'Love me Before the City Disappears' from The Bay Podcast
Watch the First Trailer for ‘Blindspotting,’ Rafael Casal and Daveed Diggs’ TV Spin-Off
The 'Blindspotting' Team Chips In to Save Fairyland
‘Blindspotting,’ the TV Show, Coming to Starz
The Bay Area’s Banner Year in Film
Barack Obama Includes Bay Area Authors, Movies on Year-End List
'Sorry to Bother You,' 'Blindspotting' Shut Out of Golden Globe Nominations
What the Complicated Friendship in ‘Blindspotting’ Reveals About Race
'Blindspotting' is a Spot-On Portrait of an Oakland in Flux
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She shares notes on her time spent hanging out by Lake Merritt. And she questions what’s come of the East Bay neighborhoods where she socialized as a young person.\u003c/p>\n\u003cp>All of her memories are woven together to show appreciation for the culture that raised her.\u003c/p>\n\u003cp>I first befriended Nijla years ago while running in the same creative Bay Area circles, since then I’ve watched her craft flourish. From her film, Jinn, winning the \u003ca href=\"https://www.sxsw.com/film/2018/nijla-mumin-discusses-her-narrative-feature-special-jury-award-winning-film-jinn/\" target=\"_blank\" rel=\"noopener noreferrer\">SXSW Special Jury Recognition Award for Writing \u003c/a>to writing and directing for acclaimed shows, \u003cem>Queen Sugar, \u003c/em>the\u003cem> Blindspotting \u003c/em>series\u003cem>, \u003c/em>\u003cem>Wu-Tang: An American Saga\u003c/em>, and \u003cem>Insecure\u003c/em>.\u003c/p>\n\u003cp>But way before all of that, Nijla attended UC Berkeley, where her experiences in June Jordan’s Poetry for the People Program left an indelible mark. She still writes poetry to this day.\u003c/p>\n\u003cp>In late April, Nijla shared some of her work with the Bay Podcast’s Maria Esquinca in celebration of National Poetry Month.\u003c/p>\n\u003cp>This week we’re sharing that episode with you.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC4501089091\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cfigure id=\"attachment_13913623\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913623\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/image_from_ios-2-800x535.jpg\" alt=\"Nijla Mu'min stands in front of a mural that reads "Oakland Dreams," painted by the by the Trust Your Struggle Collective. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/image_from_ios-2-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/image_from_ios-2-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/image_from_ios-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/image_from_ios-2-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/image_from_ios-2-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/image_from_ios-2.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nijla Mu’min stands in front of a mural that reads “Oakland Dreams,” painted by the by the Trust Your Struggle Collective. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp style=\"text-align: center\">\u003ca href=\"https://bit.ly/3Kw0nwm\">Read the Transcript of The Bay’s Episode. \u003c/a>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Poet Nijla Mu'min weaves together memories to show appreciation for the Bay Area culture that raised her.","status":"publish","parent":0,"modified":1705006822,"stats":{"hasAudio":true,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":284},"headData":{"title":"'Love me Before the City Disappears' from The Bay Podcast | KQED","description":"Poet Nijla Mu'min weaves together memories to show appreciation for the Bay Area culture that raised her.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"source":"Rightnowish","sourceUrl":"https://www.kqed.org/podcasts/rightnowish","audioUrl":"https://www.podtrac.com/pts/redirect.mp3/traffic.megaphone.fm/KQINC4501089091.mp3?updated=1652984763","sticky":false,"subhead":"Poet Nijla Mu'min weaves together memories to show appreciation for the Bay Area culture that raised her.","excludeFromSiteSearch":"Include","path":"/arts/13913622/rightnowish-the-bay-nijla-mumin","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nijla Mu’min’s poetry preserves her home by painting portraits with words.\u003c/p>\n\u003cp>She speaks about childhood memories of the East Oakland Black Muslim community. She shares notes on her time spent hanging out by Lake Merritt. And she questions what’s come of the East Bay neighborhoods where she socialized as a young person.\u003c/p>\n\u003cp>All of her memories are woven together to show appreciation for the culture that raised her.\u003c/p>\n\u003cp>I first befriended Nijla years ago while running in the same creative Bay Area circles, since then I’ve watched her craft flourish. From her film, Jinn, winning the \u003ca href=\"https://www.sxsw.com/film/2018/nijla-mumin-discusses-her-narrative-feature-special-jury-award-winning-film-jinn/\" target=\"_blank\" rel=\"noopener noreferrer\">SXSW Special Jury Recognition Award for Writing \u003c/a>to writing and directing for acclaimed shows, \u003cem>Queen Sugar, \u003c/em>the\u003cem> Blindspotting \u003c/em>series\u003cem>, \u003c/em>\u003cem>Wu-Tang: An American Saga\u003c/em>, and \u003cem>Insecure\u003c/em>.\u003c/p>\n\u003cp>But way before all of that, Nijla attended UC Berkeley, where her experiences in June Jordan’s Poetry for the People Program left an indelible mark. She still writes poetry to this day.\u003c/p>\n\u003cp>In late April, Nijla shared some of her work with the Bay Podcast’s Maria Esquinca in celebration of National Poetry Month.\u003c/p>\n\u003cp>This week we’re sharing that episode with you.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC4501089091\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cfigure id=\"attachment_13913623\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913623\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/image_from_ios-2-800x535.jpg\" alt=\"Nijla Mu'min stands in front of a mural that reads "Oakland Dreams," painted by the by the Trust Your Struggle Collective. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/image_from_ios-2-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/image_from_ios-2-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/image_from_ios-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/image_from_ios-2-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/image_from_ios-2-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/image_from_ios-2.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nijla Mu’min stands in front of a mural that reads “Oakland Dreams,” painted by the by the Trust Your Struggle Collective. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp style=\"text-align: center\">\u003ca href=\"https://bit.ly/3Kw0nwm\">Read the Transcript of The Bay’s Episode. \u003c/a>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13913622/rightnowish-the-bay-nijla-mumin","authors":["11491"],"programs":["arts_8720"],"categories":["arts_1","arts_21759"],"tags":["arts_1270","arts_2468","arts_1118","arts_3851","arts_1496","arts_17559","arts_6764","arts_5422"],"featImg":"arts_13913624","label":"source_arts_13913622"},"arts_13897056":{"type":"posts","id":"arts_13897056","meta":{"index":"posts_1591205157","site":"arts","id":"13897056","score":null,"sort":[1620850657000]},"guestAuthors":[],"slug":"watch-the-first-trailer-for-blindspotting-rafael-casal-and-daveed-diggs-tv-spin-off","title":"Watch the First Trailer for ‘Blindspotting,’ Rafael Casal and Daveed Diggs’ TV Spin-Off","publishDate":1620850657,"format":"standard","headTitle":"Watch the First Trailer for ‘Blindspotting,’ Rafael Casal and Daveed Diggs’ TV Spin-Off | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>The first trailer for \u003cem>Blindspotting\u003c/em>’s TV spin-off just dropped—and this time the focus is female.\u003c/p>\n\u003cp>The new Starz series is, like the original, set in Oakland and co-written by Daveed Diggs and Rafael Casal. Unlike the 2018 movie, however, the eight-episode half-hour dramedy will be told from the perspective of Ashley (Jasmine Cephas Jones). The longtime partner of, and co-parent with Casal’s Miles is seen struggling to make it work after Miles is incarcerated.\u003c/p>\n\u003cp>[aside postid='arts_13837184']The trailer shows Ashley navigating her new life living with Miles’ mom (Helen Hunt) and sister (Jaylen Barron), working the front desk at the fancy Alcatraz Hotel, and supporting Miles in jail and in the courtroom. The show also clearly has surreal elements, with multiple spontaneous dance scenes—including one that breaks out inside a penitentiary waiting room. Diggs’ character Collin is conspicuously absent throughout.\u003c/p>\n\u003cp>“The Bay isn’t just in the backdrop,” \u003ca href=\"https://www.sfgate.com/sf-culture/article/Blindspotting-Rafael-Casal-TV-series-Starz-Oakland-15937028.php\" target=\"_blank\" rel=\"noopener noreferrer\">Casal told \u003cem>SFGate\u003c/em>\u003c/a> in February. “Like the movie, the Bay is in everything the show touches. So much of the clothing is sourced from local brands and the music is heavily sourced from Bay artists. It’s in the soundscapes, the dancing styles, the art on the walls. It’s all carefully curated to bring the Bay to the world.”\u003c/p>\n\u003cp>In addition to co-writing the series with Nijla Mu’min, Benjamin Earl Turner (who plays Earl), Alanna Brown, and Priscila García-Jacquier, Diggs and Casal are also executive producers. Casal is serving as showrunner and Jones is acting as producer. The series premieres on Sunday, June 13, on Starz.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>You can see the trailer below.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fCtdIC666Ec\u003c/p>\n\n","blocks":[],"excerpt":"The eight-part half-hour Starz dramedy premieres June 13.","status":"publish","parent":0,"modified":1705008389,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":8,"wordCount":299},"headData":{"title":"Watch the First Trailer for ‘Blindspotting,’ Rafael Casal and Daveed Diggs’ TV Spin-Off | KQED","description":"The eight-part half-hour Starz dramedy premieres June 13.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13897056/watch-the-first-trailer-for-blindspotting-rafael-casal-and-daveed-diggs-tv-spin-off","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first trailer for \u003cem>Blindspotting\u003c/em>’s TV spin-off just dropped—and this time the focus is female.\u003c/p>\n\u003cp>The new Starz series is, like the original, set in Oakland and co-written by Daveed Diggs and Rafael Casal. Unlike the 2018 movie, however, the eight-episode half-hour dramedy will be told from the perspective of Ashley (Jasmine Cephas Jones). The longtime partner of, and co-parent with Casal’s Miles is seen struggling to make it work after Miles is incarcerated.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13837184","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The trailer shows Ashley navigating her new life living with Miles’ mom (Helen Hunt) and sister (Jaylen Barron), working the front desk at the fancy Alcatraz Hotel, and supporting Miles in jail and in the courtroom. The show also clearly has surreal elements, with multiple spontaneous dance scenes—including one that breaks out inside a penitentiary waiting room. Diggs’ character Collin is conspicuously absent throughout.\u003c/p>\n\u003cp>“The Bay isn’t just in the backdrop,” \u003ca href=\"https://www.sfgate.com/sf-culture/article/Blindspotting-Rafael-Casal-TV-series-Starz-Oakland-15937028.php\" target=\"_blank\" rel=\"noopener noreferrer\">Casal told \u003cem>SFGate\u003c/em>\u003c/a> in February. “Like the movie, the Bay is in everything the show touches. So much of the clothing is sourced from local brands and the music is heavily sourced from Bay artists. It’s in the soundscapes, the dancing styles, the art on the walls. It’s all carefully curated to bring the Bay to the world.”\u003c/p>\n\u003cp>In addition to co-writing the series with Nijla Mu’min, Benjamin Earl Turner (who plays Earl), Alanna Brown, and Priscila García-Jacquier, Diggs and Casal are also executive producers. Casal is serving as showrunner and Jones is acting as producer. The series premieres on Sunday, June 13, on Starz.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>You can see the trailer below.\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/fCtdIC666Ec'\n title='//www.youtube.com/embed/fCtdIC666Ec'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13897056/watch-the-first-trailer-for-blindspotting-rafael-casal-and-daveed-diggs-tv-spin-off","authors":["11242"],"categories":["arts_1","arts_11615","arts_990"],"tags":["arts_2468","arts_2467","arts_5569","arts_1143","arts_5308","arts_5422"],"featImg":"arts_13897066","label":"arts"},"arts_13886560":{"type":"posts","id":"arts_13886560","meta":{"index":"posts_1591205157","site":"arts","id":"13886560","score":null,"sort":[1600489974000]},"guestAuthors":[],"slug":"the-blindspotting-team-chips-in-to-save-fairyland","title":"The 'Blindspotting' Team Chips In to Save Fairyland","publishDate":1600489974,"format":"standard","headTitle":"The ‘Blindspotting’ Team Chips In to Save Fairyland | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Is there anything so pure as the friendship between the Bay Area’s Daveed Diggs and Rafael Casal? From Youth Speaks poetry slams to mixtapes to critically acclaimed feature films, Diggs and Casal have been creating together for over two decades. And with the duo recently slated to adapt their ode to Oakland, the film \u003cem>Blindspotting\u003c/em>, into a spinoff series for STARZ, the friends and creative partners are likely busy. Still, it’s no surprise that they’ve found time to come to the aid of one of their childhood hangouts, \u003ca href=\"https://fairyland.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Children’s Fairyland\u003c/a> in Oakland.\u003c/p>\n\u003cp>An elaborate world of fairytales come to life, Children’s Fairyland invites close encounters. Meandering through the meticulously-crafted storybook sets originally created by architect William Russell Everitt, children get a chance to live out their fairytale fantasies, whether by gamboling through the “Alice in Wonderland” card maze, careening down the dragon slide, communing with a menagerie of whimsical creatures, or clambering aboard the Jolly Trolly. \u003ca href=\"https://boingboing.net/2019/05/10/childrens-fairyland-the-mid.html\" target=\"_blank\" rel=\"noopener noreferrer\">It’s even said that the place influenced the creation of Disneyland\u003c/a>, and that beloved puppet master Frank Oz got his start in show business as a member of Fairyland’s Vagabond Puppet theatre.\u003c/p>\n\u003cp>But after several rounds of pandemic layoffs, Children’s Fairyland is facing the possibility of permanent closure. So to celebrate the park’s 70-year anniversary, Diggs and Casal will host a “\u003ca href=\"https://www.classy.org/event/fairylands-celebrity-storytime/e297793\" target=\"_blank\" rel=\"noopener noreferrer\">celebrity storytime\u003c/a>” Sept. 26 to raise funds for the charming institution. The virtual event is free to attend, with a handy donation link available for folks who want to contribute. Either way, watching the creators of the playful 2014 web series “Hobbes and Me” tell stories — with the help of some puppet co-hosts — will be a sweet balm for even the most jaded of hearts.\u003c/p>\n\u003cp>Celebrity Storytime streams Saturday, Sept. 26, at 6:30 p.m. \u003ca href=\"https://www.classy.org/event/fairylands-celebrity-storytime/e297793\" target=\"_blank\" rel=\"noopener noreferrer\">Tickets and details here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Sx68TPu4dCk\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n","blocks":[],"excerpt":"Homegrown heroes Daveed Diggs and Rafael Casal host a free 'Celebrity Storytime' to benefit the beloved Oakland amusement park.","status":"publish","parent":0,"modified":1705020108,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":6,"wordCount":336},"headData":{"title":"The 'Blindspotting' Team Chips In to Save Fairyland | KQED","description":"Homegrown heroes Daveed Diggs and Rafael Casal host a free 'Celebrity Storytime' to benefit the beloved Oakland amusement park.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13886560/the-blindspotting-team-chips-in-to-save-fairyland","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Is there anything so pure as the friendship between the Bay Area’s Daveed Diggs and Rafael Casal? From Youth Speaks poetry slams to mixtapes to critically acclaimed feature films, Diggs and Casal have been creating together for over two decades. And with the duo recently slated to adapt their ode to Oakland, the film \u003cem>Blindspotting\u003c/em>, into a spinoff series for STARZ, the friends and creative partners are likely busy. Still, it’s no surprise that they’ve found time to come to the aid of one of their childhood hangouts, \u003ca href=\"https://fairyland.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Children’s Fairyland\u003c/a> in Oakland.\u003c/p>\n\u003cp>An elaborate world of fairytales come to life, Children’s Fairyland invites close encounters. Meandering through the meticulously-crafted storybook sets originally created by architect William Russell Everitt, children get a chance to live out their fairytale fantasies, whether by gamboling through the “Alice in Wonderland” card maze, careening down the dragon slide, communing with a menagerie of whimsical creatures, or clambering aboard the Jolly Trolly. \u003ca href=\"https://boingboing.net/2019/05/10/childrens-fairyland-the-mid.html\" target=\"_blank\" rel=\"noopener noreferrer\">It’s even said that the place influenced the creation of Disneyland\u003c/a>, and that beloved puppet master Frank Oz got his start in show business as a member of Fairyland’s Vagabond Puppet theatre.\u003c/p>\n\u003cp>But after several rounds of pandemic layoffs, Children’s Fairyland is facing the possibility of permanent closure. So to celebrate the park’s 70-year anniversary, Diggs and Casal will host a “\u003ca href=\"https://www.classy.org/event/fairylands-celebrity-storytime/e297793\" target=\"_blank\" rel=\"noopener noreferrer\">celebrity storytime\u003c/a>” Sept. 26 to raise funds for the charming institution. The virtual event is free to attend, with a handy donation link available for folks who want to contribute. Either way, watching the creators of the playful 2014 web series “Hobbes and Me” tell stories — with the help of some puppet co-hosts — will be a sweet balm for even the most jaded of hearts.\u003c/p>\n\u003cp>Celebrity Storytime streams Saturday, Sept. 26, at 6:30 p.m. \u003ca href=\"https://www.classy.org/event/fairylands-celebrity-storytime/e297793\" target=\"_blank\" rel=\"noopener noreferrer\">Tickets and details here.\u003c/a>\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/Sx68TPu4dCk'\n title='//www.youtube.com/embed/Sx68TPu4dCk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13886560/the-blindspotting-team-chips-in-to-save-fairyland","authors":["11497"],"programs":["arts_140"],"categories":["arts_1","arts_73","arts_835","arts_11615"],"tags":["arts_2468","arts_2467","arts_1143","arts_5308","arts_585"],"featImg":"arts_13837232","label":"arts_140"},"arts_13886170":{"type":"posts","id":"arts_13886170","meta":{"index":"posts_1591205157","site":"arts","id":"13886170","score":null,"sort":[1599782329000]},"guestAuthors":[],"slug":"blindspotting-the-tv-show-coming-to-starz","title":"‘Blindspotting,’ the TV Show, Coming to Starz","publishDate":1599782329,"format":"standard","headTitle":"‘Blindspotting,’ the TV Show, Coming to Starz | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Good news for those who loved Daveed Diggs and Rafael Casal’s Oakland-set 2018 film \u003ci>Blindspotting\u003c/i>: it’s turning into a TV show—and picking up right where it left off.\u003c/p>\n\u003cp>Starz has greenlit a series expanding on the film, this time focusing on the character Ashley (played by \u003ci>Hamilton\u003c/i> star Jasmine Cephas Jones), longtime partner of and co-parent with Casal’s Miles. What slim information we have on the show’s premise is that when Miles is suddenly incarcerated (hmmm, \u003ca href=\"https://www.kqed.org/arts/13837271/what-the-complicated-friendship-in-blindspotting-reveals-about-race\" target=\"_blank\" rel=\"noopener noreferrer\">sounds likely\u003c/a>), Ashley is forced to move in with Miles’ mother and half-sister.\u003c/p>\n\u003cp>The ensuing half-hour dramedy will feature Ashley navigating “a chaotic and humorous existential crisis,” according to \u003ca href=\"https://variety.com/2020/tv/news/blindspotting-series-starz-1234765365/\" target=\"_blank\" rel=\"noopener noreferrer\">Variety\u003c/a>. The show will remain set in Oakland; Diggs and Casal will write and executive produce the series, with Casal serving as showrunner. Jones will also produce the show in addition to starring in it.\u003c/p>\n\u003cp>Word’s still out whether the series will actually be filmed in Oakland, but Diggs and Casal’s joint statement made one thing clear: “The soundtrack will indeed slap. OH BOY!”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Daveed Diggs and Rafael Casal will write and executive produce the half-hour dramedy starring Jasmine Cephas Jones.","status":"publish","parent":0,"modified":1705020153,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":6,"wordCount":194},"headData":{"title":"‘Blindspotting,’ the TV Show, Coming to Starz | KQED","description":"Daveed Diggs and Rafael Casal will write and executive produce the half-hour dramedy starring Jasmine Cephas Jones.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13886170/blindspotting-the-tv-show-coming-to-starz","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Good news for those who loved Daveed Diggs and Rafael Casal’s Oakland-set 2018 film \u003ci>Blindspotting\u003c/i>: it’s turning into a TV show—and picking up right where it left off.\u003c/p>\n\u003cp>Starz has greenlit a series expanding on the film, this time focusing on the character Ashley (played by \u003ci>Hamilton\u003c/i> star Jasmine Cephas Jones), longtime partner of and co-parent with Casal’s Miles. What slim information we have on the show’s premise is that when Miles is suddenly incarcerated (hmmm, \u003ca href=\"https://www.kqed.org/arts/13837271/what-the-complicated-friendship-in-blindspotting-reveals-about-race\" target=\"_blank\" rel=\"noopener noreferrer\">sounds likely\u003c/a>), Ashley is forced to move in with Miles’ mother and half-sister.\u003c/p>\n\u003cp>The ensuing half-hour dramedy will feature Ashley navigating “a chaotic and humorous existential crisis,” according to \u003ca href=\"https://variety.com/2020/tv/news/blindspotting-series-starz-1234765365/\" target=\"_blank\" rel=\"noopener noreferrer\">Variety\u003c/a>. The show will remain set in Oakland; Diggs and Casal will write and executive produce the series, with Casal serving as showrunner. Jones will also produce the show in addition to starring in it.\u003c/p>\n\u003cp>Word’s still out whether the series will actually be filmed in Oakland, but Diggs and Casal’s joint statement made one thing clear: “The soundtrack will indeed slap. OH BOY!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13886170/blindspotting-the-tv-show-coming-to-starz","authors":["61"],"categories":["arts_1","arts_74","arts_990"],"tags":["arts_2468","arts_2467","arts_977","arts_1143","arts_5308","arts_5422"],"featImg":"arts_13837242","label":"arts"},"arts_13870719":{"type":"posts","id":"arts_13870719","meta":{"index":"posts_1591205157","site":"arts","id":"13870719","score":null,"sort":[1575494272000]},"guestAuthors":[],"slug":"the-bay-areas-starring-role-in-this-decade-of-film-was-years-in-the-making","title":"The Bay Area’s Banner Year in Film","publishDate":1575494272,"format":"standard","headTitle":"KQED Arts","labelTerm":{"site":"arts"},"content":"\u003cp>\u003cspan style=\"font-weight: 400\">In 2018, the Bay Area was on theater screens almost every month of the year. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Ryan Coogler’s Marvel blockbuster \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Black Panther\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> kicked things off in February. With an opening scene set in West Oakland, the film\u003c/span> \u003cspan style=\"font-weight: 400\">touched on themes of black oppression and freedom while centering ideological divergences within the African diaspora—all unprecedented topics for a movie with its budget and global reach. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Later that year, in July, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Sorry To Bother You\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> landed in theaters. Boots Riley’s surrealist tale of labor and love tripped through Oakland—east, west and downtown. Riley imbued his experiences as an activist and artist in the film’s characters, who argued about money versus morals, while the film’s chimerical twists refused a comfortable pace to its audience. An Oakland story to its core,\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> Sorry To Bother You \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">struck a chord with viewers across the country, engendering conversations about an increasingly unprotected American workforce.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Indeed, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Black Panther\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Sorry to Bother You\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, along with other recent Bay Area films such as \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Blindspotting\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Jinn\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and 2019’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Last Black Man in San Francisco\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, seemed to share a palpable sense of duty to comment on social issues playing out in the region and nationwide. Faced with a rare opportunity to explore these ideas through the Hollywood studio system, local filmmakers told personal stories with urgency and purpose—but with mixed results.\u003c/span>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Tempting as it may be to encapsulate 2018 as a defining year for Bay Area cinema, Riley, who is already working on his next feature film, views it as an introduction. “These are like the opening statements,” says the director of 2018’s local film blitz. “Then people start pushing the walls here and there.” \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13827067\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-13827067\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/03/SorryToBotherCOVER-800x450.jpg\" alt=\"Tessa Thompson and Lakeith Stanfield in 'Sorry to Bother You.'\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/2/2018/03/SorryToBotherCOVER-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/2/2018/03/SorryToBotherCOVER-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/2/2018/03/SorryToBotherCOVER-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/2/2018/03/SorryToBotherCOVER-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/2/2018/03/SorryToBotherCOVER-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/2/2018/03/SorryToBotherCOVER-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/2/2018/03/SorryToBotherCOVER-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/2/2018/03/SorryToBotherCOVER-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/2/2018/03/SorryToBotherCOVER-520x293.jpg 520w, https://ww2.kqed.org/app/uploads/sites/2/2018/03/SorryToBotherCOVER.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tessa Thompson and Lakeith Stanfield in 'Sorry to Bother You.' \u003ccite>(Courtesy of Annapurna Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">In these films, a pursuit of universality complicated the challenge of telling personal and local stories for a wide audience. In \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Black Panther\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, for instance, the allyship between Wakanda and a CIA agent was jarring to some viewers considering the role of U.S. intelligence agencies in violently dismantling global and local efforts of black survival, including the real-life Black Panther Party from Coogler’s birthplace of Oakland. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Oakland-set \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Blindspotting\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, which came out in July 2018, stars Rafael Casal and Daveed Diggs, childhood friends in real life whose characters grapple with identity and police violence on screen. Leaning into Casal and Diggs’ background as spoken-word artists and musicians, the film employs rap, at times in a didactic manner, to tackle the Bay Area’s ongoing problems with gentrification and racist policing.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In November of that year came \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Jinn\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> from Oakland writer-director Nijla Mu’Min. Though it received less fanfare than the aforementioned titles, Mu’Min’s coming-of-age story of a young, black Muslim girl is a rare onscreen portrayal, holding the subjects of faith, family and sexuality with care and warmth.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And this June, building on the conversation these 2018 films started, Joe Talbot and Jimmie Fails’ \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Last Black Man in San Francisco\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> offered a parable of belonging. With Fails playing the eponymous protagonist, the film is set in a towering Victorian against the backdrop of a city that seems eager to get rid of him and its remaining black population. As if stifled by the burden of its own aspirations to make a statement on race and class, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Last Black Man\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> ends up taking the easy, stereotypical route in some scenes and abandoning the course completely in others. Still, Talbot won two awards at the Sundance Film Festival, and like the rest of its Bay Area contemporaries, his film was mostly positively reviewed.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13859142\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-13859142\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/06/LBMISF_16_1200-800x483.jpg\" alt=\"Jimmie Fails and the house in 'The Last Black Man in San Francisco,' 2019.\" width=\"800\" height=\"483\" srcset=\"https://ww2.kqed.org/app/uploads/sites/2/2019/06/LBMISF_16_1200-800x483.jpg 800w, https://ww2.kqed.org/app/uploads/sites/2/2019/06/LBMISF_16_1200-160x97.jpg 160w, https://ww2.kqed.org/app/uploads/sites/2/2019/06/LBMISF_16_1200-768x463.jpg 768w, https://ww2.kqed.org/app/uploads/sites/2/2019/06/LBMISF_16_1200-1020x615.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/2/2019/06/LBMISF_16_1200.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jimmie Fails and the house in 'The Last Black Man in San Francisco,' 2019. \u003ccite>(Courtesy of A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">A forebear to this decade in Bay Area cinema is Barry Jenkins’ 2009 \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Medicine for Melancholy\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. Set and shot in San Francisco, the film’s quiet, evocative story followed two young, black folks betting on a new romance and livability in a city whose black population has steadily declined for decades. Jenkins, who lived in the Bay Area at the time, foreshadowed the localized subject matter that Bay Area filmmakers veered towards in the years to come.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Fruitvale Station\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, Coogler’s feature-length debut from 2013, was equally foundational to 2018’s banner year for Bay Area film. Through an intimate portrait of Oscar Grant, played by Michael B. Jordan, the film centers on the last few hours of Grant’s life before he was killed by a BART police officer on New Year’s Day in 2009. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Fruitvale Station\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> struck a nerve nationally. In a very American circumstance, it was released a day before George Zimmerman’s acquittal in the murder of Trayvon Martin. (Though Grant’s killer was found guilty of involuntary manslaughter, he was released from prison two years before the film came out.)\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Two less mainstream projects by East Bay directors, Jonathan Singer-Vine’s 2013 \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Licks\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and Justin Tipping’s 2016 \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Kicks, \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">formed part of the same lineage\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">In their own distinct tones, the two independent films tell stories about the choices two young men make in the face of systemic poverty in Oakland and Richmond. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Oakland film writer Ashley De La Torre, who contributes to REELYDOPE, a local film review website, points to the changing landscape of film production and distribution as a reason for this increasing momentum in Bay Area cinema. “What’s impacting us is what’s impacting the industry as a whole, as far as up and coming filmmakers: it’s access,” she says. “You can make your small film and shop it.”\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> Fruitvale Station\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Sorry to Bother You\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Blindspotting\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> all found success at Sundance Film Festival, acquiring distributors after they premiered there. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">De La Torre is also quick to mention Hayward-raised actor Mahershala Ali for his impactful performances in \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Kicks\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and in Jenkins’ \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Moonlight\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, for which he won an Oscar. There’s also behind-the-scenes talent like San Francisco native James Laxton, who’s been the cinematographer in each of Jenkins’ feature films. “As far as the Bay, we’ve always been integrated in the industry,” De La Torre says. “I think we’re just now starting to get more recognition for our impact.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On a local level, the San Francisco International Film Festival stands tall as a source of institutional support through funding, mentorship and resources for Bay Area filmmakers. “By being able to create these hubs and build those connections, that sense of community really helps those especially who want to stay in the Bay Area,” says Lauren Kushner, the interim director of artist development at SFFILM. In fact, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Sorry to Bother You\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Blindspotting\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">,\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> Jinn\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Last Black Man\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> all received funding through the organization.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Now that several Bay Area films centering black characters have succeeded in the box office, it’s fitting to consider what stories might follow their lead. If, like Riley said, 2018 was a year of opening statements, it will be exciting if the next stage of this conversation carries more perspectives from women and LGBTQ \u003c/span>filmmakers\u003cspan style=\"font-weight: 400\">, \u003c/span>and a confidence that national audiences\u003cspan style=\"font-weight: 400\"> can\u003c/span> appreciate nuanced stories—hopefully, stories that can just exist without being weighed down by the need to explain their significance.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For his part, Riley is stepping into his next projects with renewed assurance. “We're told an idea of how the world is and what the world believes,” he says. “Actually, people are way more radical than what we've been told.”\u003c/span>\u003c/p>\n\n","blocks":[],"excerpt":"Bay Area filmmakers used their Hollywood moments to comment on social issues—sometimes with mixed results. ","status":"publish","parent":0,"modified":1575494122,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":1317},"headData":{"title":"The Bay Area’s Banner Year in Film | KQED","description":"Bay Area filmmakers used their Hollywood moments to comment on social issues—sometimes with mixed results. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"disqusIdentifier":"13870719 https://ww2.kqed.org/arts/?p=13870719","disqusUrl":"https://ww2.kqed.org/arts/2019/12/04/the-bay-areas-starring-role-in-this-decade-of-film-was-years-in-the-making/","disqusTitle":"The Bay Area’s Banner Year in Film","templateType":"eod","featuredImageType":"standard","postYear":"2018","postArticleBullets":[{"bullet":"A white woman calls the police on black men barbecuing at Lake Merritt, prompting national outcries against racism and gentrification. ","bulletLink":"/arts/13832886/were-still-here-bbqn-while-black-draws-out-oaklanders-in-force"},{"bullet":"As some longtime Bay Area music venues shutter due to rising costs, corporations take control of others, squeezing out independent promoters and the local artists with whom they work. ","bulletLink":"/arts/13846754/in-2018-corporate-monotony-seized-san-francisco-music-venues"},{"bullet":"Tens of thousands of Bay Area residents join nationwide protests against the Trump administration’s family separation policy at the U.S.-Mexico border.","bulletLink":"/news/11678414/photos-bay-area-cities-join-nationwide-families-belong-together-marches"}],"path":"/arts/13870719/the-bay-areas-starring-role-in-this-decade-of-film-was-years-in-the-making","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">In 2018, the Bay Area was on theater screens almost every month of the year. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Ryan Coogler’s Marvel blockbuster \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Black Panther\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> kicked things off in February. With an opening scene set in West Oakland, the film\u003c/span> \u003cspan style=\"font-weight: 400\">touched on themes of black oppression and freedom while centering ideological divergences within the African diaspora—all unprecedented topics for a movie with its budget and global reach. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Later that year, in July, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Sorry To Bother You\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> landed in theaters. Boots Riley’s surrealist tale of labor and love tripped through Oakland—east, west and downtown. Riley imbued his experiences as an activist and artist in the film’s characters, who argued about money versus morals, while the film’s chimerical twists refused a comfortable pace to its audience. An Oakland story to its core,\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> Sorry To Bother You \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">struck a chord with viewers across the country, engendering conversations about an increasingly unprotected American workforce.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Indeed, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Black Panther\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Sorry to Bother You\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, along with other recent Bay Area films such as \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Blindspotting\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Jinn\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and 2019’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Last Black Man in San Francisco\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, seemed to share a palpable sense of duty to comment on social issues playing out in the region and nationwide. Faced with a rare opportunity to explore these ideas through the Hollywood studio system, local filmmakers told personal stories with urgency and purpose—but with mixed results.\u003c/span>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Tempting as it may be to encapsulate 2018 as a defining year for Bay Area cinema, Riley, who is already working on his next feature film, views it as an introduction. “These are like the opening statements,” says the director of 2018’s local film blitz. “Then people start pushing the walls here and there.” \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13827067\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-13827067\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/03/SorryToBotherCOVER-800x450.jpg\" alt=\"Tessa Thompson and Lakeith Stanfield in 'Sorry to Bother You.'\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/2/2018/03/SorryToBotherCOVER-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/2/2018/03/SorryToBotherCOVER-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/2/2018/03/SorryToBotherCOVER-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/2/2018/03/SorryToBotherCOVER-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/2/2018/03/SorryToBotherCOVER-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/2/2018/03/SorryToBotherCOVER-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/2/2018/03/SorryToBotherCOVER-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/2/2018/03/SorryToBotherCOVER-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/2/2018/03/SorryToBotherCOVER-520x293.jpg 520w, https://ww2.kqed.org/app/uploads/sites/2/2018/03/SorryToBotherCOVER.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tessa Thompson and Lakeith Stanfield in 'Sorry to Bother You.' \u003ccite>(Courtesy of Annapurna Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">In these films, a pursuit of universality complicated the challenge of telling personal and local stories for a wide audience. In \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Black Panther\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, for instance, the allyship between Wakanda and a CIA agent was jarring to some viewers considering the role of U.S. intelligence agencies in violently dismantling global and local efforts of black survival, including the real-life Black Panther Party from Coogler’s birthplace of Oakland. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Oakland-set \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Blindspotting\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, which came out in July 2018, stars Rafael Casal and Daveed Diggs, childhood friends in real life whose characters grapple with identity and police violence on screen. Leaning into Casal and Diggs’ background as spoken-word artists and musicians, the film employs rap, at times in a didactic manner, to tackle the Bay Area’s ongoing problems with gentrification and racist policing.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In November of that year came \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Jinn\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> from Oakland writer-director Nijla Mu’Min. Though it received less fanfare than the aforementioned titles, Mu’Min’s coming-of-age story of a young, black Muslim girl is a rare onscreen portrayal, holding the subjects of faith, family and sexuality with care and warmth.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And this June, building on the conversation these 2018 films started, Joe Talbot and Jimmie Fails’ \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Last Black Man in San Francisco\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> offered a parable of belonging. With Fails playing the eponymous protagonist, the film is set in a towering Victorian against the backdrop of a city that seems eager to get rid of him and its remaining black population. As if stifled by the burden of its own aspirations to make a statement on race and class, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Last Black Man\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> ends up taking the easy, stereotypical route in some scenes and abandoning the course completely in others. Still, Talbot won two awards at the Sundance Film Festival, and like the rest of its Bay Area contemporaries, his film was mostly positively reviewed.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13859142\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-13859142\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/06/LBMISF_16_1200-800x483.jpg\" alt=\"Jimmie Fails and the house in 'The Last Black Man in San Francisco,' 2019.\" width=\"800\" height=\"483\" srcset=\"https://ww2.kqed.org/app/uploads/sites/2/2019/06/LBMISF_16_1200-800x483.jpg 800w, https://ww2.kqed.org/app/uploads/sites/2/2019/06/LBMISF_16_1200-160x97.jpg 160w, https://ww2.kqed.org/app/uploads/sites/2/2019/06/LBMISF_16_1200-768x463.jpg 768w, https://ww2.kqed.org/app/uploads/sites/2/2019/06/LBMISF_16_1200-1020x615.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/2/2019/06/LBMISF_16_1200.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jimmie Fails and the house in 'The Last Black Man in San Francisco,' 2019. \u003ccite>(Courtesy of A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">A forebear to this decade in Bay Area cinema is Barry Jenkins’ 2009 \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Medicine for Melancholy\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. Set and shot in San Francisco, the film’s quiet, evocative story followed two young, black folks betting on a new romance and livability in a city whose black population has steadily declined for decades. Jenkins, who lived in the Bay Area at the time, foreshadowed the localized subject matter that Bay Area filmmakers veered towards in the years to come.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Fruitvale Station\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, Coogler’s feature-length debut from 2013, was equally foundational to 2018’s banner year for Bay Area film. Through an intimate portrait of Oscar Grant, played by Michael B. Jordan, the film centers on the last few hours of Grant’s life before he was killed by a BART police officer on New Year’s Day in 2009. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Fruitvale Station\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> struck a nerve nationally. In a very American circumstance, it was released a day before George Zimmerman’s acquittal in the murder of Trayvon Martin. (Though Grant’s killer was found guilty of involuntary manslaughter, he was released from prison two years before the film came out.)\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Two less mainstream projects by East Bay directors, Jonathan Singer-Vine’s 2013 \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Licks\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and Justin Tipping’s 2016 \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Kicks, \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">formed part of the same lineage\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">In their own distinct tones, the two independent films tell stories about the choices two young men make in the face of systemic poverty in Oakland and Richmond. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Oakland film writer Ashley De La Torre, who contributes to REELYDOPE, a local film review website, points to the changing landscape of film production and distribution as a reason for this increasing momentum in Bay Area cinema. “What’s impacting us is what’s impacting the industry as a whole, as far as up and coming filmmakers: it’s access,” she says. “You can make your small film and shop it.”\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> Fruitvale Station\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Sorry to Bother You\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Blindspotting\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> all found success at Sundance Film Festival, acquiring distributors after they premiered there. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">De La Torre is also quick to mention Hayward-raised actor Mahershala Ali for his impactful performances in \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Kicks\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and in Jenkins’ \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Moonlight\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, for which he won an Oscar. There’s also behind-the-scenes talent like San Francisco native James Laxton, who’s been the cinematographer in each of Jenkins’ feature films. “As far as the Bay, we’ve always been integrated in the industry,” De La Torre says. “I think we’re just now starting to get more recognition for our impact.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On a local level, the San Francisco International Film Festival stands tall as a source of institutional support through funding, mentorship and resources for Bay Area filmmakers. “By being able to create these hubs and build those connections, that sense of community really helps those especially who want to stay in the Bay Area,” says Lauren Kushner, the interim director of artist development at SFFILM. In fact, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Sorry to Bother You\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Blindspotting\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">,\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> Jinn\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Last Black Man\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> all received funding through the organization.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Now that several Bay Area films centering black characters have succeeded in the box office, it’s fitting to consider what stories might follow their lead. If, like Riley said, 2018 was a year of opening statements, it will be exciting if the next stage of this conversation carries more perspectives from women and LGBTQ \u003c/span>filmmakers\u003cspan style=\"font-weight: 400\">, \u003c/span>and a confidence that national audiences\u003cspan style=\"font-weight: 400\"> can\u003c/span> appreciate nuanced stories—hopefully, stories that can just exist without being weighed down by the need to explain their significance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For his part, Riley is stepping into his next projects with renewed assurance. “We're told an idea of how the world is and what the world believes,” he says. “Actually, people are way more radical than what we've been told.”\u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13870719/the-bay-areas-starring-role-in-this-decade-of-film-was-years-in-the-making","authors":["11625"],"categories":["arts_835","arts_74","arts_235"],"tags":["arts_9360","arts_3563","arts_2468","arts_9359","arts_8895","arts_9345","arts_1999","arts_9344"],"featImg":"arts_13824811","label":"arts"},"arts_13847716":{"type":"posts","id":"arts_13847716","meta":{"index":"posts_1591205157","site":"arts","id":"13847716","score":null,"sort":[1546026160000]},"guestAuthors":[],"slug":"barack-obama-includes-bay-area-authors-movies-on-year-end-list","title":"Barack Obama Includes Bay Area Authors, Movies on Year-End List","publishDate":1546026160,"format":"standard","headTitle":"Barack Obama Includes Bay Area Authors, Movies on Year-End List | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Former President Barack Obama continued a tradition of sharing his favorite books, films and music of the year Friday, including several works by artists from the Bay Area. \u003c/p>\n\u003cp>“It gives me a moment to pause and reflect on the year through the books, movies, and music that I found most thought-provoking, inspiring, or just plain loved,” he wrote in a Facebook post. “It also gives me a chance to highlight talented authors, artists, and storytellers – some who are household names and others who you may not have heard of before.” [contextly_sidebar id=”3hSiRLx6iX9S4ZbNYwE6IbbPJHTFlMvM”]\u003c/p>\n\u003cp>In the books section of the list, Obama included Tommy Orange’s debut novel \u003cem>There There\u003c/em>, which follows a cast of Native American characters as their lives converge on a powwow at the Oakland Coliseum; and Oakland-based \u003cem>Mother Jones\u003c/em> reporter Shane Bauer’s \u003cem>American Prison\u003c/em>, an account of his time working at a privately-run prison in Louisiana alongside the history of for-profit incarceration in the United States. \u003c/p>\n\u003cp>For movies, meanwhile, Obama plugged \u003cem>Blindspotting\u003c/em>, an Oakland-set and filmed tale of gentrification and police violence co-starring and written by \u003cem>Hamilton\u003c/em> star Daveed Diggs and spoken-word artist Rafael Casal. Ryan Coogler’s box-office smash \u003cem>Black Panther\u003c/em>, which begins and ends with scenes set in Oakland, also received Obama’s stamp of approval. [contextly_sidebar id=”8Eta5q50BLJiUZ7TQTyOAgSjm64mk2jG”]\u003c/p>\n\u003cp>Of the 22 songs on Obama’s list of favorite music, only Vallejo-raised H.E.R.’s R&B slow-burner “Could’ve Been” represents the Bay Area. As the singer reacted to Obama’s endorsement on Twitter, “Look mama I made it!”\u003c/p>\n\u003cp>Like the \u003ca href=\"https://www.kqed.org/arts/13846501/sorry-to-bother-you-blindspotting-shut-out-of-golden-globe-nominations\">Golden Globe nominations\u003c/a>, Oakland artist Boots Riley’s pro-labor comedy \u003cem>Sorry to Bother You\u003c/em> was shut out of Obama’s list. \u003c/p>\n\u003cp>Find Obama’s entire year-end list \u003ca href=\"https://www.facebook.com/barackobama/posts/10156393283416749?__tn__=K-R\">here\u003c/a>. \u003c/p>\n\u003cp>[vimeo 278727750 w=640 h=360]\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"The former president shared a year-end list including works by Tommy Orange and Daveed Diggs. ","status":"publish","parent":0,"modified":1705026819,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":10,"wordCount":333},"headData":{"title":"Barack Obama Includes Bay Area Authors, Movies on Year-End List | KQED","description":"The former president shared a year-end list including works by Tommy Orange and Daveed Diggs. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"path":"/arts/13847716/barack-obama-includes-bay-area-authors-movies-on-year-end-list","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Former President Barack Obama continued a tradition of sharing his favorite books, films and music of the year Friday, including several works by artists from the Bay Area. \u003c/p>\n\u003cp>“It gives me a moment to pause and reflect on the year through the books, movies, and music that I found most thought-provoking, inspiring, or just plain loved,” he wrote in a Facebook post. “It also gives me a chance to highlight talented authors, artists, and storytellers – some who are household names and others who you may not have heard of before.” \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>In the books section of the list, Obama included Tommy Orange’s debut novel \u003cem>There There\u003c/em>, which follows a cast of Native American characters as their lives converge on a powwow at the Oakland Coliseum; and Oakland-based \u003cem>Mother Jones\u003c/em> reporter Shane Bauer’s \u003cem>American Prison\u003c/em>, an account of his time working at a privately-run prison in Louisiana alongside the history of for-profit incarceration in the United States. \u003c/p>\n\u003cp>For movies, meanwhile, Obama plugged \u003cem>Blindspotting\u003c/em>, an Oakland-set and filmed tale of gentrification and police violence co-starring and written by \u003cem>Hamilton\u003c/em> star Daveed Diggs and spoken-word artist Rafael Casal. Ryan Coogler’s box-office smash \u003cem>Black Panther\u003c/em>, which begins and ends with scenes set in Oakland, also received Obama’s stamp of approval. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Of the 22 songs on Obama’s list of favorite music, only Vallejo-raised H.E.R.’s R&B slow-burner “Could’ve Been” represents the Bay Area. As the singer reacted to Obama’s endorsement on Twitter, “Look mama I made it!”\u003c/p>\n\u003cp>Like the \u003ca href=\"https://www.kqed.org/arts/13846501/sorry-to-bother-you-blindspotting-shut-out-of-golden-globe-nominations\">Golden Globe nominations\u003c/a>, Oakland artist Boots Riley’s pro-labor comedy \u003cem>Sorry to Bother You\u003c/em> was shut out of Obama’s list. \u003c/p>\n\u003cp>Find Obama’s entire year-end list \u003ca href=\"https://www.facebook.com/barackobama/posts/10156393283416749?__tn__=K-R\">here\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"vimeo","attributes":{"named":{"w":"640","h":"360","label":"278727750"},"numeric":["278727750"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13847716/barack-obama-includes-bay-area-authors-movies-on-year-end-list","authors":["11091"],"categories":["arts_1","arts_73","arts_74","arts_69","arts_235"],"tags":["arts_3675","arts_3563","arts_2468","arts_928","arts_2467","arts_1118","arts_746","arts_596","arts_3961"],"featImg":"arts_13837237","label":"arts"},"arts_13846501":{"type":"posts","id":"arts_13846501","meta":{"index":"posts_1591205157","site":"arts","id":"13846501","score":null,"sort":[1544120395000]},"guestAuthors":[],"slug":"sorry-to-bother-you-blindspotting-shut-out-of-golden-globe-nominations","title":"'Sorry to Bother You,' 'Blindspotting' Shut Out of Golden Globe Nominations","publishDate":1544120395,"format":"standard","headTitle":"‘Sorry to Bother You,’ ‘Blindspotting’ Shut Out of Golden Globe Nominations | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>It was a \u003ca href=\"https://www.chicagotribune.com/entertainment/movies/ct-ae-blindspotting-writers-0715-story.html\" rel=\"noopener\" target=\"_blank\">banner year\u003c/a> for Oakland film, but you wouldn’t know it from the Golden Globe nominations, announced this morning. \u003c/p>\n\u003cp>Boots Riley’s much-heralded \u003cem>Sorry to Bother You\u003c/em> and Daveed Diggs and Rafael Casal’s incisive \u003cem>Blindspotting\u003c/em> are nowhere to be found on the list. \u003cem>Black Panther\u003c/em>, the smash box-office hit with scenes set but \u003ca href=\"https://www.chicagotribune.com/lifestyles/travel/ct-black-panther-atlanta-20180321-story.html\" rel=\"noopener\" target=\"_blank\">not actually filmed in Oakland\u003c/a>, is up for three awards, including Best Motion Picture: Drama. \u003c/p>\n\u003cp>[contextly_sidebar id=”3bnalokqD2WkSQqVPFkofVUW2BYYACLI”]\u003c/p>\n\u003cp>It’s probably not surprising that \u003cem>Sorry To Bother You\u003c/em> was just a little too weird, or politically radical, to make the list. But to see five nominations for \u003cem>Green Book\u003c/em>, a \u003ca href=\"https://themuse.jezebel.com/green-book-is-another-film-about-race-for-white-people-1830460623\" rel=\"noopener\" target=\"_blank\">let’s-solve-racism movie\u003c/a> directed by the \u003cem>There’s Something About Mary\u003c/em> guy and repeatedly \u003ca href=\"https://www.vox.com/2018/11/16/18069756/green-book-review-racism-schomburg-segregation\" rel=\"noopener\" target=\"_blank\">criticized\u003c/a> for its \u003ca href=\"https://www.theguardian.com/film/2018/dec/03/peter-farrelly-green-book-mahershala-ali-viggo-mortensen\" rel=\"noopener\" target=\"_blank\">white perspective\u003c/a>, is to start wading into \u003cem>Crash\u003c/em> territory.\u003c/p>\n\u003cp>The complete list of nominations is below. And, after you’re done puzzling over the Dick Cheney biopic \u003cem>Vice\u003c/em> in the “Musical or Comedy” category (War crimes! Hilarious!) while the full-of-songs Freddie Mercury biopic \u003cem>Bohemian Rhapsody\u003c/em> lands over in “Drama,” watch \u003cem>Sorry to Bother You\u003c/em> and \u003cem>Blindspotting\u003c/em> if you haven’t already, and be proud of Oakland’s incredible talent.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Golden Globes air on Jan. 6, 2019, with Sandra Oh and Andy Samberg as hosts.\u003c/p>\n\u003ch2>Complete 76th Golden Globes Nominations\u003c/h2>\n\u003cp>\u003cstrong>Best Television Series – Musical or Comedy\u003c/strong>\u003cbr>\n\u003cem>Barry\u003c/em> (HBO)\u003cbr>\n\u003cem>The Good Place\u003c/em> (NBC)\u003cbr>\n\u003cem>Kidding\u003c/em> (Showtime)\u003cbr>\n\u003cem>The Kominsky Method\u003c/em> (Netflix)\u003cbr>\n\u003cem>The Marvelous Mrs. Maisel\u003c/em> (Amazon)\u003c/p>\n\u003cp>\u003cstrong>Best Motion Picture – Foreign Language\u003c/strong>\u003cbr>\n\u003cem>Capernaum\u003c/em>\u003cbr>\n\u003cem>Girl\u003c/em>\u003cbr>\n\u003cem>Never Look Away\u003c/em>\u003cbr>\n\u003cem>Roma\u003c/em>\u003cbr>\n\u003cem>Shoplifters\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Best Performance by an Actor in a Limited Series or Motion Picture Made for Television\u003c/strong>\u003cbr>\nAntonia Banderas\u003cbr>\nDaniel Brul\u003cbr>\nDarren Criss\u003cbr>\nBenedict Cumberbatch\u003cbr>\nHugh Grant\u003c/p>\n\u003cp>\u003cstrong>Best Performance by an Actress in a Limited Series or Motion Picture Made for Television\u003c/strong>\u003cbr>\nAmy Adams (\u003cem>Sharp Objects\u003c/em>)\u003cbr>\nPatricia Arquette (\u003cem>Escape at Dannemora\u003c/em>)\u003cbr>\nConnie Britton (\u003cem>Dirty John\u003c/em>)\u003cbr>\nLaura Dern (\u003cem>The Tale\u003c/em>)\u003cbr>\nRegina King (\u003cem>Seven Seconds\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Performance by an Actress in a Supporting Role in a Series, Limited Series or Motion Picture Made for Television\u003c/strong>\u003cbr>\nAlex Borstein (\u003cem>The Marvelous Mrs. Maisel\u003c/em>)\u003cbr>\nPatricia Clarkson (\u003cem>Sharp Objects\u003c/em>)\u003cbr>\nPenelope Cruz (\u003cem>The Assassination of Gianni Versace\u003c/em>)\u003cbr>\nThandie Newton (\u003cem>Westworld\u003c/em>)\u003cbr>\nYvonne Strahovski (\u003cem>The Handmaid’s Tale\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Performance by an Actor in a Supporting Role in a Series, Limited Series or Motion Picture Made for Television\u003c/strong>\u003cbr>\nAlan Arkin\u003cbr>\nKieran Culkin\u003cbr>\nEdgar Ramirez\u003cbr>\nBen Wishaw\u003cbr>\nHenry Winkler\u003c/p>\n\u003cp>\u003cstrong>Best Original Score – Motion Picture\u003c/strong>\u003cbr>\nMarco Beltrami (\u003cem>A Quiet Place\u003c/em>)\u003cbr>\nAlexandre Desplat (\u003cem>Isle of Dogs\u003c/em>)\u003cbr>\nLudwig Göransson (\u003cem>Black Panther\u003c/em>)\u003cbr>\nJustin Hurwitz (\u003cem>First Man\u003c/em>)\u003cbr>\nMarc Shaiman (\u003cem>Mary Poppins Returns\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Television Limited Series or Motion Picture Made for Television\u003c/strong>\u003cbr>\n\u003cem>The Alienist\u003c/em> (TNT)\u003cbr>\n\u003cem>The Assassination of Gianni Versace: American Crime Story\u003c/em> (FX)\u003cbr>\n\u003cem>Escape at Dannemora\u003c/em> (Showtime)\u003cbr>\n\u003cem>Sharp Objects\u003c/em> (HBO)\u003cbr>\n\u003cem>A Very English Scandal\u003c/em> (Amazon)\u003c/p>\n\u003cp>\u003cstrong>Best Screenplay – Motion Picture\u003c/strong>\u003cbr>\nAlfonso Cuaron (\u003cem>Roma\u003c/em>)\u003cbr>\nDeborah Davis and Tony McNamara (\u003cem>The Favourite\u003c/em>)\u003cbr>\nBarry Jenkins (\u003cem>If Beale Street Could Talk\u003c/em>)\u003cbr>\nAdam McKay (\u003cem>Vice\u003c/em>)\u003cbr>\nPeter Farrelly, Nick Vallelonga, Brian Currie (\u003cem>Green Book\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Performance by an Actress in a Television Series – Musical or Comedy\u003c/strong>\u003cbr>\nKristen Bell\u003cbr>\nCandice Bergen\u003cbr>\nAlison Brie\u003cbr>\nRachel Brosnahan\u003cbr>\nDebra Messing\u003c/p>\n\u003cp>\u003cstrong>Best Performance by an Actor in a Television Series – Musical or Comedy\u003c/strong>\u003cbr>\nSasha Baron Cohen (\u003cem>Who Is America?\u003c/em>)\u003cbr>\nJim Carrey (\u003cem>Kidding\u003c/em>)\u003cbr>\nMichael Douglas (\u003cem>The Kominsky Method\u003c/em>)\u003cbr>\nDonald Glover (\u003cem>Atlanta\u003c/em>)\u003cbr>\nBill Hader (\u003cem>Barry\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Motion Picture – Animated\u003c/strong>\u003cbr>\n\u003cem>Incredibles 2\u003c/em>\u003cbr>\n\u003cem>Isle of Dogs\u003c/em>\u003cbr>\n\u003cem>Mirai\u003c/em>\u003cbr>\n\u003cem>Ralph Breaks the Internet\u003c/em>\u003cbr>\n\u003cem>Spider-Man: Into the Spider-Verse\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Best Performance by an Actress in a Television Series – Drama\u003c/strong>\u003cbr>\nCaitriona Balfe (\u003cem>Outlander\u003c/em>)\u003cbr>\nElisabeth Moss (\u003cem>Handmaid’s Tale\u003c/em>)\u003cbr>\nSandra Oh (\u003cem>Killing Eve\u003c/em>)\u003cbr>\nJulia Roberts (\u003cem>Homecoming\u003c/em>)\u003cbr>\nKeri Russell (\u003cem>The Americans\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Actor in a Motion Picture – Musical or Comedy\u003c/strong>\u003cbr>\nChristian Bale (\u003cem>Vice\u003c/em>)\u003cbr>\nLin-Manuel Miranda (\u003cem>Mary Poppins Returns\u003c/em>)\u003cbr>\nViggo Mortensen (\u003cem>Green Book\u003c/em>)\u003cbr>\nRobert Redford (\u003cem>The Old Man & the Gun\u003c/em>)\u003cbr>\nJohn C. Reilly (\u003cem>Stan & Ollie\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Director – Motion Picture\u003c/strong>\u003cbr>\nBradley Cooper\u003cbr>\nAlfonso Cuaron\u003cbr>\nPeter Farrelly\u003cbr>\nSpike Lee\u003cbr>\nAdam McKay\u003c/p>\n\u003cp>\u003cstrong>Best Television Series – Drama\u003c/strong>\u003cbr>\nThe Americans\u003cbr>\nBodyguard\u003cbr>\nHomecoming\u003cbr>\nKilling Eve\u003cbr>\nPose\u003c/p>\n\u003cp>\u003cstrong>Best Actress in a Supporting Role in any Motion Picture\u003c/strong>\u003cbr>\nAmy Adams\u003cbr>\nClaire Foy\u003cbr>\nRegina King\u003cbr>\nEmma Stone\u003cbr>\nRachel Weisz\u003c/p>\n\u003cp>\u003cstrong>Best Original Song – Motion Picture\u003c/strong>\u003cbr>\n“All the Stars” (\u003cem>Black Panther\u003c/em>)\u003cbr>\n“Girl in the Movies” (\u003cem>Dumplin’\u003c/em>)\u003cbr>\n“Requiem For A Private War” (\u003cem>A Private War\u003c/em>)\u003cbr>\n“Revelation’ (\u003cem>Boy Erased\u003c/em>)\u003cbr>\n“Shallow” (\u003cem>A Star Is Born\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Performance by an Actor in a Television Series – Drama\u003c/strong>\u003cbr>\nJason Bateman\u003cbr>\nStephan James\u003cbr>\nRichard Madden\u003cbr>\nBilly Porter\u003cbr>\nMatthew Rhys\u003c/p>\n\u003cp>\u003cstrong>Best Actor in a Supporting Role in any Motion Picture\u003c/strong>\u003cbr>\nMahershala Ali\u003cbr>\nTimothee Chalamet\u003cbr>\nAdam Driver\u003cbr>\nRichard E. Grant\u003cbr>\nSam Rockwell\u003c/p>\n\u003cp>\u003cstrong>Best Actress in a Motion Picture – Drama\u003c/strong>\u003cbr>\nGlenn Close (\u003cem>The Wife\u003c/em>)\u003cbr>\nLady Gaga (\u003cem>A Star Is Born\u003c/em>)\u003cbr>\nNicole Kidman (\u003cem>Destroyer\u003c/em>)\u003cbr>\nMelissa McCarthy (\u003cem>Can You Ever Forgive Me?\u003c/em>)\u003cbr>\nRosamund Pike (\u003cem>A Private War\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Actress in a Motion Picture – Musical or Comedy\u003c/strong>\u003cbr>\nEmily Blunt\u003cbr>\nOlivia Colman\u003cbr>\nElsie Fisher\u003cbr>\nCharlize Theron\u003cbr>\nConstance Wu\u003c/p>\n\u003cp>\u003cstrong>Best Actor in a Motion Picture – Drama\u003c/strong>\u003cbr>\nBradley Cooper\u003cbr>\nWillem Dafoe\u003cbr>\nLucas Hedges\u003cbr>\nRami Malek\u003cbr>\nJohn David Washington\u003c/p>\n\u003cp>\u003cstrong>Best Motion Picture – Musical or Comedy\u003c/strong>\u003cbr>\n\u003cem>Crazy Rich Asians\u003c/em>\u003cbr>\n\u003cem>The Favourite\u003c/em>\u003cbr>\n\u003cem>Green Book\u003c/em>\u003cbr>\n\u003cem>Mary Poppins Returns\u003c/em>\u003cbr>\n\u003cem>Vice\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Best Motion Picture – Drama\u003c/strong>\u003cbr>\n\u003cem>Black Panther\u003c/em>\u003cbr>\n\u003cem>BlacKkKlansman\u003c/em>\u003cbr>\n\u003cem>Bohemian Rhapsody\u003c/em>\u003cbr>\n\u003cem>If Beale Street Could Talk\u003c/em>\u003cbr>\n\u003cem>A Star Is Born\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":null,"status":"publish","parent":0,"modified":1705026903,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":33,"wordCount":896},"headData":{"title":"'Sorry to Bother You,' 'Blindspotting' Shut Out of Golden Globe Nominations | KQED","description":"It was a banner year for Oakland film, but you wouldn't know it from the Golden Globe nominations, announced this morning. Boots Riley's much-heralded Sorry to Bother You and Daveed Diggs and Rafael Casal's incisive Blindspotting are nowhere to be found on the list. Black Panther, the smash box-office hit with scenes set but not","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"path":"/arts/13846501/sorry-to-bother-you-blindspotting-shut-out-of-golden-globe-nominations","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was a \u003ca href=\"https://www.chicagotribune.com/entertainment/movies/ct-ae-blindspotting-writers-0715-story.html\" rel=\"noopener\" target=\"_blank\">banner year\u003c/a> for Oakland film, but you wouldn’t know it from the Golden Globe nominations, announced this morning. \u003c/p>\n\u003cp>Boots Riley’s much-heralded \u003cem>Sorry to Bother You\u003c/em> and Daveed Diggs and Rafael Casal’s incisive \u003cem>Blindspotting\u003c/em> are nowhere to be found on the list. \u003cem>Black Panther\u003c/em>, the smash box-office hit with scenes set but \u003ca href=\"https://www.chicagotribune.com/lifestyles/travel/ct-black-panther-atlanta-20180321-story.html\" rel=\"noopener\" target=\"_blank\">not actually filmed in Oakland\u003c/a>, is up for three awards, including Best Motion Picture: Drama. \u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>It’s probably not surprising that \u003cem>Sorry To Bother You\u003c/em> was just a little too weird, or politically radical, to make the list. But to see five nominations for \u003cem>Green Book\u003c/em>, a \u003ca href=\"https://themuse.jezebel.com/green-book-is-another-film-about-race-for-white-people-1830460623\" rel=\"noopener\" target=\"_blank\">let’s-solve-racism movie\u003c/a> directed by the \u003cem>There’s Something About Mary\u003c/em> guy and repeatedly \u003ca href=\"https://www.vox.com/2018/11/16/18069756/green-book-review-racism-schomburg-segregation\" rel=\"noopener\" target=\"_blank\">criticized\u003c/a> for its \u003ca href=\"https://www.theguardian.com/film/2018/dec/03/peter-farrelly-green-book-mahershala-ali-viggo-mortensen\" rel=\"noopener\" target=\"_blank\">white perspective\u003c/a>, is to start wading into \u003cem>Crash\u003c/em> territory.\u003c/p>\n\u003cp>The complete list of nominations is below. And, after you’re done puzzling over the Dick Cheney biopic \u003cem>Vice\u003c/em> in the “Musical or Comedy” category (War crimes! Hilarious!) while the full-of-songs Freddie Mercury biopic \u003cem>Bohemian Rhapsody\u003c/em> lands over in “Drama,” watch \u003cem>Sorry to Bother You\u003c/em> and \u003cem>Blindspotting\u003c/em> if you haven’t already, and be proud of Oakland’s incredible talent.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Golden Globes air on Jan. 6, 2019, with Sandra Oh and Andy Samberg as hosts.\u003c/p>\n\u003ch2>Complete 76th Golden Globes Nominations\u003c/h2>\n\u003cp>\u003cstrong>Best Television Series – Musical or Comedy\u003c/strong>\u003cbr>\n\u003cem>Barry\u003c/em> (HBO)\u003cbr>\n\u003cem>The Good Place\u003c/em> (NBC)\u003cbr>\n\u003cem>Kidding\u003c/em> (Showtime)\u003cbr>\n\u003cem>The Kominsky Method\u003c/em> (Netflix)\u003cbr>\n\u003cem>The Marvelous Mrs. Maisel\u003c/em> (Amazon)\u003c/p>\n\u003cp>\u003cstrong>Best Motion Picture – Foreign Language\u003c/strong>\u003cbr>\n\u003cem>Capernaum\u003c/em>\u003cbr>\n\u003cem>Girl\u003c/em>\u003cbr>\n\u003cem>Never Look Away\u003c/em>\u003cbr>\n\u003cem>Roma\u003c/em>\u003cbr>\n\u003cem>Shoplifters\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Best Performance by an Actor in a Limited Series or Motion Picture Made for Television\u003c/strong>\u003cbr>\nAntonia Banderas\u003cbr>\nDaniel Brul\u003cbr>\nDarren Criss\u003cbr>\nBenedict Cumberbatch\u003cbr>\nHugh Grant\u003c/p>\n\u003cp>\u003cstrong>Best Performance by an Actress in a Limited Series or Motion Picture Made for Television\u003c/strong>\u003cbr>\nAmy Adams (\u003cem>Sharp Objects\u003c/em>)\u003cbr>\nPatricia Arquette (\u003cem>Escape at Dannemora\u003c/em>)\u003cbr>\nConnie Britton (\u003cem>Dirty John\u003c/em>)\u003cbr>\nLaura Dern (\u003cem>The Tale\u003c/em>)\u003cbr>\nRegina King (\u003cem>Seven Seconds\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Performance by an Actress in a Supporting Role in a Series, Limited Series or Motion Picture Made for Television\u003c/strong>\u003cbr>\nAlex Borstein (\u003cem>The Marvelous Mrs. Maisel\u003c/em>)\u003cbr>\nPatricia Clarkson (\u003cem>Sharp Objects\u003c/em>)\u003cbr>\nPenelope Cruz (\u003cem>The Assassination of Gianni Versace\u003c/em>)\u003cbr>\nThandie Newton (\u003cem>Westworld\u003c/em>)\u003cbr>\nYvonne Strahovski (\u003cem>The Handmaid’s Tale\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Performance by an Actor in a Supporting Role in a Series, Limited Series or Motion Picture Made for Television\u003c/strong>\u003cbr>\nAlan Arkin\u003cbr>\nKieran Culkin\u003cbr>\nEdgar Ramirez\u003cbr>\nBen Wishaw\u003cbr>\nHenry Winkler\u003c/p>\n\u003cp>\u003cstrong>Best Original Score – Motion Picture\u003c/strong>\u003cbr>\nMarco Beltrami (\u003cem>A Quiet Place\u003c/em>)\u003cbr>\nAlexandre Desplat (\u003cem>Isle of Dogs\u003c/em>)\u003cbr>\nLudwig Göransson (\u003cem>Black Panther\u003c/em>)\u003cbr>\nJustin Hurwitz (\u003cem>First Man\u003c/em>)\u003cbr>\nMarc Shaiman (\u003cem>Mary Poppins Returns\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Television Limited Series or Motion Picture Made for Television\u003c/strong>\u003cbr>\n\u003cem>The Alienist\u003c/em> (TNT)\u003cbr>\n\u003cem>The Assassination of Gianni Versace: American Crime Story\u003c/em> (FX)\u003cbr>\n\u003cem>Escape at Dannemora\u003c/em> (Showtime)\u003cbr>\n\u003cem>Sharp Objects\u003c/em> (HBO)\u003cbr>\n\u003cem>A Very English Scandal\u003c/em> (Amazon)\u003c/p>\n\u003cp>\u003cstrong>Best Screenplay – Motion Picture\u003c/strong>\u003cbr>\nAlfonso Cuaron (\u003cem>Roma\u003c/em>)\u003cbr>\nDeborah Davis and Tony McNamara (\u003cem>The Favourite\u003c/em>)\u003cbr>\nBarry Jenkins (\u003cem>If Beale Street Could Talk\u003c/em>)\u003cbr>\nAdam McKay (\u003cem>Vice\u003c/em>)\u003cbr>\nPeter Farrelly, Nick Vallelonga, Brian Currie (\u003cem>Green Book\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Performance by an Actress in a Television Series – Musical or Comedy\u003c/strong>\u003cbr>\nKristen Bell\u003cbr>\nCandice Bergen\u003cbr>\nAlison Brie\u003cbr>\nRachel Brosnahan\u003cbr>\nDebra Messing\u003c/p>\n\u003cp>\u003cstrong>Best Performance by an Actor in a Television Series – Musical or Comedy\u003c/strong>\u003cbr>\nSasha Baron Cohen (\u003cem>Who Is America?\u003c/em>)\u003cbr>\nJim Carrey (\u003cem>Kidding\u003c/em>)\u003cbr>\nMichael Douglas (\u003cem>The Kominsky Method\u003c/em>)\u003cbr>\nDonald Glover (\u003cem>Atlanta\u003c/em>)\u003cbr>\nBill Hader (\u003cem>Barry\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Motion Picture – Animated\u003c/strong>\u003cbr>\n\u003cem>Incredibles 2\u003c/em>\u003cbr>\n\u003cem>Isle of Dogs\u003c/em>\u003cbr>\n\u003cem>Mirai\u003c/em>\u003cbr>\n\u003cem>Ralph Breaks the Internet\u003c/em>\u003cbr>\n\u003cem>Spider-Man: Into the Spider-Verse\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Best Performance by an Actress in a Television Series – Drama\u003c/strong>\u003cbr>\nCaitriona Balfe (\u003cem>Outlander\u003c/em>)\u003cbr>\nElisabeth Moss (\u003cem>Handmaid’s Tale\u003c/em>)\u003cbr>\nSandra Oh (\u003cem>Killing Eve\u003c/em>)\u003cbr>\nJulia Roberts (\u003cem>Homecoming\u003c/em>)\u003cbr>\nKeri Russell (\u003cem>The Americans\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Actor in a Motion Picture – Musical or Comedy\u003c/strong>\u003cbr>\nChristian Bale (\u003cem>Vice\u003c/em>)\u003cbr>\nLin-Manuel Miranda (\u003cem>Mary Poppins Returns\u003c/em>)\u003cbr>\nViggo Mortensen (\u003cem>Green Book\u003c/em>)\u003cbr>\nRobert Redford (\u003cem>The Old Man & the Gun\u003c/em>)\u003cbr>\nJohn C. Reilly (\u003cem>Stan & Ollie\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Director – Motion Picture\u003c/strong>\u003cbr>\nBradley Cooper\u003cbr>\nAlfonso Cuaron\u003cbr>\nPeter Farrelly\u003cbr>\nSpike Lee\u003cbr>\nAdam McKay\u003c/p>\n\u003cp>\u003cstrong>Best Television Series – Drama\u003c/strong>\u003cbr>\nThe Americans\u003cbr>\nBodyguard\u003cbr>\nHomecoming\u003cbr>\nKilling Eve\u003cbr>\nPose\u003c/p>\n\u003cp>\u003cstrong>Best Actress in a Supporting Role in any Motion Picture\u003c/strong>\u003cbr>\nAmy Adams\u003cbr>\nClaire Foy\u003cbr>\nRegina King\u003cbr>\nEmma Stone\u003cbr>\nRachel Weisz\u003c/p>\n\u003cp>\u003cstrong>Best Original Song – Motion Picture\u003c/strong>\u003cbr>\n“All the Stars” (\u003cem>Black Panther\u003c/em>)\u003cbr>\n“Girl in the Movies” (\u003cem>Dumplin’\u003c/em>)\u003cbr>\n“Requiem For A Private War” (\u003cem>A Private War\u003c/em>)\u003cbr>\n“Revelation’ (\u003cem>Boy Erased\u003c/em>)\u003cbr>\n“Shallow” (\u003cem>A Star Is Born\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Performance by an Actor in a Television Series – Drama\u003c/strong>\u003cbr>\nJason Bateman\u003cbr>\nStephan James\u003cbr>\nRichard Madden\u003cbr>\nBilly Porter\u003cbr>\nMatthew Rhys\u003c/p>\n\u003cp>\u003cstrong>Best Actor in a Supporting Role in any Motion Picture\u003c/strong>\u003cbr>\nMahershala Ali\u003cbr>\nTimothee Chalamet\u003cbr>\nAdam Driver\u003cbr>\nRichard E. Grant\u003cbr>\nSam Rockwell\u003c/p>\n\u003cp>\u003cstrong>Best Actress in a Motion Picture – Drama\u003c/strong>\u003cbr>\nGlenn Close (\u003cem>The Wife\u003c/em>)\u003cbr>\nLady Gaga (\u003cem>A Star Is Born\u003c/em>)\u003cbr>\nNicole Kidman (\u003cem>Destroyer\u003c/em>)\u003cbr>\nMelissa McCarthy (\u003cem>Can You Ever Forgive Me?\u003c/em>)\u003cbr>\nRosamund Pike (\u003cem>A Private War\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Actress in a Motion Picture – Musical or Comedy\u003c/strong>\u003cbr>\nEmily Blunt\u003cbr>\nOlivia Colman\u003cbr>\nElsie Fisher\u003cbr>\nCharlize Theron\u003cbr>\nConstance Wu\u003c/p>\n\u003cp>\u003cstrong>Best Actor in a Motion Picture – Drama\u003c/strong>\u003cbr>\nBradley Cooper\u003cbr>\nWillem Dafoe\u003cbr>\nLucas Hedges\u003cbr>\nRami Malek\u003cbr>\nJohn David Washington\u003c/p>\n\u003cp>\u003cstrong>Best Motion Picture – Musical or Comedy\u003c/strong>\u003cbr>\n\u003cem>Crazy Rich Asians\u003c/em>\u003cbr>\n\u003cem>The Favourite\u003c/em>\u003cbr>\n\u003cem>Green Book\u003c/em>\u003cbr>\n\u003cem>Mary Poppins Returns\u003c/em>\u003cbr>\n\u003cem>Vice\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Best Motion Picture – Drama\u003c/strong>\u003cbr>\n\u003cem>Black Panther\u003c/em>\u003cbr>\n\u003cem>BlacKkKlansman\u003c/em>\u003cbr>\n\u003cem>Bohemian Rhapsody\u003c/em>\u003cbr>\n\u003cem>If Beale Street Could Talk\u003c/em>\u003cbr>\n\u003cem>A Star Is Born\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13846501/sorry-to-bother-you-blindspotting-shut-out-of-golden-globe-nominations","authors":["185"],"categories":["arts_74","arts_235"],"tags":["arts_2468","arts_6174","arts_596","arts_1999"],"featImg":"arts_13846511","label":"arts"},"arts_13837271":{"type":"posts","id":"arts_13837271","meta":{"index":"posts_1591205157","site":"arts","id":"13837271","score":null,"sort":[1531940608000]},"guestAuthors":[],"slug":"what-the-complicated-friendship-in-blindspotting-reveals-about-race","title":"What the Complicated Friendship in ‘Blindspotting’ Reveals About Race","publishDate":1531940608,"format":"image","headTitle":"What the Complicated Friendship in ‘Blindspotting’ Reveals About Race | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Oftentimes, real life isn’t full of heroes and villains—it’s full of imperfect individuals trying to make do with imperfect circumstances, and wounding each other in the process. That’s a sentiment that comes across beautifully and poetically in \u003cem>Blindspotting\u003c/em>, a new film that examines a complicated friendship set to the backdrop of heightening racial tensions in an increasingly gentrifying Oakland.\u003c/p>\n\u003cp>Collin (played by co-writer Daveed Diggs) is kindhearted and quiet, and trying desperately to get through his last three days of probation without going back to jail. Miles (Diggs’ co-writer Rafael Casal) is a young dad with a comparatively stable life, but he also has an angry streak and is prone to blow-ups and confrontations. Collin is black; Miles is white. And—surprise—Collin is typically the one who faces consequences when the two best friends get in trouble, often because of Miles’s reckless behavior.\u003c/p>\n\u003cp>https://youtu.be/-9-HBqVbtTo\u003c/p>\n\u003cp>Through the guys’ day-to-day work as movers, \u003cem>Blindspotting\u003c/em> does a brilliant job showing gentrification as an ongoing process; they help an art gallery owner pack up his space, and clear out an old Victorian where a black family used to live. The film doesn’t let the viewer escape the sobering realities of the housing crisis, but the two friends’ quick-witted back-and-forth provides much-needed comic relief throughout. The culture clashes between new and old Oakland—like the guys’ friend Dez (Jon Chaffin), whose side hustles include driving for Uber and selling illegal guns, or the $10 green juice at the liquor store—are some of the funniest parts of the movie.\u003c/p>\n\u003cp>But the film’s humor often functions as laughter to keep from crying, and Collin and Miles’s radically different journeys navigating their hipster-fying city illuminate great truths about race in Oakland—and other cities in America where homeless encampments and craft cocktail bars exist on the same block. In a way, \u003cem>Blindspotting\u003c/em> is like a controlled study. Miles and Collin come from similar class backgrounds, went to the same schools and even have the same job. But their different ethnicities drastically alter how they’re treated and perceived, and the tension that grows between them as their lives change is one of the dark comedy’s most emotionally poignant threads.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Miles, the white friend, strives to fit in with the mostly black community he grew up in. With his slang, grill and neck tattoo, some people read him as a poser, so he constantly feels the need to prove that he’s really from The Town.\u003c/p>\n\u003cp>But despite his unquestionable Oakland cred, there are telling moments where Miles’s whiteness makes him blind to, and sometimes callous towards, other characters’ struggles—struggles that don’t directly affect him because of his race.\u003c/p>\n\u003cp>One of these crucial scenes happens when Collin comes over to Miles’s place to tell him that he witnessed a police officer kill a young, black man on his drive home the day before. Miles brushes him off and quickly goes back to roughhousing with his son, Sean. “I’m a tough guy! I’m a tough guy,” Miles makes his kid repeat while egging him on to pummel Uncle Collin with punches.\u003c/p>\n\u003cp>Miles seems oblivious to the intense emotions Collin is dealing with after witnessing the murder; to him, it’s just one of many police shootings that have made headlines in recent years. His lack of sensitivity is apparent throughout the film. Later, when watching the news about the shooting, Miles loudly talks over his girlfriend, Ashley (Jasmine Cephas Jones), who is black, as she’s processing the racialized violence on screen. The moment is quick and subtle, maybe not enough to call Miles out if you were in the room. But as the film progresses, a distinct pattern of behavior emerges, and tensions between Miles and Collin reach a fever pitch.\u003c/p>\n\u003cfigure id=\"attachment_13837242\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837242\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/014BSG_074_C-800x433.jpg\" alt=\"Rafael Casal as Miles, Ziggy Baitinger as Sean and Jasmine Cephas Jones as Ashley in 'Blindspotting.'\" width=\"800\" height=\"433\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-800x433.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-1020x551.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-1200x649.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-1180x638.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-960x519.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-520x281.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rafael Casal as Miles, Ziggy Baitinger as Sean and Jasmine Cephas Jones as Ashley in ‘Blindspotting.’ \u003ccite>(Robby Baumgartner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though Miles and Collin work together every day, their lives exist largely on parallel, separate tracks. As the clock counts down to the end of his probation, Collin is paranoid that he’ll find himself in the wrong place at the wrong time and wind up back in the system. The film poignantly articulates the tension behind every move he makes; how a police car driving by at night might not be as big a deal to a white person without a record, but, to Collin, elicits hair-raising, heart-palpitating fear that he’ll lose everything if he makes one false move. Characters like Collin’s halfway house supervisor articulate the words “convicted felon” with gravity, as if it’s a brand, a weight, that Collin must now bear.\u003c/p>\n\u003cp>Meanwhile, Miles has a chip on his shoulder because he sometimes gets mistaken for a white gentrifier. It’s easy to empathize with his anger that his city is changing; its culture and history are being erased; and fellow Oakland natives all around him are losing their homes. But the ignorant ways Miles goes about acting out his righteous anger only expose more of his blind spots about race.\u003c/p>\n\u003cp>While Miles’s worst fear is that he’ll be mistaken for a newcomer with a tech job, Collin is afraid that a paranoid white person stereotyping him as the “big, black guy with dreads” (as one character describes him) could cost him his freedom, or even his life.\u003c/p>\n\u003cfigure id=\"attachment_13837237\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837237\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-800x431.jpg\" alt=\"Rafael Casal as Miles, Daveed Diggs as Collin and Jon Chaffin as Dez in 'Blindspotting.'\" width=\"800\" height=\"431\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-800x431.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-768x414.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-1020x549.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-1200x646.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-1180x635.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-960x517.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-240x129.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-375x202.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-520x280.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rafael Casal as Miles, Daveed Diggs as Collin and Jon Chaffin as Dez in ‘Blindspotting.’ \u003ccite>(Ariel Nava)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite these clashes of black and white, \u003cem>Blindspotting\u003c/em> is anything \u003cem>but\u003c/em> black-and-white. There are many positives to Miles and Collin’s friendship, too, and it’s complicated. Miles isn’t just a caricature of a blustering, blundering white guy; for all his rough edges, his realness is redeeming. Collin is also imperfect, and he has his reasons for keeping Miles in his life.\u003c/p>\n\u003cp>\u003cem>Blindspotting\u003c/em> isn’t by any means light moviegoing fare, but Diggs and Casal manage to pull off a hilarious, fast-paced comedy adventure, thanks in large part to a very funny supporting cast and director Carlos Lopez Estrada’s striking use of visuals and physical comedy.\u003c/p>\n\u003cp>\u003cem>Blindspotting\u003c/em> is no basic gentrification allegory, where the message is plainly written on the wall. It shows human relationships at their messiest and most hilarious, and has the power to make one think critically about how one’s actions impact others on a macro and micro level.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Blindspotting \u003cem>opens in select theaters July 20.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The two main characters' radically different journeys navigating their hipster-fying city illuminate great truths about race in Oakland—and other cities in America where homeless encampments and craft cocktail bars exist on the same block.","status":"publish","parent":0,"modified":1705027478,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":1158},"headData":{"title":"What the Complicated Friendship in ‘Blindspotting’ Reveals About Race | KQED","description":"The two main characters' radically different journeys navigating their hipster-fying city illuminate great truths about race in Oakland—and other cities in America where homeless encampments and craft cocktail bars exist on the same block.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"path":"/arts/13837271/what-the-complicated-friendship-in-blindspotting-reveals-about-race","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oftentimes, real life isn’t full of heroes and villains—it’s full of imperfect individuals trying to make do with imperfect circumstances, and wounding each other in the process. That’s a sentiment that comes across beautifully and poetically in \u003cem>Blindspotting\u003c/em>, a new film that examines a complicated friendship set to the backdrop of heightening racial tensions in an increasingly gentrifying Oakland.\u003c/p>\n\u003cp>Collin (played by co-writer Daveed Diggs) is kindhearted and quiet, and trying desperately to get through his last three days of probation without going back to jail. Miles (Diggs’ co-writer Rafael Casal) is a young dad with a comparatively stable life, but he also has an angry streak and is prone to blow-ups and confrontations. Collin is black; Miles is white. And—surprise—Collin is typically the one who faces consequences when the two best friends get in trouble, often because of Miles’s reckless behavior.\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/-9-HBqVbtTo'\n title='//www.youtube.com/embed/-9-HBqVbtTo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Through the guys’ day-to-day work as movers, \u003cem>Blindspotting\u003c/em> does a brilliant job showing gentrification as an ongoing process; they help an art gallery owner pack up his space, and clear out an old Victorian where a black family used to live. The film doesn’t let the viewer escape the sobering realities of the housing crisis, but the two friends’ quick-witted back-and-forth provides much-needed comic relief throughout. The culture clashes between new and old Oakland—like the guys’ friend Dez (Jon Chaffin), whose side hustles include driving for Uber and selling illegal guns, or the $10 green juice at the liquor store—are some of the funniest parts of the movie.\u003c/p>\n\u003cp>But the film’s humor often functions as laughter to keep from crying, and Collin and Miles’s radically different journeys navigating their hipster-fying city illuminate great truths about race in Oakland—and other cities in America where homeless encampments and craft cocktail bars exist on the same block. In a way, \u003cem>Blindspotting\u003c/em> is like a controlled study. Miles and Collin come from similar class backgrounds, went to the same schools and even have the same job. But their different ethnicities drastically alter how they’re treated and perceived, and the tension that grows between them as their lives change is one of the dark comedy’s most emotionally poignant threads.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Miles, the white friend, strives to fit in with the mostly black community he grew up in. With his slang, grill and neck tattoo, some people read him as a poser, so he constantly feels the need to prove that he’s really from The Town.\u003c/p>\n\u003cp>But despite his unquestionable Oakland cred, there are telling moments where Miles’s whiteness makes him blind to, and sometimes callous towards, other characters’ struggles—struggles that don’t directly affect him because of his race.\u003c/p>\n\u003cp>One of these crucial scenes happens when Collin comes over to Miles’s place to tell him that he witnessed a police officer kill a young, black man on his drive home the day before. Miles brushes him off and quickly goes back to roughhousing with his son, Sean. “I’m a tough guy! I’m a tough guy,” Miles makes his kid repeat while egging him on to pummel Uncle Collin with punches.\u003c/p>\n\u003cp>Miles seems oblivious to the intense emotions Collin is dealing with after witnessing the murder; to him, it’s just one of many police shootings that have made headlines in recent years. His lack of sensitivity is apparent throughout the film. Later, when watching the news about the shooting, Miles loudly talks over his girlfriend, Ashley (Jasmine Cephas Jones), who is black, as she’s processing the racialized violence on screen. The moment is quick and subtle, maybe not enough to call Miles out if you were in the room. But as the film progresses, a distinct pattern of behavior emerges, and tensions between Miles and Collin reach a fever pitch.\u003c/p>\n\u003cfigure id=\"attachment_13837242\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837242\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/014BSG_074_C-800x433.jpg\" alt=\"Rafael Casal as Miles, Ziggy Baitinger as Sean and Jasmine Cephas Jones as Ashley in 'Blindspotting.'\" width=\"800\" height=\"433\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-800x433.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-1020x551.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-1200x649.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-1180x638.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-960x519.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-520x281.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rafael Casal as Miles, Ziggy Baitinger as Sean and Jasmine Cephas Jones as Ashley in ‘Blindspotting.’ \u003ccite>(Robby Baumgartner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though Miles and Collin work together every day, their lives exist largely on parallel, separate tracks. As the clock counts down to the end of his probation, Collin is paranoid that he’ll find himself in the wrong place at the wrong time and wind up back in the system. The film poignantly articulates the tension behind every move he makes; how a police car driving by at night might not be as big a deal to a white person without a record, but, to Collin, elicits hair-raising, heart-palpitating fear that he’ll lose everything if he makes one false move. Characters like Collin’s halfway house supervisor articulate the words “convicted felon” with gravity, as if it’s a brand, a weight, that Collin must now bear.\u003c/p>\n\u003cp>Meanwhile, Miles has a chip on his shoulder because he sometimes gets mistaken for a white gentrifier. It’s easy to empathize with his anger that his city is changing; its culture and history are being erased; and fellow Oakland natives all around him are losing their homes. But the ignorant ways Miles goes about acting out his righteous anger only expose more of his blind spots about race.\u003c/p>\n\u003cp>While Miles’s worst fear is that he’ll be mistaken for a newcomer with a tech job, Collin is afraid that a paranoid white person stereotyping him as the “big, black guy with dreads” (as one character describes him) could cost him his freedom, or even his life.\u003c/p>\n\u003cfigure id=\"attachment_13837237\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837237\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-800x431.jpg\" alt=\"Rafael Casal as Miles, Daveed Diggs as Collin and Jon Chaffin as Dez in 'Blindspotting.'\" width=\"800\" height=\"431\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-800x431.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-768x414.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-1020x549.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-1200x646.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-1180x635.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-960x517.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-240x129.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-375x202.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-520x280.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rafael Casal as Miles, Daveed Diggs as Collin and Jon Chaffin as Dez in ‘Blindspotting.’ \u003ccite>(Ariel Nava)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite these clashes of black and white, \u003cem>Blindspotting\u003c/em> is anything \u003cem>but\u003c/em> black-and-white. There are many positives to Miles and Collin’s friendship, too, and it’s complicated. Miles isn’t just a caricature of a blustering, blundering white guy; for all his rough edges, his realness is redeeming. Collin is also imperfect, and he has his reasons for keeping Miles in his life.\u003c/p>\n\u003cp>\u003cem>Blindspotting\u003c/em> isn’t by any means light moviegoing fare, but Diggs and Casal manage to pull off a hilarious, fast-paced comedy adventure, thanks in large part to a very funny supporting cast and director Carlos Lopez Estrada’s striking use of visuals and physical comedy.\u003c/p>\n\u003cp>\u003cem>Blindspotting\u003c/em> is no basic gentrification allegory, where the message is plainly written on the wall. It shows human relationships at their messiest and most hilarious, and has the power to make one think critically about how one’s actions impact others on a macro and micro level.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Blindspotting \u003cem>opens in select theaters July 20.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13837271/what-the-complicated-friendship-in-blindspotting-reveals-about-race","authors":["11387"],"categories":["arts_71"],"tags":["arts_2468","arts_2467","arts_1118","arts_596","arts_1143","arts_5308"],"featImg":"arts_13837233","label":"arts"},"arts_13837184":{"type":"posts","id":"arts_13837184","meta":{"index":"posts_1591205157","site":"arts","id":"13837184","score":null,"sort":[1531855612000]},"guestAuthors":[],"slug":"blindspotting-is-a-spot-on-portrait-of-an-oakland-in-flux","title":"'Blindspotting' is a Spot-On Portrait of an Oakland in Flux","publishDate":1531855612,"format":"image","headTitle":"‘Blindspotting’ is a Spot-On Portrait of an Oakland in Flux | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>For Oakland natives, the conversation these days is less about what high-rise is going up where: instead, it’s geared towards how these new buildings further fuel gentrification.\u003c/p>\n\u003cp>In 2017, the City of Oakland issued permits for \u003ca href=\"https://oakland.legistar.com/LegislationDetail.aspx?ID=3517396&GUID=4A2D558C-DE95-4282-8480-0998A7498256&Options=ID%7CText%7CAttachments%7COther%7C&Search=housing+element\" target=\"_blank\" rel=\"noopener noreferrer\">4,284 total units\u003c/a>, with only 324 units falling under affordable housing. This ongoing trend has changed The Town’s demographics over the past decade. For those who do not live here anymore—whether they chose to move away or were forced out—coming home is always a shocking sight, far more so than to residents who see the changes daily.\u003c/p>\n\u003cp>Oakland’s gentrification serves as the backdrop in \u003cem>Blindspotting\u003c/em>. Co-written by and starring Oakland natives Rafael Casal and Daveed Diggs, the new film explores the intersection of race, class and police brutality while telling the story of two friends, Miles and Collin, and how they navigate their daily lives. Collin (Diggs) is a convicted felon with three days left on parole, and Miles (Casal) is his hot-headed childhood friend who might jeopardize his freedom. The movie comes out Friday, July 20.\u003c/p>\n\u003cp>https://youtu.be/-9-HBqVbtTo\u003c/p>\n\u003cp>With this impressive big-screen debut, Casal and Diggs have come a long way since they met at Berkeley High School, later working on music and uploading videos videos to Casal’s \u003ca href=\"https://www.youtube.com/watch?v=j3S-Zs3tvdY\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube channel\u003c/a>. Now, they live in Los Angeles, and they’ve made names for themselves outside of the Bay Area. Spoken-word poet Casal appeared on HBO’s \u003cem>Def Poetry\u003c/em>, performed and taught nationwide with YouthSpeaks (which Diggs was also a part of) and is also a two-time Brave New Voices poetry slam champion. Diggs, who raps in the group \u003ca href=\"http://www.clppng.com/\" target=\"_blank\" rel=\"noopener noreferrer\">clipping.\u003c/a>, is best-known for his dual portrayal of Thomas Jefferson and Marquis de Lafayette in the original run of the smash-hit Broadway musical \u003cem>Hamilton\u003c/em> (his portrayal earned him a Tony Award in 2016). But he’s also landed roles in the movie \u003cem>Younger\u003c/em>, ABC’s \u003cem>Black-ish\u003c/em>, and Netflix’s \u003cem>Unbreakable Kimmy Schmidt\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The pair of friends worked on the \u003cem>Blindspotting\u003c/em> movie script over the past 10 years. When they first started, Diggs lived in Fruitvale, a few blocks away from where a BART Police officer gunned down Oscar Grant in 2009. From the script’s inception to now, the national conversation surrounding police brutality escalated and then fizzled out, as more and more cases became passing hashtags and officers were acquitted or not charged at all.\u003c/p>\n\u003cp>“That’s the biggest difference between the first draft of the script and where we ended up,” Diggs says. “We were trying to match the nature of the national conversation about these kinds of killings. When Oscar Grant was murdered, there were riots and protests; Oscar’s face was on all the shirts; there was 24-hour news cycle about it. Flash forward to now, every time one of these [killings] happens, it’s just another body on the pile.”\u003c/p>\n\u003cfigure id=\"attachment_13837233\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837233\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-800x450.jpg\" alt=\"Diggs and Casal play best friends who work together as movers. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Diggs and Casal play best friends who work together as movers. \u003ccite>(Ariel Nava)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Blindspotting\u003c/em> is, simply put, a love letter to Oakland. A more complex way to describe it would be as a raw, poetic and timely film that accurately depicts the trials and tribulations that people of color go through in order to survive and provide for their families—especially those convicted of a crime, who served their time and are trying to rebuild their lives within a system that wants them to fail.\u003c/p>\n\u003cp>For Oaklanders, the film will feel familiar: many of the scenes take place in recognizable locations; the hella Town Biz soundtrack includes Fantastic Negrito, Mistah F.A.B and E-40; some notable locals make cameos. And then, sadly, there’s the sight of the countless homeless encampments we see on our daily commutes. The cinematography is as beautiful as it is daunting. Moviegoers get to see the gentrified parts of Oakland that newcomers are attracted to, as well as the displacement—a blind spot for some recent transplants.\u003c/p>\n\u003ch2>Contending with The Town’s changing landscape\u003c/h2>\n\u003cp>The \u003cem>Blindspotting \u003c/em>narrative stems from a life-altering moment. Collin happens to witness a police shooting that results in the death of a black man named Randall Marshall. The film follows Collin as he navigates his final days on parole while dealing with the post-traumatic effects of witnessing the shooting—not to mention Miles’ short fuse.\u003c/p>\n\u003cp>A powerful scene shows Collin on his daily run through the Mountain View Cemetery the day after witnessing the police killing. Still disturbed from the incident, Collin begins to hallucinate and sees black men, dressed in black, standing in front of each grave he runs past. Once he reaches the the top of the hill, the last face he sees is that of a bloody Marshall.\u003c/p>\n\u003cp>“It’s Collin finally seeing where he is, and seeing himself in it,” Casal says. “The whole film, he’s realizing how similar he is to the person he saw that died, and how inevitable it feels. I think that inevitability is the PTSD. It’s the torture that it feels like everything is conspiring towards his death, because to a certain degree, it is. The probation system is hell bent on sending you back to prison. Police are policing and murdering black men at a higher rate.”\u003c/p>\n\u003cfigure id=\"attachment_13837241\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837241\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/BSG_165_C2-800x445.jpg\" alt=\"Collin (Daveed Diggs) and Val (Janina Gavankar) in 'Blindspotting.'\" width=\"800\" height=\"445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-800x445.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-768x428.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-1020x568.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-1200x668.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-1920x1069.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-1180x657.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-960x534.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-1038x576.jpg 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-240x134.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-375x209.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-520x289.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Collin (Daveed Diggs) and Val (Janina Gavankar) in ‘Blindspotting.’ \u003ccite>(Ariel Nava)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Blindspotting\u003c/em> does an exceptional job explaining how gentrification affects people of color who have called Oakland home for generations. Rents have sky-rocketed in recent years. (Finance site Walletwyse released a \u003ca href=\"https://www.walletwyse.com/articles/worldwide-rental-price-index/\" target=\"_blank\" rel=\"noopener noreferrer\">study\u003c/a> last week determining that Oakland has the fifth highest average rent in the world, tied with Hong Kong.) In the film, Collin and Miles work as movers, and every day as part of their job, they see how gentrification reshapes Oakland’s landscape, both structurally and racially.\u003c/p>\n\u003cp>One day, they clear “junk” out of a house in West Oakland that’s scheduled to be renovated—a house where a black family once resided. While clearing stuff out, Collin comes across a broken picture frame and a photo album; this sentimental moment makes it all the more real that this now-gutted Victorian was recently someone’s home.\u003c/p>\n\u003cp>The next day, the two friends help the owner of an art gallery move out of his space. The owner chit-chats with Collin and Miles about displacement as they pack black-and-white frames showing oak trees superimposed onto images of houses and freeways all around Oakland. “They are chopping us down,” the gallery owner tells Collin and Miles as a reference to displacement—just like oak trees were chopped down to make way for development.\u003c/p>\n\u003cp>This scene is not a far cry from what is happening today in Oakland, with West Oakland’s Alena Museum, a creative space for people of the African diaspora, \u003ca href=\"https://www.eastbaytimes.com/2018/06/17/gallery-supporting-black-artists-fighting-eviction-from-west-oakland-warehouse/\" target=\"_blank\" rel=\"noopener noreferrer\">currently facing eviction\u003c/a>.\u003c/p>\n\u003cp>Oak trees are an important element throughout the film. The setting of one of the film’s most climactic clashes between new and old Oakland is a modern, slick house stuck between two older Victorians. The home, Casal points out, was built around a dead oak tree. In one of the scenes, the homeowner proudly shows off his coffee table, an actual oak tree stump.\u003c/p>\n\u003cp>“We wrote this oak tree stump as sort of a punchline of this parallel between the clearing out of oak trees and the clearing out of poor people of color,” Casal says.\u003c/p>\n\u003cp>He and Diggs were shocked to learn that their punchline was, in fact, not far from reality.\u003c/p>\n\u003cfigure id=\"attachment_13837242\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837242\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/014BSG_074_C-800x433.jpg\" alt=\"Rafael Casal as Miles, Ziggy Baitinger as Sean and Jasmine Cephas Jones as Ashley in 'Blindspotting.'\" width=\"800\" height=\"433\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-800x433.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-1020x551.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-1200x649.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-1180x638.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-960x519.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-520x281.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rafael Casal as Miles, Ziggy Baitinger as Sean and Jasmine Cephas Jones as Ashley in ‘Blindspotting.’ \u003ccite>(Robby Baumgartner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The fight to preserve Oakland culture continues\u003c/h2>\n\u003cp>For Casal and Diggs, coming back to Oakland as visitors makes the city’s changes seem drastic—more so for them than to those who still live in Oakland and see it every day with a degree of numbness. They mention Merritt Bakery—Diggs recently posted a picture on Instagram of the duo in front of the historic eatery with the caption, “Learning to cope with change.”\u003c/p>\n\u003cp>Merritt Bakery was an iconic restaurant that served the Oakland community for over 60 years and shut down due to a fire in 2013. It then moved into the small space that was once occupied by Kwik Way Drive-In, seen in the opening sequence of \u003cem>Blindspotting\u003c/em>. (The movie takes place in a present-day, alternate Oakland, where the shuttered fast-food joint has turned into a hipster eatery.)\u003c/p>\n\u003cp>“New folks are ignoring locals, and locals are growing more and more furious and fed up with people coming in,” Casal says. “There’s tension, going into bars, going into certain restaurants—you can feel the anger on people, even when they are not vocal about it. Who are these people who’ve come in and thrown off the ecosystem, and are pushing us all out?”\u003c/p>\n\u003cp>In the film, Miles is vocal about his discontent with the changes around The Town. He has to eat a vegan burger at the newly reopened Kwik Way. He finds a fridge full of $10 green juices at his local liquor store. He gets upset at a newcomer whose car blocks Miles and Collin into a parking space with the moving truck. He laments how Oakland police officers are not from and don’t live in Oakland. (\u003ca href=\"https://www.eastbayexpress.com/oakland/black-and-female-recruits-missing-from-latest-oakland-police-academy/Content?oid=15456858\" target=\"_blank\" rel=\"noopener noreferrer\">Forty percent\u003c/a> of Oakland Police Department cops are white and nine out of 10 officers live outside of Oakland, with many in primarily white suburbs miles away.)\u003c/p>\n\u003cp>The situations that Miles and Collin experience throughout the film are vivid, all-too-true reminders of what Oaklanders see in their daily lives. For Casal and Diggs, gentrification enters conversations whenever they’re in Oakland hanging out with friends, as was the case when they visited recently to promote the film. “We were talking about where to go, and people were like, ‘This spot is still cool on this day of the week, we should go there.’ Or, ‘Nah, let’s not go there.’ We know what ‘nah’ means,” Casal says. “It means new people.”\u003c/p>\n\u003cfigure id=\"attachment_13837237\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837237\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-800x431.jpg\" alt=\"Rafael Casal as Miles, Daveed Diggs as Collin and Jon Chaffin as Dez in 'Blindspotting.'\" width=\"800\" height=\"431\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-800x431.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-768x414.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-1020x549.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-1200x646.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-1180x635.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-960x517.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-240x129.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-375x202.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-520x280.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rafael Casal as Miles, Daveed Diggs as Collin and Jon Chaffin as Dez in ‘Blindspotting.’ \u003ccite>(Ariel Nava)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fantastic Negrito, who is featured on the \u003cem>Blindspotting\u003c/em> soundtrack, often talks about building a bridge between the old, pre-gentrification Oakland and the new Oakland taken over by the wealthy. Is it possible to build such a bridge? “I think it’s possible, and actually, I think new people would prefer that,” Diggs says. “I don’t know how—a lot is legislative control over the market, of how you are allowed to charge folks to live here. There are people who can’t compete with folks coming in from somewhere else.”\u003c/p>\n\u003cp>Casal is less optimistic. “It’s not gonna happen,” he says.\u003c/p>\n\u003cp>Diggs says he feels like a gentrifier himself whenever he moves somewhere new. When he moved to New York, he chose to live in Washington Heights, a quickly changing neighborhood in Manhattan. “It’s a beautiful neighborhood with so many great things,” Diggs says. “There are two ways that you can move into that neighborhood. You can move there and check off the boxes: close to the subway, checked; a Starbucks on the corner, OK, checked; I have all the things I need to feel comfortable, and not have to change anything about myself. Or, you can move in there excited to participate and learn about a culture that you know nothing about. You can approach it by being a productive partner in this community—that’s a good way to move in to a place.”\u003c/p>\n\u003cp>The film’s themes of gentrification will likely resonate with audiences across the country. But \u003cem>Blindspotting\u003c/em> also serves as a time capsule of the current, ongoing battle in Oakland.\u003c/p>\n\u003cp>“We need you to tell the story of this place,” Diggs says, calling on native Oaklanders who remain rooted in The Town. “It becomes harder to tear something down when it’s in the national consciousness. They’re never gonna tear down the Washington Monument—they have to keep updating that shit every year because we know it’s there. I want that to be Oakland. I want all those Victorians to be so ingrained in people’s minds, so they wouldn’t dare tear them down. I want the barbecue around the lake to continue to get bigger as protest, as a reclaiming of space. I want all that.”\u003c/p>\n\u003cp>“The more you tell the story, the more people will recognize that they are building on top of something that already exists,” Diggs continues. “This isn’t a clean slate, you don’t get to come in here and [pretend] there are no consequences to your actions.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Blindspotting \u003cem>opens in theaters July 20.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Daveed Diggs and Rafael Casal's buddy comedy smartly tackles race, class and gentrification. ","status":"publish","parent":0,"modified":1705027485,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":32,"wordCount":2247},"headData":{"title":"'Blindspotting' is a Spot-On Portrait of an Oakland in Flux | KQED","description":"Daveed Diggs and Rafael Casal's buddy comedy smartly tackles race, class and gentrification. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"path":"/arts/13837184/blindspotting-is-a-spot-on-portrait-of-an-oakland-in-flux","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>For Oakland natives, the conversation these days is less about what high-rise is going up where: instead, it’s geared towards how these new buildings further fuel gentrification.\u003c/p>\n\u003cp>In 2017, the City of Oakland issued permits for \u003ca href=\"https://oakland.legistar.com/LegislationDetail.aspx?ID=3517396&GUID=4A2D558C-DE95-4282-8480-0998A7498256&Options=ID%7CText%7CAttachments%7COther%7C&Search=housing+element\" target=\"_blank\" rel=\"noopener noreferrer\">4,284 total units\u003c/a>, with only 324 units falling under affordable housing. This ongoing trend has changed The Town’s demographics over the past decade. For those who do not live here anymore—whether they chose to move away or were forced out—coming home is always a shocking sight, far more so than to residents who see the changes daily.\u003c/p>\n\u003cp>Oakland’s gentrification serves as the backdrop in \u003cem>Blindspotting\u003c/em>. Co-written by and starring Oakland natives Rafael Casal and Daveed Diggs, the new film explores the intersection of race, class and police brutality while telling the story of two friends, Miles and Collin, and how they navigate their daily lives. Collin (Diggs) is a convicted felon with three days left on parole, and Miles (Casal) is his hot-headed childhood friend who might jeopardize his freedom. The movie comes out Friday, July 20.\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/-9-HBqVbtTo'\n title='//www.youtube.com/embed/-9-HBqVbtTo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>With this impressive big-screen debut, Casal and Diggs have come a long way since they met at Berkeley High School, later working on music and uploading videos videos to Casal’s \u003ca href=\"https://www.youtube.com/watch?v=j3S-Zs3tvdY\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube channel\u003c/a>. Now, they live in Los Angeles, and they’ve made names for themselves outside of the Bay Area. Spoken-word poet Casal appeared on HBO’s \u003cem>Def Poetry\u003c/em>, performed and taught nationwide with YouthSpeaks (which Diggs was also a part of) and is also a two-time Brave New Voices poetry slam champion. Diggs, who raps in the group \u003ca href=\"http://www.clppng.com/\" target=\"_blank\" rel=\"noopener noreferrer\">clipping.\u003c/a>, is best-known for his dual portrayal of Thomas Jefferson and Marquis de Lafayette in the original run of the smash-hit Broadway musical \u003cem>Hamilton\u003c/em> (his portrayal earned him a Tony Award in 2016). But he’s also landed roles in the movie \u003cem>Younger\u003c/em>, ABC’s \u003cem>Black-ish\u003c/em>, and Netflix’s \u003cem>Unbreakable Kimmy Schmidt\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The pair of friends worked on the \u003cem>Blindspotting\u003c/em> movie script over the past 10 years. When they first started, Diggs lived in Fruitvale, a few blocks away from where a BART Police officer gunned down Oscar Grant in 2009. From the script’s inception to now, the national conversation surrounding police brutality escalated and then fizzled out, as more and more cases became passing hashtags and officers were acquitted or not charged at all.\u003c/p>\n\u003cp>“That’s the biggest difference between the first draft of the script and where we ended up,” Diggs says. “We were trying to match the nature of the national conversation about these kinds of killings. When Oscar Grant was murdered, there were riots and protests; Oscar’s face was on all the shirts; there was 24-hour news cycle about it. Flash forward to now, every time one of these [killings] happens, it’s just another body on the pile.”\u003c/p>\n\u003cfigure id=\"attachment_13837233\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837233\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-800x450.jpg\" alt=\"Diggs and Casal play best friends who work together as movers. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Diggs and Casal play best friends who work together as movers. \u003ccite>(Ariel Nava)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Blindspotting\u003c/em> is, simply put, a love letter to Oakland. A more complex way to describe it would be as a raw, poetic and timely film that accurately depicts the trials and tribulations that people of color go through in order to survive and provide for their families—especially those convicted of a crime, who served their time and are trying to rebuild their lives within a system that wants them to fail.\u003c/p>\n\u003cp>For Oaklanders, the film will feel familiar: many of the scenes take place in recognizable locations; the hella Town Biz soundtrack includes Fantastic Negrito, Mistah F.A.B and E-40; some notable locals make cameos. And then, sadly, there’s the sight of the countless homeless encampments we see on our daily commutes. The cinematography is as beautiful as it is daunting. Moviegoers get to see the gentrified parts of Oakland that newcomers are attracted to, as well as the displacement—a blind spot for some recent transplants.\u003c/p>\n\u003ch2>Contending with The Town’s changing landscape\u003c/h2>\n\u003cp>The \u003cem>Blindspotting \u003c/em>narrative stems from a life-altering moment. Collin happens to witness a police shooting that results in the death of a black man named Randall Marshall. The film follows Collin as he navigates his final days on parole while dealing with the post-traumatic effects of witnessing the shooting—not to mention Miles’ short fuse.\u003c/p>\n\u003cp>A powerful scene shows Collin on his daily run through the Mountain View Cemetery the day after witnessing the police killing. Still disturbed from the incident, Collin begins to hallucinate and sees black men, dressed in black, standing in front of each grave he runs past. Once he reaches the the top of the hill, the last face he sees is that of a bloody Marshall.\u003c/p>\n\u003cp>“It’s Collin finally seeing where he is, and seeing himself in it,” Casal says. “The whole film, he’s realizing how similar he is to the person he saw that died, and how inevitable it feels. I think that inevitability is the PTSD. It’s the torture that it feels like everything is conspiring towards his death, because to a certain degree, it is. The probation system is hell bent on sending you back to prison. Police are policing and murdering black men at a higher rate.”\u003c/p>\n\u003cfigure id=\"attachment_13837241\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837241\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/BSG_165_C2-800x445.jpg\" alt=\"Collin (Daveed Diggs) and Val (Janina Gavankar) in 'Blindspotting.'\" width=\"800\" height=\"445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-800x445.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-768x428.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-1020x568.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-1200x668.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-1920x1069.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-1180x657.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-960x534.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-1038x576.jpg 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-240x134.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-375x209.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-520x289.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Collin (Daveed Diggs) and Val (Janina Gavankar) in ‘Blindspotting.’ \u003ccite>(Ariel Nava)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Blindspotting\u003c/em> does an exceptional job explaining how gentrification affects people of color who have called Oakland home for generations. Rents have sky-rocketed in recent years. (Finance site Walletwyse released a \u003ca href=\"https://www.walletwyse.com/articles/worldwide-rental-price-index/\" target=\"_blank\" rel=\"noopener noreferrer\">study\u003c/a> last week determining that Oakland has the fifth highest average rent in the world, tied with Hong Kong.) In the film, Collin and Miles work as movers, and every day as part of their job, they see how gentrification reshapes Oakland’s landscape, both structurally and racially.\u003c/p>\n\u003cp>One day, they clear “junk” out of a house in West Oakland that’s scheduled to be renovated—a house where a black family once resided. While clearing stuff out, Collin comes across a broken picture frame and a photo album; this sentimental moment makes it all the more real that this now-gutted Victorian was recently someone’s home.\u003c/p>\n\u003cp>The next day, the two friends help the owner of an art gallery move out of his space. The owner chit-chats with Collin and Miles about displacement as they pack black-and-white frames showing oak trees superimposed onto images of houses and freeways all around Oakland. “They are chopping us down,” the gallery owner tells Collin and Miles as a reference to displacement—just like oak trees were chopped down to make way for development.\u003c/p>\n\u003cp>This scene is not a far cry from what is happening today in Oakland, with West Oakland’s Alena Museum, a creative space for people of the African diaspora, \u003ca href=\"https://www.eastbaytimes.com/2018/06/17/gallery-supporting-black-artists-fighting-eviction-from-west-oakland-warehouse/\" target=\"_blank\" rel=\"noopener noreferrer\">currently facing eviction\u003c/a>.\u003c/p>\n\u003cp>Oak trees are an important element throughout the film. The setting of one of the film’s most climactic clashes between new and old Oakland is a modern, slick house stuck between two older Victorians. The home, Casal points out, was built around a dead oak tree. In one of the scenes, the homeowner proudly shows off his coffee table, an actual oak tree stump.\u003c/p>\n\u003cp>“We wrote this oak tree stump as sort of a punchline of this parallel between the clearing out of oak trees and the clearing out of poor people of color,” Casal says.\u003c/p>\n\u003cp>He and Diggs were shocked to learn that their punchline was, in fact, not far from reality.\u003c/p>\n\u003cfigure id=\"attachment_13837242\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837242\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/014BSG_074_C-800x433.jpg\" alt=\"Rafael Casal as Miles, Ziggy Baitinger as Sean and Jasmine Cephas Jones as Ashley in 'Blindspotting.'\" width=\"800\" height=\"433\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-800x433.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-1020x551.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-1200x649.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-1180x638.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-960x519.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-520x281.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rafael Casal as Miles, Ziggy Baitinger as Sean and Jasmine Cephas Jones as Ashley in ‘Blindspotting.’ \u003ccite>(Robby Baumgartner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The fight to preserve Oakland culture continues\u003c/h2>\n\u003cp>For Casal and Diggs, coming back to Oakland as visitors makes the city’s changes seem drastic—more so for them than to those who still live in Oakland and see it every day with a degree of numbness. They mention Merritt Bakery—Diggs recently posted a picture on Instagram of the duo in front of the historic eatery with the caption, “Learning to cope with change.”\u003c/p>\n\u003cp>Merritt Bakery was an iconic restaurant that served the Oakland community for over 60 years and shut down due to a fire in 2013. It then moved into the small space that was once occupied by Kwik Way Drive-In, seen in the opening sequence of \u003cem>Blindspotting\u003c/em>. (The movie takes place in a present-day, alternate Oakland, where the shuttered fast-food joint has turned into a hipster eatery.)\u003c/p>\n\u003cp>“New folks are ignoring locals, and locals are growing more and more furious and fed up with people coming in,” Casal says. “There’s tension, going into bars, going into certain restaurants—you can feel the anger on people, even when they are not vocal about it. Who are these people who’ve come in and thrown off the ecosystem, and are pushing us all out?”\u003c/p>\n\u003cp>In the film, Miles is vocal about his discontent with the changes around The Town. He has to eat a vegan burger at the newly reopened Kwik Way. He finds a fridge full of $10 green juices at his local liquor store. He gets upset at a newcomer whose car blocks Miles and Collin into a parking space with the moving truck. He laments how Oakland police officers are not from and don’t live in Oakland. (\u003ca href=\"https://www.eastbayexpress.com/oakland/black-and-female-recruits-missing-from-latest-oakland-police-academy/Content?oid=15456858\" target=\"_blank\" rel=\"noopener noreferrer\">Forty percent\u003c/a> of Oakland Police Department cops are white and nine out of 10 officers live outside of Oakland, with many in primarily white suburbs miles away.)\u003c/p>\n\u003cp>The situations that Miles and Collin experience throughout the film are vivid, all-too-true reminders of what Oaklanders see in their daily lives. For Casal and Diggs, gentrification enters conversations whenever they’re in Oakland hanging out with friends, as was the case when they visited recently to promote the film. “We were talking about where to go, and people were like, ‘This spot is still cool on this day of the week, we should go there.’ Or, ‘Nah, let’s not go there.’ We know what ‘nah’ means,” Casal says. “It means new people.”\u003c/p>\n\u003cfigure id=\"attachment_13837237\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837237\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-800x431.jpg\" alt=\"Rafael Casal as Miles, Daveed Diggs as Collin and Jon Chaffin as Dez in 'Blindspotting.'\" width=\"800\" height=\"431\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-800x431.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-768x414.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-1020x549.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-1200x646.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-1180x635.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-960x517.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-240x129.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-375x202.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-520x280.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rafael Casal as Miles, Daveed Diggs as Collin and Jon Chaffin as Dez in ‘Blindspotting.’ \u003ccite>(Ariel Nava)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fantastic Negrito, who is featured on the \u003cem>Blindspotting\u003c/em> soundtrack, often talks about building a bridge between the old, pre-gentrification Oakland and the new Oakland taken over by the wealthy. Is it possible to build such a bridge? “I think it’s possible, and actually, I think new people would prefer that,” Diggs says. “I don’t know how—a lot is legislative control over the market, of how you are allowed to charge folks to live here. There are people who can’t compete with folks coming in from somewhere else.”\u003c/p>\n\u003cp>Casal is less optimistic. “It’s not gonna happen,” he says.\u003c/p>\n\u003cp>Diggs says he feels like a gentrifier himself whenever he moves somewhere new. When he moved to New York, he chose to live in Washington Heights, a quickly changing neighborhood in Manhattan. “It’s a beautiful neighborhood with so many great things,” Diggs says. “There are two ways that you can move into that neighborhood. You can move there and check off the boxes: close to the subway, checked; a Starbucks on the corner, OK, checked; I have all the things I need to feel comfortable, and not have to change anything about myself. Or, you can move in there excited to participate and learn about a culture that you know nothing about. You can approach it by being a productive partner in this community—that’s a good way to move in to a place.”\u003c/p>\n\u003cp>The film’s themes of gentrification will likely resonate with audiences across the country. But \u003cem>Blindspotting\u003c/em> also serves as a time capsule of the current, ongoing battle in Oakland.\u003c/p>\n\u003cp>“We need you to tell the story of this place,” Diggs says, calling on native Oaklanders who remain rooted in The Town. “It becomes harder to tear something down when it’s in the national consciousness. They’re never gonna tear down the Washington Monument—they have to keep updating that shit every year because we know it’s there. I want that to be Oakland. I want all those Victorians to be so ingrained in people’s minds, so they wouldn’t dare tear them down. I want the barbecue around the lake to continue to get bigger as protest, as a reclaiming of space. I want all that.”\u003c/p>\n\u003cp>“The more you tell the story, the more people will recognize that they are building on top of something that already exists,” Diggs continues. “This isn’t a clean slate, you don’t get to come in here and [pretend] there are no consequences to your actions.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Blindspotting \u003cem>opens in theaters July 20.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13837184/blindspotting-is-a-spot-on-portrait-of-an-oakland-in-flux","authors":["11624"],"categories":["arts_74"],"tags":["arts_2468","arts_2467","arts_1118","arts_1332","arts_596","arts_1143","arts_5308"],"featImg":"arts_13837232","label":"arts"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2023/08/possible-5gxfizEbKOJ-pbF5ASgxrs_.1400x1400.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.","airtime":"MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2021/10/ATC_1400.jpg","officialWebsiteLink":"https://www.npr.org/programs/all-things-considered/","meta":{"site":"news","source":"npr"},"link":"/radio/program/all-things-considered"},"american-suburb-podcast":{"id":"american-suburb-podcast","title":"American Suburb: The Podcast","tagline":"The flip side of gentrification, told through one town","info":"Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?","imageSrc":"https://ww2.kqed.org/news/wp-content/uploads/sites/10/powerpress/1440_0018_AmericanSuburb_iTunesTile_01.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.","imageSrc":"https://ww2.kqed.org/news/wp-content/uploads/sites/10/powerpress/1440_0017_BayCurious_iTunesTile_01.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://ww2.kqed.org/app/uploads/2021/10/BBC_1400.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. 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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. 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