas, humanity or professionalism he brought to the role. To digitally simulate Hoffman’s performance would undo not only the work of one film but of his entire career.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But choosing to leave Hoffman’s performance intact only makes it all the more ghostly. His opening speech in the trailer, the cut to Hoffman waggling his eyebrows: it is this humanity and liveliness that makes the movie so haunted. Though the actor dies, the character can and must live without him. And so in sticking to Hoffman’s recorded material, and insisting that the film will represent his talent largely intact, the director and producers stress acting as an important part of the fantasy world of Panem, acting that is embodied, personal, dynamic, even \"live\". The trailer successfully hypes the film’s performances. I, for one, am looking forward to see Julianne Moore, Jennifer Lawrence, and especially Philip Seymour Hoffman. But the unmediated, character-driven realness of the end of the Hunger Games series reminds us that we will never really look forward to another Philip Seymour Hoffman movie again.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13431\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg class=\"size-full wp-image-13431\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/09/philip-seymour-hoffman1.jpg\" alt=\"Photo: Welcome to District 12\" width=\"640\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/09/philip-seymour-hoffman1.jpg 640w, https://ww2.kqed.org/app/uploads/sites/12/2014/09/philip-seymour-hoffman1-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://www.welcometodistrict12.com/\">Welcome to District 12\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>By Lily Kelting\u003c/strong>\u003c/p>\n\u003cp>Performance is supposed to be about liveness. TV is \"rawest\" live, sports are shown live, and theater has been selling liveness for millennia. This ethos rubs off even on movies and TV; there is an ongoing tension between the \"living\" work of the actors and the mechanical, “off-stage” work of post-production animators. Theater scholar Marvin Carlson writes, “One of the universals of performance is its ghostliness, its sense of return, the uncanny but inescapable impression that we are seeing what we saw before.” Performance, Carlson muses, is haunted.\u003c/p>\n\u003cp>Marvin Carlson, of course, wasn’t really talking about ghosts -- he’s talking about the way that theater doubles life, presenting cultural and historical forces a second time. But what about ghosts? The teaser trailer for the Hunger Games franchise’s third installment, \u003cem>Mockingjay: Part I\u003c/em>, begins with a voiceover from Philip Seymour Hoffman. An unmistakable throaty growl, “Listen to me...” And yes, we’re listening. This is the first glimpse of the film that viewers have been offered. “The Capitol” has been waging a very clever PR campaign, where mock-propaganda from the dystopia has been released in lieu of traditional trailers.\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/JzcYyzCZdiM'\n title='//www.youtube.com/embed/JzcYyzCZdiM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If theater is seeing what we have seen before, then isn't the movie trailer a way to see what we are about to see? After being tantalized by \u003ca href=\"http://screenrant.com/hunger-games-mockingjay-posters-district-heroes/\">the glossy fashion spreads\u003c/a> as if we, too, were citizens of Panem, the trailer speaks to us as an audience. It says: Come see this movie, starring Philip Seymour Hoffman, Julianne Moore, and Jennifer Lawrence! It does feel uncanny to look forward to an actor’s final film, to hear a voice that you realize is speaking from beyond the grave.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There are a handful of ways that one can deal with a deceased actor in post-production. In Heath Ledger’s last unfinished film, \u003cem>The Imaginarium of Doctor Parnassus\u003c/em>, other actors were brought in and lines were redistributed. In Bruce Lee’s last film, \u003cem>Game of Death\u003c/em>, body doubles performed stunts wearing wigs and sunglasses. When Lee had to look in a mirror, the double gazed at a cardboard cut-out. The manipulation of the image of a dead actor breaks down some deep taboos about respect for the dead, especially respect for dead bodies. Attempts to graft the moving face of a posthumous actor onto a body double ignite these same taboos: think the crass recycling of deleted footage from the first three Pink Panther movies to stitch Peter Sellers into a fourth installment, though he died 18 months before the film went into production. There’s also, of course, the ambivalently received posthumous editing of Nancy Marchand into \u003cem>The Sopranos\u003c/em> or Oliver Reed in \u003cem>Gladiator\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/uFnJhZa94wA'\n title='//www.youtube.com/embed/uFnJhZa94wA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Lionsgate has clearly opted to avoid these latter, loaded solutions. In an interactive promotional packet, director Francis Lawrence and writer Nina Jacobson are clearly responding both to the negative history of technology in posthumous acting and to earlier press materials that made it sound like a CGI Hoffman would star in \u003cem>Mockingjay: Part II\u003c/em>. Lawrence explained, “We finished the majority of his work. I think he might have had 8 to 10 days left on our schedule. In most of those scenes, Phil didn’t have any dialogue. We are going to put him into those scenes, but we’re only using real footage. We’re not creating anything digital or a robotic version of him.” Jacobsen continued, “We might give a line of Plutarch’s to Haymitch or Effie, but only in circumstances that we are able to do that without undermining the intent of the scene.”\u003c/p>\n\u003cp>Part of this reactionary, anti-tech stance must come from Hoffman himself. Philip Seymour Hoffman was an “actor’s actor.” As A.O. Scott stresses, “As the heavy, the weird friend or the volatile co-worker in a big commercial movie he could offer not only comic relief but also the specific pleasure that comes from encountering an actor who takes his art seriously no matter the project. He may have specialized in unhappiness, but you were always glad to see him.” The assumption that the Mockingjay movies would form Hoffman’s epitaph seems off-putting, no matter how much gravitas, humanity or professionalism he brought to the role. To digitally simulate Hoffman’s performance would undo not only the work of one film but of his entire career.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But choosing to leave Hoffman’s performance intact only makes it all the more ghostly. His opening speech in the trailer, the cut to Hoffman waggling his eyebrows: it is this humanity and liveliness that makes the movie so haunted. Though the actor dies, the character can and must live without him. And so in sticking to Hoffman’s recorded material, and insisting that the film will represent his talent largely intact, the director and producers stress acting as an important part of the fantasy world of Panem, acting that is embodied, personal, dynamic, even \"live\". The trailer successfully hypes the film’s performances. I, for one, am looking forward to see Julianne Moore, Jennifer Lawrence, and especially Philip Seymour Hoffman. But the unmediated, character-driven realness of the end of the Hunger Games series reminds us that we will never really look forward to another Philip Seymour Hoffman movie again.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_3113\" class=\"wp-caption aligncenter\" style=\"max-width: 656px\">\u003ca href=\"http://www.joblo.com/horror-movies/news/first-look-at-tom-hiddleston-and-tilda-swinton-in-only-lovers-left-alive\">\u003cimg class=\"size-full wp-image-3113\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/03/Only-Lovers-Left-Alive-still.jpeg\" alt=\"Only-Lovers-Left-Alive-still\" width=\"656\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/03/Only-Lovers-Left-Alive-still.jpeg 656w, https://ww2.kqed.org/app/uploads/sites/12/2013/03/Only-Lovers-Left-Alive-still-400x243.jpeg 400w\" sizes=\"(max-width: 656px) 100vw, 656px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Only Lovers Left Alive\u003c/figcaption>\u003c/figure>\n\u003cp style=\"text-align: left\">When award season is over, I feel a genuine void in my belly. Whether it’s the pain of my losing Oscar ballot or my inability to venture to any of the current film festivals, something is there, and it hurts. (Aside: This discomfort might also be due to the amount of spicy hummus consumed during all my viewing parties). Save for a \u003ca href=\"http://www.roxie.com/\">few\u003c/a>, the movies out now are not worth the money. Luckily, some truly slick-looking flicks are just around the bend, thank goodness. And here are 11 of those films that will get you out the door, back into the theater and eating that $20 box of Gummy Bears in no time:\u003c/p>\n\u003cdiv class=\"single-video\">[youtube http://www.youtube.com/watch?v=Rw0hc7V6Yrc&w=560&h=315]\u003c/div>\n\u003cp>\u003cstrong>SOMETHING IN THE AIR\u003c/strong>\u003c/p>\n\u003cp>At first glance, the trailer looks very \u003ca href=\"http://youtu.be/YU1brBVMBkM\">familiar\u003c/a>, almost formulaic, in a revolutionary sense. The story of a young man pushing through life during the radical changes of late 60s France. You see molotov cocktails, manifestos, and smoke bombs, but in true Olivier Assayas fashion, there’s a shift. Reminding me of the last ten or so minutes of his quiet but gorgeous \u003ca href=\"http://youtu.be/w3sXf4aEygs\">\u003cem>Summer Hours\u003c/em>\u003c/a>, the trailer moves inward, lyrically. Even the French title of the movie rolls off the tongue like a poem: \u003cem>Apres Mai.\u003c/em>\u003c/p>\n\u003cdiv class=\"single-video\">[youtube http://www.youtube.com/watch?v=BST3CCnP6uE&w=560&h=315]\u003c/div>\n\u003cp>\u003cstrong>THE BLING RING\u003c/strong>\u003c/p>\n\u003cp>Sofia Coppola’s latest flick on the true story of fame-obsessed L.A. teens who robbed millions in cash and belongings from celebrities like Paris Hilton, Lindsay Lohan, and \u003ca href=\"http://youtu.be/aXGYDVKNCd4\">Brian Austin Green\u003c/a>. I think I might be in the minority when I say I’ve enjoyed every one of her films, even \u003cem>Marie Antoinette\u003c/em>, who a friend of mine also really liked—on mute. Coppola’s got some \u003ca href=\"http://youtu.be/J10S1bn1WeM\">killer\u003c/a> soundtracks and with the most recent resurgence of My Bloody Valentine, I’m really hoping for a reunion with Kevin Shields. Now if only her canned wine was as good!\u003c/p>\n\u003cdiv class=\"single-video\">[youtube http://www.youtube.com/watch?v=s-N4IT6-rAY&w=560&h=315]\u003c/div>\n\u003cp>\u003cstrong>THE WE AND THE I\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>With \u003cem>Eternal Sunshine of the Spotless Mind\u003c/em> and \u003cem>The Science of Sleep\u003c/em> under his belt, you’d think Michel Gondry's \u003cem>The We And the I\u003c/em> would be another surreal feast for the eyes, another \u003ca href=\"http://youtu.be/V2LIZy0zZl8\">dreamy display\u003c/a>. But instead, we’re on a bus and it’s the Bronx and there are high school kids and it’s their last day of school and I’m more than intrigued. I never jumped on the Gondry bandwagon, feeling the two aforementioned films were too rounded out but here I am, fresh off watching the unbelievably good \u003ca href=\"http://www.pbs.org/programs/180-days-american-school/\">PBS\u003c/a> documentary \u003cem>180 Days: A Year Inside an American High School\u003c/em>, and I’m hooked on the education system. As long as the bus doesn’t turn into a bed and the road into a cloud, I’m ready to learn.\u003c/p>\n\u003cdiv class=\"single-video\">[youtube http://www.youtube.com/watch?v=2Eg6SbwfqOY&w=560&h=315]\u003c/div>\n\u003cp>\u003cstrong>LAURENCE ANYWAYS\u003c/strong>\u003c/p>\n\u003cp>I fell for this French-Canadian director Xavier Dolan with 2010’s stylish, \u003cem>\u003ca href=\"http://youtu.be/znpU_Aup-Bg\">Heartbeats\u003c/a>. \u003c/em>And judging from this trailer, it looks as though he hasn’t lost his black magic. \u003cem>Laurence Anyways\u003c/em> chronicles a decade in the life of a male to female transsexual and her lover. With a \u003ca href=\"http://youtu.be/kyN5BYL8l_o\">Knife\u003c/a>-like score and genuinely \u003ca href=\"http://youtu.be/C0NiPPlx2LY\">creepy\u003c/a> second trailer, it’s a sure win. And it must be mentioned that Dolan is the ripe old age of 24, which like, makes me reexamine my entire existence.\u003c/p>\n\u003cdiv class=\"single-video\">[youtube http://www.youtube.com/watch?v=ytq4VZ2Nyxg&w=560&h=315]\u003c/div>\n\u003cp>\u003cstrong>STORIES WE TELL\u003c/strong>\u003c/p>\n\u003cp>Sarah Polley has shed her \u003ca href=\"http://avonlea.hu/cd/websites/Tim/sara_c2.jpg\">\u003cem>Road to Avonlea\u003c/em>\u003c/a> skin. Her newest docudrama chronicles the very personal story of her own family and their misgivings. Through interviews, actors, and Super 8 footage, Polley creates as much a meditation on love and truth as she does a film of admirable ambition.\u003c/p>\n\u003cdiv class=\"single-video\">[youtube http://www.youtube.com/watch?v=jmF5BamOyqs&w=560&h=315]\u003c/div>\n\u003cp>\u003cstrong>THE GREAT GATSBY\u003c/strong>\u003c/p>\n\u003cp>The hype has been huge, in a \u003cem>Les Miserables\u003c/em> kind of way—which worries me a bit. And the release date was \u003ca href=\"http://www.huffingtonpost.com/2013/03/26/the-great-gatsby-teaser-release-date_n_2958258.html\">pushed\u003c/a> back to allow director Baz Luhrman more time to perfect the effects and gather just the right artists for the soundtrack. My hope is that in casting Leonardo DiCaprio in the title role, Luhrman has \u003cem>Romeo + Juliet\u003c/em> on his mind. Like Godard and Karina, Anderson and Murray, he is coming to realize Leo as his muse, a wonderful thing. Oh, and the music is likely to kick butt, for sure.\u003c/p>\n\u003cdiv class=\"single-video\">[youtube http://www.youtube.com/watch?v=NTAzcTZTY1g&w=560&h=315]\u003c/div>\n\u003cp>\u003cstrong>TO THE WONDER\u003c/strong>\u003c/p>\n\u003cp>Although it looks achingly similar to 2011’s \u003cem>The\u003c/em> \u003cem>Tree of Life\u003c/em>,\u003cem> \u003c/em>director Terrence Mallick has a knack for the \u003ca href=\"http://youtu.be/WXRYA1dxP_0\">heavenly\u003c/a>. This time Ben Affleck and Olga Kurylenko take the reigns as a couple who meet in France and move to Oklahoma to begin their life. While I’m not the biggest Affleck fan on this side of the Mississippi, I do revel in Mallick’s technique and style. More voice-over whispers! More spinning cameras! More dust at dusk!\u003c/p>\n\u003cdiv class=\"single-video\">[youtube http://www.youtube.com/watch?v=H9Y-tKYiLuw&w=560&h=315]\u003c/div>\n\u003cp>\u003cstrong>FRUITVALE\u003c/strong>\u003c/p>\n\u003cp>Winner of the Grand Jury Prize in Dramatic at Sundance, \u003cem>Fruitvale \u003c/em>has been the \u003ca href=\"http://www.sfgate.com/movies/article/Fruitvale-wins-prizes-at-Sundance-4226743.php\">talk\u003c/a> of the town, specifically the Bay Area where the story takes place. Based on the actual New Year’s Eve \u003ca href=\"http://www.nytimes.com/2010/07/09/us/09verdict.html?_r=0\">events\u003c/a> of 2008, first-time director Ryan Coogler recounts the last day in the life of Oscar Grant, who was shot to death by a BART police officer. Sure to cause controversy for its facts and tears for its plot, I have no doubt Coogler and the editors handled everything with grace and humility.\u003c/p>\n\u003cdiv class=\"single-video\">[youtube http://www.youtube.com/watch?v=SK3448eItjw&w=560&h=315]\u003c/div>\n\u003cp>\u003cstrong>I’M SO EXCITED\u003c/strong>\u003c/p>\n\u003cp>More in the style of \u003cem>Women on the Verge of a Nervous Breakdown\u003c/em> than \u003cem>Bad Education\u003c/em>, the new Pedro Almodóvar film opened in Spain to record-breaking \u003ca href=\"http://moviegallery.com/uncategorized/latest-almodovar-comedy-has-the-directors-biggest-opening-weekend-b-o-in-his-native-country/\">sales\u003c/a> and mixed reviews. We spend 89 minutes on a plane whose psychic passenger predicts a crash of some sort. With the news spreading quickly, the crew does all they can to calm and entertain. True camp in true form. Not sure if it’s going to be Almodóvar’s best work, but it’s sure to tickle.\u003c/p>\n\u003cdiv class=\"single-video\">[youtube http://www.youtube.com/watch?v=fVZpc3D-dSE&w=560&h=315]\u003c/div>\n\u003cp>\u003cstrong>THE HUNGER GAMES: CATCHING FIRE\u003c/strong>\u003c/p>\n\u003cp>Jennifer Lawrence is like your kid sister, although she’s kind of also a \u003ca href=\"http://cdn02.cdn.justjared.com/wp-content/uploads/2012/08/lawrence-vogue/jennifer-lawrence-vogue-120-01.jpg\">bombshell\u003c/a> which makes me feel weird. Fans of the series are biting their nails to the cuticles in anticipation and they still have 8 months to go, yikes! With her huge fame and now Oscar’status, J. Law could have elegantly stepped down as the fierce Katniss Everdeen but she didn’t. And we’re so glad she’s still in the game. \u003cem>\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_3113\" class=\"wp-caption aligncenter\" style=\"max-width: 656px\">\u003ca href=\"http://www.joblo.com/horror-movies/news/first-look-at-tom-hiddleston-and-tilda-swinton-in-only-lovers-left-alive\">\u003cimg class=\"size-full wp-image-3113\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/03/Only-Lovers-Left-Alive-still.jpeg\" alt=\"Only-Lovers-Left-Alive-still\" width=\"656\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/03/Only-Lovers-Left-Alive-still.jpeg 656w, https://ww2.kqed.org/app/uploads/sites/12/2013/03/Only-Lovers-Left-Alive-still-400x243.jpeg 400w\" sizes=\"(max-width: 656px) 100vw, 656px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Only Lovers Left Alive\u003c/figcaption>\u003c/figure>\n\u003cp style=\"text-align: left\">\u003cem> \u003c/em>\u003cbr>\n\u003cstrong>ONLY LOVERS LEFT ALIVE\u003c/strong>\u003c/p>\n\u003cp>Tilda Swinton is likely to be \u003ca href=\"http://www.theatlanticwire.com/entertainment/2013/03/tilda-swinton-moma/63511/\">taking a nap\u003c/a> right now in the MOMA for all to see. While I’m sure there is definite artistic complexity to this installation, it’s no mistake it comes right before the release of Jim Jarmusch-directed \u003cem>Only Lovers Left Alive\u003c/em>, where she plays a vampire (they sleep during the day!) who has been in love for centuries. There’s not much footage on the film but the press photo (I'm obsessed with it!) is rad, very 80s vamp-chic, Ray-Bans and all.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"excerpt": "When award season is over, many of us feel a genuine void in our bellies. Here are 11 upcoming films that will get you out the door, back into the theater and eating that $20 box of Gummy Bears in no time.",
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"description": "When award season is over, many of us feel a genuine void in our bellies. Here are 11 upcoming films that will get you out the door, back into the theater and eating that $20 box of Gummy Bears in no time.",
"title": "11 Films to Get You Past Your Post-Oscar Blues | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_3113\" class=\"wp-caption aligncenter\" style=\"max-width: 656px\">\u003ca href=\"http://www.joblo.com/horror-movies/news/first-look-at-tom-hiddleston-and-tilda-swinton-in-only-lovers-left-alive\">\u003cimg class=\"size-full wp-image-3113\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/03/Only-Lovers-Left-Alive-still.jpeg\" alt=\"Only-Lovers-Left-Alive-still\" width=\"656\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/03/Only-Lovers-Left-Alive-still.jpeg 656w, https://ww2.kqed.org/app/uploads/sites/12/2013/03/Only-Lovers-Left-Alive-still-400x243.jpeg 400w\" sizes=\"(max-width: 656px) 100vw, 656px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Only Lovers Left Alive\u003c/figcaption>\u003c/figure>\n\u003cp style=\"text-align: left\">When award season is over, I feel a genuine void in my belly. Whether it’s the pain of my losing Oscar ballot or my inability to venture to any of the current film festivals, something is there, and it hurts. (Aside: This discomfort might also be due to the amount of spicy hummus consumed during all my viewing parties). Save for a \u003ca href=\"http://www.roxie.com/\">few\u003c/a>, the movies out now are not worth the money. Luckily, some truly slick-looking flicks are just around the bend, thank goodness. And here are 11 of those films that will get you out the door, back into the theater and eating that $20 box of Gummy Bears in no time:\u003c/p>\n\u003cdiv class=\"single-video\">\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/Rw0hc7V6Yrc'\n title='//www.youtube.com/embed/Rw0hc7V6Yrc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/div>\n\u003cp>\u003cstrong>SOMETHING IN THE AIR\u003c/strong>\u003c/p>\n\u003cp>At first glance, the trailer looks very \u003ca href=\"http://youtu.be/YU1brBVMBkM\">familiar\u003c/a>, almost formulaic, in a revolutionary sense. The story of a young man pushing through life during the radical changes of late 60s France. You see molotov cocktails, manifestos, and smoke bombs, but in true Olivier Assayas fashion, there’s a shift. Reminding me of the last ten or so minutes of his quiet but gorgeous \u003ca href=\"http://youtu.be/w3sXf4aEygs\">\u003cem>Summer Hours\u003c/em>\u003c/a>, the trailer moves inward, lyrically. Even the French title of the movie rolls off the tongue like a poem: \u003cem>Apres Mai.\u003c/em>\u003c/p>\n\u003cdiv class=\"single-video\">\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/BST3CCnP6uE'\n title='//www.youtube.com/embed/BST3CCnP6uE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/div>\n\u003cp>\u003cstrong>THE BLING RING\u003c/strong>\u003c/p>\n\u003cp>Sofia Coppola’s latest flick on the true story of fame-obsessed L.A. teens who robbed millions in cash and belongings from celebrities like Paris Hilton, Lindsay Lohan, and \u003ca href=\"http://youtu.be/aXGYDVKNCd4\">Brian Austin Green\u003c/a>. I think I might be in the minority when I say I’ve enjoyed every one of her films, even \u003cem>Marie Antoinette\u003c/em>, who a friend of mine also really liked—on mute. Coppola’s got some \u003ca href=\"http://youtu.be/J10S1bn1WeM\">killer\u003c/a> soundtracks and with the most recent resurgence of My Bloody Valentine, I’m really hoping for a reunion with Kevin Shields. Now if only her canned wine was as good!\u003c/p>\n\u003cdiv class=\"single-video\">\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/s-N4IT6-rAY'\n title='//www.youtube.com/embed/s-N4IT6-rAY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/div>\n\u003cp>\u003cstrong>THE WE AND THE I\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With \u003cem>Eternal Sunshine of the Spotless Mind\u003c/em> and \u003cem>The Science of Sleep\u003c/em> under his belt, you’d think Michel Gondry's \u003cem>The We And the I\u003c/em> would be another surreal feast for the eyes, another \u003ca href=\"http://youtu.be/V2LIZy0zZl8\">dreamy display\u003c/a>. But instead, we’re on a bus and it’s the Bronx and there are high school kids and it’s their last day of school and I’m more than intrigued. I never jumped on the Gondry bandwagon, feeling the two aforementioned films were too rounded out but here I am, fresh off watching the unbelievably good \u003ca href=\"http://www.pbs.org/programs/180-days-american-school/\">PBS\u003c/a> documentary \u003cem>180 Days: A Year Inside an American High School\u003c/em>, and I’m hooked on the education system. As long as the bus doesn’t turn into a bed and the road into a cloud, I’m ready to learn.\u003c/p>\n\u003cdiv class=\"single-video\">\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/2Eg6SbwfqOY'\n title='//www.youtube.com/embed/2Eg6SbwfqOY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/div>\n\u003cp>\u003cstrong>LAURENCE ANYWAYS\u003c/strong>\u003c/p>\n\u003cp>I fell for this French-Canadian director Xavier Dolan with 2010’s stylish, \u003cem>\u003ca href=\"http://youtu.be/znpU_Aup-Bg\">Heartbeats\u003c/a>. \u003c/em>And judging from this trailer, it looks as though he hasn’t lost his black magic. \u003cem>Laurence Anyways\u003c/em> chronicles a decade in the life of a male to female transsexual and her lover. With a \u003ca href=\"http://youtu.be/kyN5BYL8l_o\">Knife\u003c/a>-like score and genuinely \u003ca href=\"http://youtu.be/C0NiPPlx2LY\">creepy\u003c/a> second trailer, it’s a sure win. And it must be mentioned that Dolan is the ripe old age of 24, which like, makes me reexamine my entire existence.\u003c/p>\n\u003cdiv class=\"single-video\">\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/ytq4VZ2Nyxg'\n title='//www.youtube.com/embed/ytq4VZ2Nyxg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/div>\n\u003cp>\u003cstrong>STORIES WE TELL\u003c/strong>\u003c/p>\n\u003cp>Sarah Polley has shed her \u003ca href=\"http://avonlea.hu/cd/websites/Tim/sara_c2.jpg\">\u003cem>Road to Avonlea\u003c/em>\u003c/a> skin. Her newest docudrama chronicles the very personal story of her own family and their misgivings. Through interviews, actors, and Super 8 footage, Polley creates as much a meditation on love and truth as she does a film of admirable ambition.\u003c/p>\n\u003cdiv class=\"single-video\">\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/jmF5BamOyqs'\n title='//www.youtube.com/embed/jmF5BamOyqs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/div>\n\u003cp>\u003cstrong>THE GREAT GATSBY\u003c/strong>\u003c/p>\n\u003cp>The hype has been huge, in a \u003cem>Les Miserables\u003c/em> kind of way—which worries me a bit. And the release date was \u003ca href=\"http://www.huffingtonpost.com/2013/03/26/the-great-gatsby-teaser-release-date_n_2958258.html\">pushed\u003c/a> back to allow director Baz Luhrman more time to perfect the effects and gather just the right artists for the soundtrack. My hope is that in casting Leonardo DiCaprio in the title role, Luhrman has \u003cem>Romeo + Juliet\u003c/em> on his mind. Like Godard and Karina, Anderson and Murray, he is coming to realize Leo as his muse, a wonderful thing. Oh, and the music is likely to kick butt, for sure.\u003c/p>\n\u003cdiv class=\"single-video\">\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/NTAzcTZTY1g'\n title='//www.youtube.com/embed/NTAzcTZTY1g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/div>\n\u003cp>\u003cstrong>TO THE WONDER\u003c/strong>\u003c/p>\n\u003cp>Although it looks achingly similar to 2011’s \u003cem>The\u003c/em> \u003cem>Tree of Life\u003c/em>,\u003cem> \u003c/em>director Terrence Mallick has a knack for the \u003ca href=\"http://youtu.be/WXRYA1dxP_0\">heavenly\u003c/a>. This time Ben Affleck and Olga Kurylenko take the reigns as a couple who meet in France and move to Oklahoma to begin their life. While I’m not the biggest Affleck fan on this side of the Mississippi, I do revel in Mallick’s technique and style. More voice-over whispers! More spinning cameras! More dust at dusk!\u003c/p>\n\u003cdiv class=\"single-video\">\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/H9Y-tKYiLuw'\n title='//www.youtube.com/embed/H9Y-tKYiLuw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/div>\n\u003cp>\u003cstrong>FRUITVALE\u003c/strong>\u003c/p>\n\u003cp>Winner of the Grand Jury Prize in Dramatic at Sundance, \u003cem>Fruitvale \u003c/em>has been the \u003ca href=\"http://www.sfgate.com/movies/article/Fruitvale-wins-prizes-at-Sundance-4226743.php\">talk\u003c/a> of the town, specifically the Bay Area where the story takes place. 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Sure to cause controversy for its facts and tears for its plot, I have no doubt Coogler and the editors handled everything with grace and humility.\u003c/p>\n\u003cdiv class=\"single-video\">\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/SK3448eItjw'\n title='//www.youtube.com/embed/SK3448eItjw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/div>\n\u003cp>\u003cstrong>I’M SO EXCITED\u003c/strong>\u003c/p>\n\u003cp>More in the style of \u003cem>Women on the Verge of a Nervous Breakdown\u003c/em> than \u003cem>Bad Education\u003c/em>, the new Pedro Almodóvar film opened in Spain to record-breaking \u003ca href=\"http://moviegallery.com/uncategorized/latest-almodovar-comedy-has-the-directors-biggest-opening-weekend-b-o-in-his-native-country/\">sales\u003c/a> and mixed reviews. We spend 89 minutes on a plane whose psychic passenger predicts a crash of some sort. With the news spreading quickly, the crew does all they can to calm and entertain. True camp in true form. Not sure if it’s going to be Almodóvar’s best work, but it’s sure to tickle.\u003c/p>\n\u003cdiv class=\"single-video\">\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/fVZpc3D-dSE'\n title='//www.youtube.com/embed/fVZpc3D-dSE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/div>\n\u003cp>\u003cstrong>THE HUNGER GAMES: CATCHING FIRE\u003c/strong>\u003c/p>\n\u003cp>Jennifer Lawrence is like your kid sister, although she’s kind of also a \u003ca href=\"http://cdn02.cdn.justjared.com/wp-content/uploads/2012/08/lawrence-vogue/jennifer-lawrence-vogue-120-01.jpg\">bombshell\u003c/a> which makes me feel weird. Fans of the series are biting their nails to the cuticles in anticipation and they still have 8 months to go, yikes! With her huge fame and now Oscar’status, J. Law could have elegantly stepped down as the fierce Katniss Everdeen but she didn’t. And we’re so glad she’s still in the game. \u003cem>\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_3113\" class=\"wp-caption aligncenter\" style=\"max-width: 656px\">\u003ca href=\"http://www.joblo.com/horror-movies/news/first-look-at-tom-hiddleston-and-tilda-swinton-in-only-lovers-left-alive\">\u003cimg class=\"size-full wp-image-3113\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/03/Only-Lovers-Left-Alive-still.jpeg\" alt=\"Only-Lovers-Left-Alive-still\" width=\"656\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/03/Only-Lovers-Left-Alive-still.jpeg 656w, https://ww2.kqed.org/app/uploads/sites/12/2013/03/Only-Lovers-Left-Alive-still-400x243.jpeg 400w\" sizes=\"(max-width: 656px) 100vw, 656px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Only Lovers Left Alive\u003c/figcaption>\u003c/figure>\n\u003cp style=\"text-align: left\">\u003cem> \u003c/em>\u003cbr>\n\u003cstrong>ONLY LOVERS LEFT ALIVE\u003c/strong>\u003c/p>\n\u003cp>Tilda Swinton is likely to be \u003ca href=\"http://www.theatlanticwire.com/entertainment/2013/03/tilda-swinton-moma/63511/\">taking a nap\u003c/a> right now in the MOMA for all to see. While I’m sure there is definite artistic complexity to this installation, it’s no mistake it comes right before the release of Jim Jarmusch-directed \u003cem>Only Lovers Left Alive\u003c/em>, where she plays a vampire (they sleep during the day!) who has been in love for centuries. There’s not much footage on the film but the press photo (I'm obsessed with it!) is rad, very 80s vamp-chic, Ray-Bans and all.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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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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"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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"planet-money": {
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"politicalbreakdown": {
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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.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
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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.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"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.",
"airtime": "SAT 4pm-5pm",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
},
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