In Appreciation of Allan: The Unsung Hero of the ‘Barbie’ Movie
The Story Behind Barbenheimer, the Summer’s Most Online Movie Showdown
Americana, Told Wes Anderson-style, in Star-Filled ‘Asteroid City’
Bay Area’s Own Ryan Coogler Honored at SFFILM Awards Night
'Amsterdam' is a Caper Worth Watching—But It Will Also Test Your Patience
'Maid' is an Unflinching Portrait of a Single Mom's Will to Survive
In ‘Mary Queen of Scots,’ History, and Her Neck, Get Truncated
'I, Tonya,' You, Implicated
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(According to \u003ca href=\"https://www.forbes.com/sites/qai/2023/07/06/barbie-owner-mattel-plans-45-more-toy-movies-as-ip-and-nostalgia-trend-continues/?sh=2189e8db3983\">some sources\u003c/a>, the company has \u003cem>up to 45 more movies based on toys\u003c/em> in the works.) Walking into the theater, I anticipated some laughs, some cringing, some feminist ambivalence.\u003c/p>\n\u003cp>What I did not expect was to walk out obsessed with a character I previously barely knew existed: Allan.\u003c/p>\n\u003cp>[aside postid='arts_13931677']Allan has been an under-appreciated hero in the world of Barbie from the very beginning. Introduced as “Ken’s buddy” in 1964, the doll’s main selling point was that he could wear all of Ken’s clothes. Allan’s other job was being the groom to \u003ca href=\"https://en.wikipedia.org/wiki/Midge_(Barbie)\">Midge\u003c/a> — Barbie’s less glamorous best friend — and a father to their three children. When Ken was busy at the beach or sunning himself by the pool, Allan was just out there being a solid partner and a good dad. And what thanks did he get? He was around for just two years after Mattel introduced him, and brought back only briefly in 1991 and 2002.\u003c/p>\n\u003cp>It makes sense, then, that Allan is very much a side character in \u003cem>Barbie\u003c/em>. But in Michael Cera’s hands, he routinely steals the show. Just as Margot Robbie’s beauty and inherent likability make her the quintessential Barbie, and Ryan Gosling’s comedy chops and chiseled features make him a fantastic Ken, Cera is the right combination of cute-but-weird to make Allan make sense. There are a few things that miss the mark in the movie (including a weird, overstrung ending)\u003cstrong>,\u003c/strong> but casting is most definitely not one of them.\u003c/p>\n\u003cfigure id=\"attachment_13931759\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931759\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-18-at-12.18.03-PM-800x725.png\" alt=\"A young man with a waxy complexion and neatly combed brown hair, smiles broadly, mid-dance move. He is wearing a multicolored striped shirt with white collar.\" width=\"800\" height=\"725\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-18-at-12.18.03-PM-800x725.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-18-at-12.18.03-PM-1020x925.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-18-at-12.18.03-PM-160x145.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-18-at-12.18.03-PM-768x696.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-18-at-12.18.03-PM.png 1310w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">There is only one Allan, and that’s why he’s so splendid. \u003ccite>(Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The crux of \u003cem>Barbie\u003c/em>‘s plot goes like this: Barbie and all her Barbie friends are living in Barbieland, having the best day ever, every single day. The Kens are around and fun companions, but it’s the Barbies who are running things. This is a world where every night is girls’ night, the Supreme Court looks like a Miss America pageant, and no one knows where the Kens even live.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One day, Robbie’s “stereotypical Barbie” starts having dark thoughts that disrupt her perfect existence. She is forced to go on a quest to the real world to try and fix whatever is wrong so she can return to oblivious joy. Along the way, there are lessons about female solidarity, the insidiousness of the patriarchy and the complicated cultural deprogramming women must do in order to thrive.\u003c/p>\n\u003cp>Allan is around throughout, but he doesn’t entirely fit in with either the Barbies or the Kens. That element is established early. As we see Barbie’s day unfold on screen for the very first time, all of the Barbies and all of the Kens are at the beach, taking the time to enthusiastically greet each other one-by-one. This goes on for some time. Then he appears, resplendent in his multicolored striped shirt and blue shorts, somewhat off to one side.\u003c/p>\n\u003cp>“Hi Barbie!” Allan calls.\u003c/p>\n\u003cp>“Oh, hi Allan!” Barbie smiles back.\u003c/p>\n\u003cp>And then a Helen Mirren voiceover pipes up to let the audience know: “There are no multiples of Allan. He’s just Allan.”\u003c/p>\n\u003cp>“Yeah,” Allan says, shifting awkwardly. “I’m confused about that.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gvZccmVDl9Y\u003c/p>\n\u003cp>Introducing Allan this way initially implies that his primary function in \u003cem>Barbie\u003c/em> will be to serve up comic relief on the side, a little slice of understated in a relentlessly bright, shiny world. (Make no mistake, \u003cem>Barbie\u003c/em> is very funny at times. Gags about \u003cem>The Godfather\u003c/em>, Stephen Malkmus and Matchbox Twenty’s “Push” are worth the ticket price alone.) What becomes clear as the movie progresses, however, is that Allan isn’t just a consistent scene-stealer — he’s the movie’s moral center. And a lot of that is due to the fact that there’s only one Allan.\u003c/p>\n\u003cp>[aside postid='arts_13931981']At its core, \u003cem>Barbie\u003c/em> is a movie consumed with ideas around self-determination and independence. Each of the characters, at one time or another, has to carve out their own path and find autonomy — all except for Allan. Because Allan starts out as one of a kind, he already knows exactly who he is. He never wavers from doing what he knows is right, never swayed by the status or power of others.\u003c/p>\n\u003cp>While the Kens are fighting one another, Allan helps the Barbies with an important task. When the Kens learn how to be sexist, Allan — immediately uncomfortable around performative and toxic masculinity — decides to team up with the Barbies to put a stop to it. Allan is a lover, not a fighter, but he’s tougher than all of the Kens put together when an emergency situation calls for it. Allan gives a lot, but asks for nothing. He’s independently minded. Above all, Allan is an ally.\u003c/p>\n\u003cfigure id=\"attachment_13931830\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931830\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/rev-1-BAR-TT2-002_High_Res_JPEG-scaled-e1689798457667-800x397.jpeg\" alt=\"Four women in pink jumpsuits and sunglasses peak out of the back doors of a van. Partially obscured in the back is a man in the same pink jumpsuit.\" width=\"800\" height=\"397\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/rev-1-BAR-TT2-002_High_Res_JPEG-scaled-e1689798457667-800x397.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/rev-1-BAR-TT2-002_High_Res_JPEG-scaled-e1689798457667-1020x506.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/rev-1-BAR-TT2-002_High_Res_JPEG-scaled-e1689798457667-160x79.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/rev-1-BAR-TT2-002_High_Res_JPEG-scaled-e1689798457667-768x381.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/rev-1-BAR-TT2-002_High_Res_JPEG-scaled-e1689798457667-1536x762.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/rev-1-BAR-TT2-002_High_Res_JPEG-scaled-e1689798457667.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Allan, almost invisible, in the back of a van, wearing a pink jumpsuit, helping out two Barbies and a couple of human women. Because that’s what Allan does, dammit. \u003ccite>(Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a movie that is often frustratingly heavy-handed with its lessons, Allan’s awesomeness somehow manages to slip under the radar, always providing the best examples of how to behave without directly signposting it. So when you do finally see \u003cem>Barbie\u003c/em>, just go into the theater knowing that Allan is the one to watch. Because in an ego-driven world of Barbies and Kens, being an Allan — one-of-a-kind when everyone around you defaults to following the crowd — is simply the coolest way to go.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cem>‘Barbie’ hits theaters nationwide on Friday, July 21, 2023.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Barbie and Ken might be the center of attention, but Allan provides the movie's moral center and heart.","status":"publish","parent":0,"modified":1705005261,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":1053},"headData":{"title":"Allan is the Real Hero of Greta Gerwig’s ‘Barbie’ | KQED","description":"Barbie and Ken might be the center of attention, but Allan provides the movie's moral center and heart.","ogTitle":"In Appreciation of Allan: The Unsung Hero of the ‘Barbie’ Movie","ogDescription":"","ogImgId":"","twTitle":"In Appreciation of Allan: The Unsung Hero of the ‘Barbie’ Movie","twDescription":"","twImgId":"","socialTitle":"Allan is the Real Hero of Greta Gerwig’s ‘Barbie’ %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"In Appreciation of Allan: The Unsung Hero of the ‘Barbie’ Movie","datePublished":"2023-07-18T23:00:01.000Z","dateModified":"2024-01-11T20:34:21.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13931753/allan-doll-michael-cera-greta-gerwig-barbie-movie-review","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the seven months since the first trailer for Greta Gerwig’s \u003cem>Barbie\u003c/em> dropped, audiences have come to expect a few things from the relentlessly promoted film: to be dazzled by the campy pink landscapes, charmed by Margot Robbie and Ryan Gosling, and deeply conflicted — at best — about what amounts to a feature-length Mattel commercial. (According to \u003ca href=\"https://www.forbes.com/sites/qai/2023/07/06/barbie-owner-mattel-plans-45-more-toy-movies-as-ip-and-nostalgia-trend-continues/?sh=2189e8db3983\">some sources\u003c/a>, the company has \u003cem>up to 45 more movies based on toys\u003c/em> in the works.) Walking into the theater, I anticipated some laughs, some cringing, some feminist ambivalence.\u003c/p>\n\u003cp>What I did not expect was to walk out obsessed with a character I previously barely knew existed: Allan.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13931677","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Allan has been an under-appreciated hero in the world of Barbie from the very beginning. Introduced as “Ken’s buddy” in 1964, the doll’s main selling point was that he could wear all of Ken’s clothes. Allan’s other job was being the groom to \u003ca href=\"https://en.wikipedia.org/wiki/Midge_(Barbie)\">Midge\u003c/a> — Barbie’s less glamorous best friend — and a father to their three children. When Ken was busy at the beach or sunning himself by the pool, Allan was just out there being a solid partner and a good dad. And what thanks did he get? He was around for just two years after Mattel introduced him, and brought back only briefly in 1991 and 2002.\u003c/p>\n\u003cp>It makes sense, then, that Allan is very much a side character in \u003cem>Barbie\u003c/em>. But in Michael Cera’s hands, he routinely steals the show. Just as Margot Robbie’s beauty and inherent likability make her the quintessential Barbie, and Ryan Gosling’s comedy chops and chiseled features make him a fantastic Ken, Cera is the right combination of cute-but-weird to make Allan make sense. There are a few things that miss the mark in the movie (including a weird, overstrung ending)\u003cstrong>,\u003c/strong> but casting is most definitely not one of them.\u003c/p>\n\u003cfigure id=\"attachment_13931759\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931759\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-18-at-12.18.03-PM-800x725.png\" alt=\"A young man with a waxy complexion and neatly combed brown hair, smiles broadly, mid-dance move. He is wearing a multicolored striped shirt with white collar.\" width=\"800\" height=\"725\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-18-at-12.18.03-PM-800x725.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-18-at-12.18.03-PM-1020x925.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-18-at-12.18.03-PM-160x145.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-18-at-12.18.03-PM-768x696.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-18-at-12.18.03-PM.png 1310w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">There is only one Allan, and that’s why he’s so splendid. \u003ccite>(Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The crux of \u003cem>Barbie\u003c/em>‘s plot goes like this: Barbie and all her Barbie friends are living in Barbieland, having the best day ever, every single day. The Kens are around and fun companions, but it’s the Barbies who are running things. This is a world where every night is girls’ night, the Supreme Court looks like a Miss America pageant, and no one knows where the Kens even live.\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>One day, Robbie’s “stereotypical Barbie” starts having dark thoughts that disrupt her perfect existence. She is forced to go on a quest to the real world to try and fix whatever is wrong so she can return to oblivious joy. Along the way, there are lessons about female solidarity, the insidiousness of the patriarchy and the complicated cultural deprogramming women must do in order to thrive.\u003c/p>\n\u003cp>Allan is around throughout, but he doesn’t entirely fit in with either the Barbies or the Kens. That element is established early. As we see Barbie’s day unfold on screen for the very first time, all of the Barbies and all of the Kens are at the beach, taking the time to enthusiastically greet each other one-by-one. This goes on for some time. Then he appears, resplendent in his multicolored striped shirt and blue shorts, somewhat off to one side.\u003c/p>\n\u003cp>“Hi Barbie!” Allan calls.\u003c/p>\n\u003cp>“Oh, hi Allan!” Barbie smiles back.\u003c/p>\n\u003cp>And then a Helen Mirren voiceover pipes up to let the audience know: “There are no multiples of Allan. He’s just Allan.”\u003c/p>\n\u003cp>“Yeah,” Allan says, shifting awkwardly. “I’m confused about that.”\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/gvZccmVDl9Y'\n title='//www.youtube.com/embed/gvZccmVDl9Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Introducing Allan this way initially implies that his primary function in \u003cem>Barbie\u003c/em> will be to serve up comic relief on the side, a little slice of understated in a relentlessly bright, shiny world. (Make no mistake, \u003cem>Barbie\u003c/em> is very funny at times. Gags about \u003cem>The Godfather\u003c/em>, Stephen Malkmus and Matchbox Twenty’s “Push” are worth the ticket price alone.) What becomes clear as the movie progresses, however, is that Allan isn’t just a consistent scene-stealer — he’s the movie’s moral center. And a lot of that is due to the fact that there’s only one Allan.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13931981","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>At its core, \u003cem>Barbie\u003c/em> is a movie consumed with ideas around self-determination and independence. Each of the characters, at one time or another, has to carve out their own path and find autonomy — all except for Allan. Because Allan starts out as one of a kind, he already knows exactly who he is. He never wavers from doing what he knows is right, never swayed by the status or power of others.\u003c/p>\n\u003cp>While the Kens are fighting one another, Allan helps the Barbies with an important task. When the Kens learn how to be sexist, Allan — immediately uncomfortable around performative and toxic masculinity — decides to team up with the Barbies to put a stop to it. Allan is a lover, not a fighter, but he’s tougher than all of the Kens put together when an emergency situation calls for it. Allan gives a lot, but asks for nothing. He’s independently minded. Above all, Allan is an ally.\u003c/p>\n\u003cfigure id=\"attachment_13931830\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931830\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/rev-1-BAR-TT2-002_High_Res_JPEG-scaled-e1689798457667-800x397.jpeg\" alt=\"Four women in pink jumpsuits and sunglasses peak out of the back doors of a van. Partially obscured in the back is a man in the same pink jumpsuit.\" width=\"800\" height=\"397\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/rev-1-BAR-TT2-002_High_Res_JPEG-scaled-e1689798457667-800x397.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/rev-1-BAR-TT2-002_High_Res_JPEG-scaled-e1689798457667-1020x506.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/rev-1-BAR-TT2-002_High_Res_JPEG-scaled-e1689798457667-160x79.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/rev-1-BAR-TT2-002_High_Res_JPEG-scaled-e1689798457667-768x381.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/rev-1-BAR-TT2-002_High_Res_JPEG-scaled-e1689798457667-1536x762.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/rev-1-BAR-TT2-002_High_Res_JPEG-scaled-e1689798457667.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Allan, almost invisible, in the back of a van, wearing a pink jumpsuit, helping out two Barbies and a couple of human women. Because that’s what Allan does, dammit. \u003ccite>(Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a movie that is often frustratingly heavy-handed with its lessons, Allan’s awesomeness somehow manages to slip under the radar, always providing the best examples of how to behave without directly signposting it. So when you do finally see \u003cem>Barbie\u003c/em>, just go into the theater knowing that Allan is the one to watch. Because in an ego-driven world of Barbies and Kens, being an Allan — one-of-a-kind when everyone around you defaults to following the crowd — is simply the coolest way to go.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cem>‘Barbie’ hits theaters nationwide on Friday, July 21, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13931753/allan-doll-michael-cera-greta-gerwig-barbie-movie-review","authors":["11242"],"programs":["arts_140"],"categories":["arts_1","arts_74","arts_75"],"tags":["arts_21194","arts_10342","arts_10278","arts_12322","arts_3410","arts_16972","arts_11832","arts_585"],"featImg":"arts_13931765","label":"arts_140"},"arts_13931677":{"type":"posts","id":"arts_13931677","meta":{"index":"posts_1591205157","site":"arts","id":"13931677","score":null,"sort":[1689370677000]},"guestAuthors":[],"slug":"barbenheimer-barbie-oppenheimer-box-office-greta-gerwig-christopher-nolan","title":"The Story Behind Barbenheimer, the Summer’s Most Online Movie Showdown","publishDate":1689370677,"format":"standard","headTitle":"The Story Behind Barbenheimer, the Summer’s Most Online Movie Showdown | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>The very online showdown between Greta Gerwig’s \u003cem>Barbie\u003c/em> and Christopher Nolan’s \u003cem>Oppenheimer\u003c/em> all started with a date: July 21.\u003c/p>\n\u003cp>It’s not uncommon for studios to counterprogram films in different genres on a big weekend, but the stark differences between an intense, serious-minded picture about the man who oversaw the development of the atomic bomb and a lighthearted, candy-colored anthropomorphizing of a childhood doll quickly became the stuff of viral fodder.\u003c/p>\n\u003cp>https://twitter.com/paperssil/status/1677313645565427713\u003c/p>\n\u003cp>There’s even some disagreement over whether it’s “Barbieheimer” or “Barbenheimer” or “Boppenheimer” or yet another tortured portmanteau — a phenomenon on which the AP Stylebook has yet to offer guidance, but for the purposes of this article will be “Barbenheimer.”\u003c/p>\n\u003cp>It didn’t hurt that both Nolan and Gerwig have very passionate and very online fandoms eager to join in. Never mind that many of those fans overlap — the memes, allegiances, and T-shirts were just too fun.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/stevereevesart/status/1678808000566530048\u003c/p>\n\u003cp>https://twitter.com/balumcarnes/status/1679397880753258500\u003c/p>\n\u003cp>https://twitter.com/alex_icon/status/1678969487469555712\u003c/p>\n\u003cp>Both movies often trend on social media when the other releases a new asset — a trailer, a picture, an interview. On one level, it’s a marketing department’s dream. Awareness could not be higher, the conversation couldn’t be louder, and neither film even has official reviews out yet.\u003c/p>\n\u003cp>“‘Barbenheimer’ is a marketing gift borne out of social media and I think it’s benefiting both films,” said Paul Dergarabedian, the senior media analyst for analytics firm Comscore. “You’re certainly aware of both movies in a more profound and compelling way than I think might have otherwise happened had they been released on different weekends.”\u003c/p>\n\u003cp>AMC Theaters reported that 20,000 of its AMC Stubs members had purchased tickets for a double feature. If you’re counting, that’s 294 minutes of moviewatching. Even Margot Robbie — Barbie herself — and Tom Cruise, the star of another summer blockbuster, have started plotting the ideal “Barbenheimer” day.\u003c/p>\n\u003cp>“It’s a perfect double bill,” said Robbie at her movie’s London premiere Wednesday. “I think actually start your day with \u003cem>Barbie\u003c/em>, then go straight into \u003cem>Oppenheimer\u003c/em> and then a \u003cem>Barbie\u003c/em> chaser.”\u003c/p>\n\u003cp>[aside postid='arts_13931577']Cruise — whose \u003cem>Mission: Impossible – Dead Reckoning Part One\u003c/em> opened a little over a week before the “Barbenheimer” showdown — said at his premiere he’d plan to see both on their opening day, likely starting with \u003cem>Oppenheimer\u003c/em>, which seems to be the internet’s preferred viewing order as well.\u003c/p>\n\u003cp>\u003cem>Barbie\u003c/em> actor Issa Rae thinks there’s a reason for that.\u003c/p>\n\u003cp>“I think that there’s a very specific order that if you see them in. If you see \u003cem>Oppenheimer\u003c/em> last then you might be a bit of a psychopath,” she diagnosed at the London premiere.\u003c/p>\n\u003cp>The showdown has made armchair marketing experts out of everyone, quick to scrutinize every move by Warner Bros. and Universal — as though it’s possible to compare two extraordinarily different campaigns.\u003c/p>\n\u003cp>One has infinite opportunities for very pink, sparkly photo opportunities, whimsical brand partnerships for seemingly everything from underwear to pool floats, large-scale fan events with autograph signings and pop stars like Billie Eilish posting about the soundtrack. In other words, the \u003cem>Barbie\u003c/em> campaign can go nuclear.\u003c/p>\n\u003cp>https://www.instagram.com/p/Cum6kABPqMl/\u003c/p>\n\u003cp>\u003cem>Oppenheimer\u003c/em> has the bomb, the alluring mystery and the big screen hook, but it’s not the kind of movie that lends itself to, say, a frozen yogurt collaboration.\u003c/p>\n\u003cp>Is the competition real, though, or just a meme? Some in Hollywood wondered if Warner Bros. plopped \u003cem>Barbie\u003c/em> on the weekend as a slight to Nolan, who had opened many films for the studio in that corridor including \u003cem>Inception\u003c/em> and \u003cem>Dunkirk\u003c/em>. He left Warner Bros. amid its controversial decision to send a year’s worth of movies to streaming and made \u003cem>Oppenheimer\u003c/em> with Universal instead. But a pointed box office war doesn’t exactly make sense for a studio that has talked recently about wanting to lure Nolan back.\u003c/p>\n\u003cp>[aside postid='arts_13931227']There is an unspoken code of conduct: Never badmouth another studio’s film, publicly at least. This is partly decorum, especially when it comes to “box office showdowns” which all will say are a creation of the press and sideline spectators. But it’s also rooted in some truth: The conventional thinking is that having eyes on one movie is good for other movies — you see their posters and trailers and on some level everyone benefits.\u003c/p>\n\u003cp>And social media has allowed movie stars to get in on the game, too. Following reports that Cruise was irked the latest \u003cem>Mission: Impossible\u003c/em> was going to lose its IMAX screens to \u003cem>Oppenheimer\u003c/em> after only a week, Cruise posted photos of himself and director Christopher McQuarrie standing in front of posters for \u003cem>Indiana Jones and the Dial of Destiny\u003c/em>, \u003cem>Barbie\u003c/em> and \u003cem>Oppenheimer\u003c/em>, holding tickets for each.\u003c/p>\n\u003cp>“This summer is full of amazing movies to see in theaters. These are just a few that we can’t wait to see on the big screen,” Cruise’s Instagram caption read.\u003c/p>\n\u003cfigure id=\"attachment_13931683\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931683\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/ER3_1530-scaled-e1689369223843-800x533.jpg\" alt=\"A beautiful blonde woman smiles in the sunshine on a red carpet, wearing a black strapless dress, long gloves and pearl necklace. Behind her is a pink and white Barbie logo.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/ER3_1530-scaled-e1689369223843-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/ER3_1530-scaled-e1689369223843-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/ER3_1530-scaled-e1689369223843-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/ER3_1530-scaled-e1689369223843-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/ER3_1530-scaled-e1689369223843-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/ER3_1530-scaled-e1689369223843.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Margot Robbie at the world premiere of ‘Barbie’ in Los Angeles. \u003ccite>(Eric Charbonneau/ Warner Bros. Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The official accounts for \u003cem>Indiana Jones\u003c/em>, \u003cem>Barbie\u003c/em> and \u003cem>Oppenheimer\u003c/em> responded with supportive notes. Gerwig and Robbie even followed with a similar photo series a few days later, which the official \u003cem>Oppenheimer\u003c/em> Instagram account reposted in its stories. Charged with playing Oppenheimer, Cillian Murphy told the AP at his movie’s London premiere that “of course” he’d be seeing \u003cem>Barbie\u003c/em>. The sporting cross-promotion between four studios — Universal, Warner Bros., Disney and Paramount — is something the film business has not quite seen before.\u003c/p>\n\u003cp>“Not only is Tom Cruise the biggest box office star in the world, but he’s also an incredible ambassador for the movie theater, for the movie theater experience and boosting other movies,” Dergarabedian said. “And that collegial atmosphere within the framework of what is seen as the very competitive box office derby is kind of a nice thing.”\u003c/p>\n\u003cp>Still, everyone likes a No. 1 debut, and both \u003cem>Barbie\u003c/em> and \u003cem>Oppenheimer\u003c/em> reportedly carry $100 million production price tags (not including the millions spent on marketing). As far as box office tracking goes, \u003cem>Barbie\u003c/em> has it in the bag with forecasts showing that it could open above $90 million in North America. \u003cem>Oppenheimer\u003c/em> meanwhile is tracking in the $40 million range. Then there’s the wild card of \u003cem>Mission: Impossible 7\u003c/em>’s second weekend, which could snag second place.\u003c/p>\n\u003cfigure id=\"attachment_13931687\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931687\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/CM-800x514.png\" alt=\"A white man with chiseled features stands in an office hallway wearing a grey suit and tie and gazing off to one side.\" width=\"800\" height=\"514\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/CM-800x514.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/CM-1020x656.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/CM-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/CM-768x494.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/CM-1536x987.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/CM.png 1652w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cillian Murphy, starring in ‘Oppenheimer.’ \u003ccite>(Syncopy/ Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still even with a second- or third-place start, \u003cem>Oppenheimer\u003c/em> could be destined for a long, steady, profitable run into awards season. Adult audiences for R-rated movies are not often the ones who pack theaters the first weekend.\u003c/p>\n\u003cp>[aside postid='arts_13931287']Back in 2008, in the midst of the recession, Warner Bros. and Universal faced off on the same July weekend with another Nolan film that went up against a lighthearted confection: \u003cem>The Dark Knight\u003c/em> and \u003cem>Mamma Mia!\u003c/em> — both of which went on to be enormously profitable (though Nolan did win the first weekend).\u003c/p>\n\u003cp>The bigger worry is that what’s been heralded as Hollywood’s post-pandemic comeback summer has had more ups and downs than anyone might have hoped. That’s putting quite a bit of pressure on “Barbenheimer” to overperform and boost the lagging summer box office, which pales in comparison to the bigger issues facing the industry as actors join the writers on strike.\u003c/p>\n\u003cp>But with just over a week to go, it’s still a source of amusement. Even \u003cem>Barbie\u003c/em> co-star Will Ferrell threw the gauntlet in his winking way at the London premiere.\u003c/p>\n\u003cp>“I think the world maybe wants to see \u003cem>Barbie\u003c/em> a little bit more right now,” Ferrell said. “Just saying!”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Copyright 2023 Associated Press. To see more, \u003ca href=\"https://apnews.com/\" rel=\"noopener\">visit AP\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Memes, artwork, fake trailers and merch featuring ‘Barbie’ and ‘Oppenheimer’ mashups are everywhere right now.","status":"publish","parent":0,"modified":1705005269,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":29,"wordCount":1404},"headData":{"title":"Barbenheimer and the Box Office Battle of the Summer | KQED","description":"Memes, artwork, fake trailers and merch featuring ‘Barbie’ and ‘Oppenheimer’ mashups are everywhere right now.","ogTitle":"The Story Behind Barbenheimer, the Summer’s Most Online Movie Showdown","ogDescription":"","ogImgId":"","twTitle":"The Story Behind Barbenheimer, the Summer’s Most Online Movie Showdown","twDescription":"","twImgId":"","socialTitle":"Barbenheimer and the Box Office Battle of the Summer %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Story Behind Barbenheimer, the Summer’s Most Online Movie Showdown","datePublished":"2023-07-14T21:37:57.000Z","dateModified":"2024-01-11T20:34:29.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Lindsey Bahr","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13931677/barbenheimer-barbie-oppenheimer-box-office-greta-gerwig-christopher-nolan","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The very online showdown between Greta Gerwig’s \u003cem>Barbie\u003c/em> and Christopher Nolan’s \u003cem>Oppenheimer\u003c/em> all started with a date: July 21.\u003c/p>\n\u003cp>It’s not uncommon for studios to counterprogram films in different genres on a big weekend, but the stark differences between an intense, serious-minded picture about the man who oversaw the development of the atomic bomb and a lighthearted, candy-colored anthropomorphizing of a childhood doll quickly became the stuff of viral fodder.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1677313645565427713"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>There’s even some disagreement over whether it’s “Barbieheimer” or “Barbenheimer” or “Boppenheimer” or yet another tortured portmanteau — a phenomenon on which the AP Stylebook has yet to offer guidance, but for the purposes of this article will be “Barbenheimer.”\u003c/p>\n\u003cp>It didn’t hurt that both Nolan and Gerwig have very passionate and very online fandoms eager to join in. Never mind that many of those fans overlap — the memes, allegiances, and T-shirts were just too fun.\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>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1678808000566530048"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1679397880753258500"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1678969487469555712"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Both movies often trend on social media when the other releases a new asset — a trailer, a picture, an interview. On one level, it’s a marketing department’s dream. Awareness could not be higher, the conversation couldn’t be louder, and neither film even has official reviews out yet.\u003c/p>\n\u003cp>“‘Barbenheimer’ is a marketing gift borne out of social media and I think it’s benefiting both films,” said Paul Dergarabedian, the senior media analyst for analytics firm Comscore. “You’re certainly aware of both movies in a more profound and compelling way than I think might have otherwise happened had they been released on different weekends.”\u003c/p>\n\u003cp>AMC Theaters reported that 20,000 of its AMC Stubs members had purchased tickets for a double feature. If you’re counting, that’s 294 minutes of moviewatching. Even Margot Robbie — Barbie herself — and Tom Cruise, the star of another summer blockbuster, have started plotting the ideal “Barbenheimer” day.\u003c/p>\n\u003cp>“It’s a perfect double bill,” said Robbie at her movie’s London premiere Wednesday. “I think actually start your day with \u003cem>Barbie\u003c/em>, then go straight into \u003cem>Oppenheimer\u003c/em> and then a \u003cem>Barbie\u003c/em> chaser.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13931577","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Cruise — whose \u003cem>Mission: Impossible – Dead Reckoning Part One\u003c/em> opened a little over a week before the “Barbenheimer” showdown — said at his premiere he’d plan to see both on their opening day, likely starting with \u003cem>Oppenheimer\u003c/em>, which seems to be the internet’s preferred viewing order as well.\u003c/p>\n\u003cp>\u003cem>Barbie\u003c/em> actor Issa Rae thinks there’s a reason for that.\u003c/p>\n\u003cp>“I think that there’s a very specific order that if you see them in. If you see \u003cem>Oppenheimer\u003c/em> last then you might be a bit of a psychopath,” she diagnosed at the London premiere.\u003c/p>\n\u003cp>The showdown has made armchair marketing experts out of everyone, quick to scrutinize every move by Warner Bros. and Universal — as though it’s possible to compare two extraordinarily different campaigns.\u003c/p>\n\u003cp>One has infinite opportunities for very pink, sparkly photo opportunities, whimsical brand partnerships for seemingly everything from underwear to pool floats, large-scale fan events with autograph signings and pop stars like Billie Eilish posting about the soundtrack. In other words, the \u003cem>Barbie\u003c/em> campaign can go nuclear.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"instagramLink","attributes":{"named":{"instagramId":"Cum6kABPqMl"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Oppenheimer\u003c/em> has the bomb, the alluring mystery and the big screen hook, but it’s not the kind of movie that lends itself to, say, a frozen yogurt collaboration.\u003c/p>\n\u003cp>Is the competition real, though, or just a meme? Some in Hollywood wondered if Warner Bros. plopped \u003cem>Barbie\u003c/em> on the weekend as a slight to Nolan, who had opened many films for the studio in that corridor including \u003cem>Inception\u003c/em> and \u003cem>Dunkirk\u003c/em>. He left Warner Bros. amid its controversial decision to send a year’s worth of movies to streaming and made \u003cem>Oppenheimer\u003c/em> with Universal instead. But a pointed box office war doesn’t exactly make sense for a studio that has talked recently about wanting to lure Nolan back.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13931227","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>There is an unspoken code of conduct: Never badmouth another studio’s film, publicly at least. This is partly decorum, especially when it comes to “box office showdowns” which all will say are a creation of the press and sideline spectators. But it’s also rooted in some truth: The conventional thinking is that having eyes on one movie is good for other movies — you see their posters and trailers and on some level everyone benefits.\u003c/p>\n\u003cp>And social media has allowed movie stars to get in on the game, too. Following reports that Cruise was irked the latest \u003cem>Mission: Impossible\u003c/em> was going to lose its IMAX screens to \u003cem>Oppenheimer\u003c/em> after only a week, Cruise posted photos of himself and director Christopher McQuarrie standing in front of posters for \u003cem>Indiana Jones and the Dial of Destiny\u003c/em>, \u003cem>Barbie\u003c/em> and \u003cem>Oppenheimer\u003c/em>, holding tickets for each.\u003c/p>\n\u003cp>“This summer is full of amazing movies to see in theaters. These are just a few that we can’t wait to see on the big screen,” Cruise’s Instagram caption read.\u003c/p>\n\u003cfigure id=\"attachment_13931683\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931683\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/ER3_1530-scaled-e1689369223843-800x533.jpg\" alt=\"A beautiful blonde woman smiles in the sunshine on a red carpet, wearing a black strapless dress, long gloves and pearl necklace. Behind her is a pink and white Barbie logo.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/ER3_1530-scaled-e1689369223843-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/ER3_1530-scaled-e1689369223843-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/ER3_1530-scaled-e1689369223843-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/ER3_1530-scaled-e1689369223843-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/ER3_1530-scaled-e1689369223843-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/ER3_1530-scaled-e1689369223843.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Margot Robbie at the world premiere of ‘Barbie’ in Los Angeles. \u003ccite>(Eric Charbonneau/ Warner Bros. Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The official accounts for \u003cem>Indiana Jones\u003c/em>, \u003cem>Barbie\u003c/em> and \u003cem>Oppenheimer\u003c/em> responded with supportive notes. Gerwig and Robbie even followed with a similar photo series a few days later, which the official \u003cem>Oppenheimer\u003c/em> Instagram account reposted in its stories. Charged with playing Oppenheimer, Cillian Murphy told the AP at his movie’s London premiere that “of course” he’d be seeing \u003cem>Barbie\u003c/em>. The sporting cross-promotion between four studios — Universal, Warner Bros., Disney and Paramount — is something the film business has not quite seen before.\u003c/p>\n\u003cp>“Not only is Tom Cruise the biggest box office star in the world, but he’s also an incredible ambassador for the movie theater, for the movie theater experience and boosting other movies,” Dergarabedian said. “And that collegial atmosphere within the framework of what is seen as the very competitive box office derby is kind of a nice thing.”\u003c/p>\n\u003cp>Still, everyone likes a No. 1 debut, and both \u003cem>Barbie\u003c/em> and \u003cem>Oppenheimer\u003c/em> reportedly carry $100 million production price tags (not including the millions spent on marketing). As far as box office tracking goes, \u003cem>Barbie\u003c/em> has it in the bag with forecasts showing that it could open above $90 million in North America. \u003cem>Oppenheimer\u003c/em> meanwhile is tracking in the $40 million range. Then there’s the wild card of \u003cem>Mission: Impossible 7\u003c/em>’s second weekend, which could snag second place.\u003c/p>\n\u003cfigure id=\"attachment_13931687\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931687\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/CM-800x514.png\" alt=\"A white man with chiseled features stands in an office hallway wearing a grey suit and tie and gazing off to one side.\" width=\"800\" height=\"514\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/CM-800x514.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/CM-1020x656.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/CM-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/CM-768x494.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/CM-1536x987.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/CM.png 1652w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cillian Murphy, starring in ‘Oppenheimer.’ \u003ccite>(Syncopy/ Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still even with a second- or third-place start, \u003cem>Oppenheimer\u003c/em> could be destined for a long, steady, profitable run into awards season. Adult audiences for R-rated movies are not often the ones who pack theaters the first weekend.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13931287","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Back in 2008, in the midst of the recession, Warner Bros. and Universal faced off on the same July weekend with another Nolan film that went up against a lighthearted confection: \u003cem>The Dark Knight\u003c/em> and \u003cem>Mamma Mia!\u003c/em> — both of which went on to be enormously profitable (though Nolan did win the first weekend).\u003c/p>\n\u003cp>The bigger worry is that what’s been heralded as Hollywood’s post-pandemic comeback summer has had more ups and downs than anyone might have hoped. That’s putting quite a bit of pressure on “Barbenheimer” to overperform and boost the lagging summer box office, which pales in comparison to the bigger issues facing the industry as actors join the writers on strike.\u003c/p>\n\u003cp>But with just over a week to go, it’s still a source of amusement. Even \u003cem>Barbie\u003c/em> co-star Will Ferrell threw the gauntlet in his winking way at the London premiere.\u003c/p>\n\u003cp>“I think the world maybe wants to see \u003cem>Barbie\u003c/em> a little bit more right now,” Ferrell said. “Just saying!”\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>\u003cem>Copyright 2023 Associated Press. To see more, \u003ca href=\"https://apnews.com/\" rel=\"noopener\">visit AP\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13931677/barbenheimer-barbie-oppenheimer-box-office-greta-gerwig-christopher-nolan","authors":["byline_arts_13931677"],"categories":["arts_1","arts_74","arts_75"],"tags":["arts_14639","arts_3114","arts_977","arts_3410","arts_21156","arts_5422"],"featImg":"arts_13931688","label":"arts"},"arts_13930502":{"type":"posts","id":"arts_13930502","meta":{"index":"posts_1591205157","site":"arts","id":"13930502","score":null,"sort":[1686776213000]},"guestAuthors":[],"slug":"asteroid-city-review-wes-anderson-scarlet-johansson-jason-schwartzman","title":"Americana, Told Wes Anderson-style, in Star-Filled ‘Asteroid City’","publishDate":1686776213,"format":"standard","headTitle":"Americana, Told Wes Anderson-style, in Star-Filled ‘Asteroid City’ | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Wes Anderson gets back to the heart of things in \u003cem>Asteroid City\u003c/em>, a film about grief, performance, storytelling, the cosmos and, well, everything. Or, as one character, a playwright played by Edward Norton, says when asked what his work is about: “It’s about infinity and I don’t know what else.”\u003c/p>\n\u003cp>Meticulously designed and choreographed, with a beautiful, starry cast reading his and Roman Coppola’s droll words, \u003cem>Asteroid City\u003c/em> is very, very Wes Anderson. Aren’t they all? But \u003cem>Asteroid City\u003c/em> also represents a return to form (or at least the form most people preferred) after his past two films, \u003cem>Isle of Dogs\u003c/em> and \u003cem>The French Dispatch\u003c/em>, divided even his disciples. They worried, among other things, if style and form had finally usurped his storytelling. Regardless of whether you thought they were fun or painful or some dreadful in between, there was a palpable detachment to both films. Authentic emotion, when there at all, was strained.\u003c/p>\n\u003cp>[aside postid='arts_13828289']In this way, \u003cem>Asteroid City\u003c/em> seems like a response to all of that — an earnest and self-conscious case for making art, putting on the play, telling the story, acting the part even if you (and your audience) aren’t entirely sure what you’re saying. It is wrapped in a labored and stylized conceit — a play within a play that’s being broadcast on a television network (the 1950s show \u003cem>Playhouse 90\u003c/em>, worldlier people have noted, is the reference). And because it’s a play, the American midcentury Desert West can look as set designed as Anderson wants. He didn’t need a justification. Nonetheless, it’s a sly deflection — as is the idea that no one is really sure what the point is, embodied by Jason Schwartzman playing an actor playing a recently widowed war photographer, Augie Steenbeck, who has traveled to the desert with his brainiac son, Woodrow (Jake Ryan) and 6-year-old triplets (truly standouts).\u003c/p>\n\u003cp>They come to Asteroid City, population 87, for the Junior Stargazer Convention, a government organized science competition in which genius kids show off inventions (jet packs, blasters, etc.) which the government then owns, as Jeffrey Wright’s Gen. Grif Gibson explains. It is post-war in an anxious America where scientists are a key part of the nation’s defense strategy. In the distance, atomic bombs are being tested, too. Was something in the air while things like \u003cem>Asteroid City\u003c/em>, \u003cem>Oppenheimer\u003c/em> and even the documentary \u003cem>A Compassionate Spy\u003c/em> were coming together? Here, the mushroom clouds are not terribly threatening though. They are, for lack of a better word, adorable.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Gmmq7sVA0Jo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This Stargazer convention allows for an assemblage of a quirky ensemble with government types (Fisher Stevens), the brainiac kids (Grace Edwards, Sophia Lillis, Ethan Josh Lee, Aristou Meehan), their parents (Scarlett Johansson, Liev Schreiber, Hope Davis, Steve Park), the head scientist (Tilda Swinton’s Dr. Hickenlooper) a school group led by Maya Hawke and some musically inclined cowboys (among them, Rupert Friend) who, I think, just missed their bus. Locals include Hank the mechanic (Matt Dillon) and the motel manager (Steve Carrell). Tom Hanks is Stanley Zak, Augie’s father-in-law and a wealthy Palm Springs retiree who wears a gun in his plaid pants\u003c/p>\n\u003cp>In the world of the play being put on, there is the director (Adrien Brody), his soon-to-be ex-wife (Hong Chau), the Lee Strasberg-y acting teacher Saltzburg Keitel (Willem Dafoe), the actress whose scene was cut (Margot Robbie), the host of the television program (Bryan Cranston) and Jeff Goldblum as, well, you’ll see. As always, the names are a delightful treat. And all the actors make a meal out of their parts, no matter how small.\u003c/p>\n\u003cp>[aside postid='pop_11491']But if there are characters with something like an arc to spotlight, that would be Schwartzman and Johansson, whose understated 50s movie star Midge Campbell might be one of her very best performances. Augie and Midge have a brief romance, mostly emotional, in that very repressed Wes Anderson way.\u003c/p>\n\u003cp>Is this all a little confusing? Don’t dismay, I think that might be part of the point. Maybe. Probably. And, in any event, it works — \u003cem>Asteroid City\u003c/em>, with its sprawling cast, beautiful hues, mumbled jokes, box-within-a-box setup, references that only the 80+ crowd may truly get and retro-cool soundtrack, actually makes you feel things even if it can’t quite make sense of itself.\u003c/p>\n\u003cp>“Just keep telling the story,” as Brody Schubert Green says to his actor looking for answers and motivations, is advice that could be interpreted as a shrug. Or maybe it’s actually everything — \u003cem>Asteroid City\u003c/em> makes a pretty compelling case.\u003c/p>\n\u003cp>\u003cem>Copyright 2023 Associated Press. To see more, \u003ca href=\"https://apnews.com/\" rel=\"noopener\">visit AP\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Asteroid City’ is released nationwide on June 23, 2023.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The new Wes Anderson movie has a sprawling cast, beautiful hues, mumbled jokes and references that only the 80+ crowd may get.","status":"publish","parent":0,"modified":1705005376,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":834},"headData":{"title":"'Åsteroid City’ Movie Review: A Return to Form for Wes Anderson | KQED","description":"The new Wes Anderson movie has a sprawling cast, beautiful hues, mumbled jokes and references that only the 80+ crowd may get.","ogTitle":"Americana, Told Wes Anderson-style, in Star-Filled ‘Asteroid City’","ogDescription":"","ogImgId":"","twTitle":"Americana, Told Wes Anderson-style, in Star-Filled ‘Asteroid City’","twDescription":"","twImgId":"","socialTitle":"'Åsteroid City’ Movie Review: A Return to Form for Wes Anderson %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Americana, Told Wes Anderson-style, in Star-Filled ‘Asteroid City’","datePublished":"2023-06-14T20:56:53.000Z","dateModified":"2024-01-11T20:36:16.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Lindsey Bahr, Associated Press","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13930502/asteroid-city-review-wes-anderson-scarlet-johansson-jason-schwartzman","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Wes Anderson gets back to the heart of things in \u003cem>Asteroid City\u003c/em>, a film about grief, performance, storytelling, the cosmos and, well, everything. Or, as one character, a playwright played by Edward Norton, says when asked what his work is about: “It’s about infinity and I don’t know what else.”\u003c/p>\n\u003cp>Meticulously designed and choreographed, with a beautiful, starry cast reading his and Roman Coppola’s droll words, \u003cem>Asteroid City\u003c/em> is very, very Wes Anderson. Aren’t they all? But \u003cem>Asteroid City\u003c/em> also represents a return to form (or at least the form most people preferred) after his past two films, \u003cem>Isle of Dogs\u003c/em> and \u003cem>The French Dispatch\u003c/em>, divided even his disciples. They worried, among other things, if style and form had finally usurped his storytelling. Regardless of whether you thought they were fun or painful or some dreadful in between, there was a palpable detachment to both films. Authentic emotion, when there at all, was strained.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13828289","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>In this way, \u003cem>Asteroid City\u003c/em> seems like a response to all of that — an earnest and self-conscious case for making art, putting on the play, telling the story, acting the part even if you (and your audience) aren’t entirely sure what you’re saying. It is wrapped in a labored and stylized conceit — a play within a play that’s being broadcast on a television network (the 1950s show \u003cem>Playhouse 90\u003c/em>, worldlier people have noted, is the reference). And because it’s a play, the American midcentury Desert West can look as set designed as Anderson wants. He didn’t need a justification. Nonetheless, it’s a sly deflection — as is the idea that no one is really sure what the point is, embodied by Jason Schwartzman playing an actor playing a recently widowed war photographer, Augie Steenbeck, who has traveled to the desert with his brainiac son, Woodrow (Jake Ryan) and 6-year-old triplets (truly standouts).\u003c/p>\n\u003cp>They come to Asteroid City, population 87, for the Junior Stargazer Convention, a government organized science competition in which genius kids show off inventions (jet packs, blasters, etc.) which the government then owns, as Jeffrey Wright’s Gen. Grif Gibson explains. It is post-war in an anxious America where scientists are a key part of the nation’s defense strategy. In the distance, atomic bombs are being tested, too. Was something in the air while things like \u003cem>Asteroid City\u003c/em>, \u003cem>Oppenheimer\u003c/em> and even the documentary \u003cem>A Compassionate Spy\u003c/em> were coming together? Here, the mushroom clouds are not terribly threatening though. They are, for lack of a better word, adorable.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Gmmq7sVA0Jo'\n title='//www.youtube.com/embed/Gmmq7sVA0Jo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>","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>This Stargazer convention allows for an assemblage of a quirky ensemble with government types (Fisher Stevens), the brainiac kids (Grace Edwards, Sophia Lillis, Ethan Josh Lee, Aristou Meehan), their parents (Scarlett Johansson, Liev Schreiber, Hope Davis, Steve Park), the head scientist (Tilda Swinton’s Dr. Hickenlooper) a school group led by Maya Hawke and some musically inclined cowboys (among them, Rupert Friend) who, I think, just missed their bus. Locals include Hank the mechanic (Matt Dillon) and the motel manager (Steve Carrell). Tom Hanks is Stanley Zak, Augie’s father-in-law and a wealthy Palm Springs retiree who wears a gun in his plaid pants\u003c/p>\n\u003cp>In the world of the play being put on, there is the director (Adrien Brody), his soon-to-be ex-wife (Hong Chau), the Lee Strasberg-y acting teacher Saltzburg Keitel (Willem Dafoe), the actress whose scene was cut (Margot Robbie), the host of the television program (Bryan Cranston) and Jeff Goldblum as, well, you’ll see. As always, the names are a delightful treat. And all the actors make a meal out of their parts, no matter how small.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"pop_11491","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>But if there are characters with something like an arc to spotlight, that would be Schwartzman and Johansson, whose understated 50s movie star Midge Campbell might be one of her very best performances. Augie and Midge have a brief romance, mostly emotional, in that very repressed Wes Anderson way.\u003c/p>\n\u003cp>Is this all a little confusing? Don’t dismay, I think that might be part of the point. Maybe. Probably. And, in any event, it works — \u003cem>Asteroid City\u003c/em>, with its sprawling cast, beautiful hues, mumbled jokes, box-within-a-box setup, references that only the 80+ crowd may truly get and retro-cool soundtrack, actually makes you feel things even if it can’t quite make sense of itself.\u003c/p>\n\u003cp>“Just keep telling the story,” as Brody Schubert Green says to his actor looking for answers and motivations, is advice that could be interpreted as a shrug. Or maybe it’s actually everything — \u003cem>Asteroid City\u003c/em> makes a pretty compelling case.\u003c/p>\n\u003cp>\u003cem>Copyright 2023 Associated Press. To see more, \u003ca href=\"https://apnews.com/\" rel=\"noopener\">visit AP\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Asteroid City’ is released nationwide on June 23, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13930502/asteroid-city-review-wes-anderson-scarlet-johansson-jason-schwartzman","authors":["byline_arts_13930502"],"programs":["arts_140"],"categories":["arts_1","arts_74","arts_75"],"tags":["arts_977","arts_3410","arts_585","arts_9889","arts_2882"],"featImg":"arts_13930511","label":"arts_140"},"arts_13922365":{"type":"posts","id":"arts_13922365","meta":{"index":"posts_1591205157","site":"arts","id":"13922365","score":null,"sort":[1670353902000]},"guestAuthors":[],"slug":"ryan-coogler-sffilm-awards","title":"Bay Area’s Own Ryan Coogler Honored at SFFILM Awards Night","publishDate":1670353902,"format":"aside","headTitle":"Bay Area’s Own Ryan Coogler Honored at SFFILM Awards Night | KQED","labelTerm":{"site":"arts"},"content":"\u003cfigure id=\"attachment_13922367\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/Coogler.Zinzi_.SFFILM-800x534.jpg\" alt=\"A man in a suit and glasses poses next to a woman against a promotional backdrop\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13922367\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Coogler.Zinzi_.SFFILM-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Coogler.Zinzi_.SFFILM-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Coogler.Zinzi_.SFFILM-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Coogler.Zinzi_.SFFILM-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Coogler.Zinzi_.SFFILM.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zinzi Evans (R) and director Ryan Coogler arrive at SFFILM Awards Night at Yerba Buena Center for the Arts on Dec. 05, 2022 in San Francisco, California. \u003ccite>(Miikka Skaffari/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ryan Coogler received a hero’s welcome.\u003c/p>\n\u003cp>At the 2022 SFFILM Awards Night on Monday evening, the Bay Area-raised film director was honored with the Irving M. Levin Award for Film Direction. “I’m from here, so this hits very different,” Coogler said while accepting the award for his body of work to date, which includes \u003cem>Fruitvale Station\u003c/em>, \u003cem>Creed\u003c/em> and both \u003cem>Black Panther\u003c/em> films. \u003c/p>\n\u003cp>From behind the podium at the Yerba Buena Center for the Arts in San Francisco, Coogler reflected on his early days as a struggling filmmaker: Moving back in with his parents in the East Bay after attending film school in Los Angeles. Being saddled with student loan debt while working a day job in San Francisco. Wondering if his dream to be a filmmaker would ever be realized.\u003c/p>\n\u003cp>Then, Coogler recounted, “I ended up getting into the Sundance Institute Screenwriting Lab. That’s where I met the great Anne Lai.” Lai – at the time working with Sundance, now SFFILM’s executive director – made the introductions that led to Coogler’s first filmmaking grant from SFFILM, then known as the San Francisco Film Society. The grant proved pivotal, helping him move out of his parent’s house and into production on his first feature film, \u003cem>Fruitvale Station\u003c/em>. \u003c/p>\n\u003cfigure id=\"attachment_13922372\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/SFFILM.group_-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13922372\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/SFFILM.group_-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/SFFILM.group_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/SFFILM.group_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/SFFILM.group_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/SFFILM.group_.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Director of Programming Jessie Fairbanks, actress Danai Gurira and Executive Director Anne Lai arrive at SFFILM Awards Night at Yerba Buena Center for the Arts on Dec. 5, 2022 in San Francisco, California. \u003ccite>(Miikka Skaffari/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of Coogler’s guests for the evening, along with his wife Zinzi Evans, was one of his former college professors, who he thanked for having “a profound impact” on his life. “I didn’t know I wanted to make movies seriously until my professor, Rosemary Graham, suggested it,” Coogler revealed. Graham retired this year after 30 years teaching English and Creative Writing at Saint Mary’s College in Moraga, where she taught Coogler as a freshman in 2004.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After the event, Graham remembered the impression that 17-year old Coogler made on her. “His writing really stood out from the beginning,” Graham told KQED. “Very cinematic action, emotion, dialogue. It was all there.” \u003c/p>\n\u003cp>Graham remembered telling Coogler that he should go to Hollywood to write screenplays, “and I don’t know what possessed me,” she said. “I had never said it to anyone before, and I haven’t said it to anyone since.” \u003c/p>\n\u003cp>Graham’s comments echoed actor Danai Gurira’s effusive, poetic praise for Coogler when presenting him with the award. “His uniqueness is contagious,” Gurira repeated multiple times between stories about Coogler’s character, work and impact. Gurira, who stars as Okuye in the \u003cem>Black Panther\u003c/em> films, added that “it is beyond rare to find someone whose sum parts are wildly talented and simultaneously solid, honest, direct, gentle, deeply thoughtful and grounded in integrity.” \u003c/p>\n\u003cfigure id=\"attachment_13922371\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/Margot.Robbie.SFFILM-800x565.jpg\" alt=\"A woman in a black top and long black skirt poses in front of a promotional backdrop \" width=\"800\" height=\"565\" class=\"size-medium wp-image-13922371\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Margot.Robbie.SFFILM-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Margot.Robbie.SFFILM-1020x720.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Margot.Robbie.SFFILM-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Margot.Robbie.SFFILM-768x542.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Margot.Robbie.SFFILM.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Actress Margot Robbie arrives at SFFILM Awards Night at Yerba Buena Center for the Arts on Dec. 5, 2022 in San Francisco, California. \u003ccite>(Steve Jennings/WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other honorees Monday night included Canadian writer, actor and director Sarah Polley, who wrote and directed \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=pD0mFhMqDCE\">Women Talking\u003c/a>\u003c/em>; actor Stephanie Hsu of the fantastical indie blockbuster \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=wxN1T1uxQ2g\">Everything Everywhere All At Once\u003c/a>\u003c/em>; and actor Margot Robbie, who’s gotten early Oscar buzz for her performance in Damien Chazelle’s \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=5muQK7CuFtY\">Babylon\u003c/a>\u003c/em>, out later this month. \u003c/p>\n\u003cp>Robbie thanked Chazelle for giving her “the role of a lifetime” with the character Nellie, who “dreams of being a part of something bigger than her. Something that means something.” Robbie added: “I feel that way too. And I think cinema at its best can do that.”\u003c/p>\n\u003cp>In the end, though, it was Coogler who got the audience on its feet — twice. Expressing his gratitude for filmmaking grants like SFFILM’s, and citing himself as living proof of their impact on an artist’s career, Coogler concluded his remarks with an acknowledgment of the influence he now has.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I promise,” he said, “to continue to pay it forward.”\u003c/p>\n\n","blocks":[],"excerpt":"The director of ‘Black Panther’ and ‘Fruitvale Station’ recounted his journey to Hollywood.","status":"publish","parent":0,"modified":1705006090,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":746},"headData":{"title":"Ryan Coogler Honored at SFFILM Awards Night | KQED","description":"The director of ‘Black Panther’ and ‘Fruitvale Station’ recounted his journey to Hollywood.","ogTitle":"Ryan Coogler Honored at SFFILM Awards Night","ogDescription":"","ogImgId":"","twTitle":"Ryan Coogler Honored at SFFILM Awards Night","twDescription":"","twImgId":"","socialTitle":"Ryan Coogler Honored at SFFILM Awards Night %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Bay Area’s Own Ryan Coogler Honored at SFFILM Awards Night","datePublished":"2022-12-06T19:11:42.000Z","dateModified":"2024-01-11T20:48:10.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13922365/ryan-coogler-sffilm-awards","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13922367\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/Coogler.Zinzi_.SFFILM-800x534.jpg\" alt=\"A man in a suit and glasses poses next to a woman against a promotional backdrop\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13922367\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Coogler.Zinzi_.SFFILM-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Coogler.Zinzi_.SFFILM-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Coogler.Zinzi_.SFFILM-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Coogler.Zinzi_.SFFILM-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Coogler.Zinzi_.SFFILM.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zinzi Evans (R) and director Ryan Coogler arrive at SFFILM Awards Night at Yerba Buena Center for the Arts on Dec. 05, 2022 in San Francisco, California. \u003ccite>(Miikka Skaffari/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ryan Coogler received a hero’s welcome.\u003c/p>\n\u003cp>At the 2022 SFFILM Awards Night on Monday evening, the Bay Area-raised film director was honored with the Irving M. Levin Award for Film Direction. “I’m from here, so this hits very different,” Coogler said while accepting the award for his body of work to date, which includes \u003cem>Fruitvale Station\u003c/em>, \u003cem>Creed\u003c/em> and both \u003cem>Black Panther\u003c/em> films. \u003c/p>\n\u003cp>From behind the podium at the Yerba Buena Center for the Arts in San Francisco, Coogler reflected on his early days as a struggling filmmaker: Moving back in with his parents in the East Bay after attending film school in Los Angeles. Being saddled with student loan debt while working a day job in San Francisco. Wondering if his dream to be a filmmaker would ever be realized.\u003c/p>\n\u003cp>Then, Coogler recounted, “I ended up getting into the Sundance Institute Screenwriting Lab. That’s where I met the great Anne Lai.” Lai – at the time working with Sundance, now SFFILM’s executive director – made the introductions that led to Coogler’s first filmmaking grant from SFFILM, then known as the San Francisco Film Society. The grant proved pivotal, helping him move out of his parent’s house and into production on his first feature film, \u003cem>Fruitvale Station\u003c/em>. \u003c/p>\n\u003cfigure id=\"attachment_13922372\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/SFFILM.group_-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13922372\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/SFFILM.group_-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/SFFILM.group_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/SFFILM.group_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/SFFILM.group_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/SFFILM.group_.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Director of Programming Jessie Fairbanks, actress Danai Gurira and Executive Director Anne Lai arrive at SFFILM Awards Night at Yerba Buena Center for the Arts on Dec. 5, 2022 in San Francisco, California. \u003ccite>(Miikka Skaffari/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of Coogler’s guests for the evening, along with his wife Zinzi Evans, was one of his former college professors, who he thanked for having “a profound impact” on his life. “I didn’t know I wanted to make movies seriously until my professor, Rosemary Graham, suggested it,” Coogler revealed. Graham retired this year after 30 years teaching English and Creative Writing at Saint Mary’s College in Moraga, where she taught Coogler as a freshman in 2004.\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>After the event, Graham remembered the impression that 17-year old Coogler made on her. “His writing really stood out from the beginning,” Graham told KQED. “Very cinematic action, emotion, dialogue. It was all there.” \u003c/p>\n\u003cp>Graham remembered telling Coogler that he should go to Hollywood to write screenplays, “and I don’t know what possessed me,” she said. “I had never said it to anyone before, and I haven’t said it to anyone since.” \u003c/p>\n\u003cp>Graham’s comments echoed actor Danai Gurira’s effusive, poetic praise for Coogler when presenting him with the award. “His uniqueness is contagious,” Gurira repeated multiple times between stories about Coogler’s character, work and impact. Gurira, who stars as Okuye in the \u003cem>Black Panther\u003c/em> films, added that “it is beyond rare to find someone whose sum parts are wildly talented and simultaneously solid, honest, direct, gentle, deeply thoughtful and grounded in integrity.” \u003c/p>\n\u003cfigure id=\"attachment_13922371\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/Margot.Robbie.SFFILM-800x565.jpg\" alt=\"A woman in a black top and long black skirt poses in front of a promotional backdrop \" width=\"800\" height=\"565\" class=\"size-medium wp-image-13922371\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Margot.Robbie.SFFILM-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Margot.Robbie.SFFILM-1020x720.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Margot.Robbie.SFFILM-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Margot.Robbie.SFFILM-768x542.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Margot.Robbie.SFFILM.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Actress Margot Robbie arrives at SFFILM Awards Night at Yerba Buena Center for the Arts on Dec. 5, 2022 in San Francisco, California. \u003ccite>(Steve Jennings/WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other honorees Monday night included Canadian writer, actor and director Sarah Polley, who wrote and directed \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=pD0mFhMqDCE\">Women Talking\u003c/a>\u003c/em>; actor Stephanie Hsu of the fantastical indie blockbuster \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=wxN1T1uxQ2g\">Everything Everywhere All At Once\u003c/a>\u003c/em>; and actor Margot Robbie, who’s gotten early Oscar buzz for her performance in Damien Chazelle’s \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=5muQK7CuFtY\">Babylon\u003c/a>\u003c/em>, out later this month. \u003c/p>\n\u003cp>Robbie thanked Chazelle for giving her “the role of a lifetime” with the character Nellie, who “dreams of being a part of something bigger than her. Something that means something.” Robbie added: “I feel that way too. And I think cinema at its best can do that.”\u003c/p>\n\u003cp>In the end, though, it was Coogler who got the audience on its feet — twice. Expressing his gratitude for filmmaking grants like SFFILM’s, and citing himself as living proof of their impact on an artist’s career, Coogler concluded his remarks with an acknowledgment of the influence he now has.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I promise,” he said, “to continue to pay it forward.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13922365/ryan-coogler-sffilm-awards","authors":["11296"],"categories":["arts_1","arts_74"],"tags":["arts_3563","arts_10278","arts_3852","arts_3410","arts_3961","arts_3772","arts_1040"],"featImg":"arts_13922368","label":"arts"},"arts_13919938":{"type":"posts","id":"arts_13919938","meta":{"index":"posts_1591205157","site":"arts","id":"13919938","score":null,"sort":[1664829115000]},"guestAuthors":[],"slug":"amsterdam-review-margot-robbie-christian-bale-john-david-washington","title":"'Amsterdam' is a Caper Worth Watching—But It Will Also Test Your Patience","publishDate":1664829115,"format":"standard","headTitle":"‘Amsterdam’ is a Caper Worth Watching—But It Will Also Test Your Patience | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>The quickest way to sum up \u003cem>Amsterdam \u003c/em>— a very not-quick movie at 134 minutes long — is to reference all of the very familiar elements it decided to mash together willy-nilly.\u003c/p>\n\u003cp>These are as follows:\u003c/p>\n\u003col>\n\u003cli>The unnecessarily convoluted plot of an unnecessarily convoluted film noir\u003c/li>\n\u003cli>Cartoonish conspiratorial vibes, reminiscent of the Coen Brothers\u003c/li>\n\u003cli>The flawed characters and \u003ca href=\"https://www.youtube.com/watch?v=1Fg5iWmQjwk\" target=\"_blank\" rel=\"noopener noreferrer\">angular camera shots\u003c/a> that are a hallmark of Wes Anderson\u003c/li>\n\u003cli>The fast pace of a modern caper (like \u003ca href=\"https://www.youtube.com/watch?v=S-TvYHaUP1I\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Brothers Bloom\u003c/em>\u003c/a>, say)\u003c/li>\n\u003cli>The appearance of Another Beloved Famous Actor at every twist and turn that, one gets the feeling, is supposed to make the audience gasp or clap or something\u003c/li>\n\u003c/ol>\n\u003cp>It’s … a lot.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GLs2xxM0e78&t=88s\u003c/p>\n\u003cp>Without giving too much away, the arc of \u003cem>Amsterdam\u003c/em> goes a little something like this. Burt (Christian Bale) and Harold (John David Washington) are injured while fighting in World War I. When they go to the hospital, a kooky, pipe-smoking nurse named Valerie (Margot Robbie) tends to them. The three become fast friends, spend a glorious time together in Amsterdam after the war, then (ill-advisedly) go their separate ways.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Fifteen years later, Burt and Harold are dragged into a mystery by Liz (Taylor Swift), the daughter of one of their wartime superior officers. That former officer has died suddenly, and Liz is sure it wasn’t of natural causes. As Burt and Harold unravel the truth, they reconnect with Valerie again. The plot they uncover together is a little known incident that really did happen on American soil in the early 1930s. I would tell you all about it, but that would spoil the entire movie. (Feel free to Google “The Business Plot” if you have no intention of watching this.)\u003c/p>\n\u003cp>[aside postid='arts_13919569']As previously mentioned, \u003cem>Amsterdam\u003c/em> does a lot of things. Some of those things are great — like the sets, costumes, dry comedic timing and fun side characters. (Chris Rock, Mike Myers and Michael Shannon are especially good in their small roles, and Taylor Swift is at the center of one of the most glorious scenes of the entire movie.) But some of those things are exhausting—one or two fewer steps in the unraveling of the central mystery would have certainly made for a more comfortable run time.\u003c/p>\n\u003cp>There is also something inherently discomfiting about the way the movie’s farcical tone rubs up against the big reveal at the end. (There is a reason film noir keeps things, well, \u003cem>noir\u003c/em>.) \u003cem>Amsterdam\u003c/em> spends so long getting to the point that by the time it gets there, the audience is denied sufficient time to digest it, or the fact that this dastardly thing actually happened.\u003c/p>\n\u003cp>The thing that ultimately gets you through the meandering plot and uneven tone, however, is the friendship at the center of the story. Yes, the way that Burt, Harold and Valerie come together is an improbable flight of fancy (and the way they reconnect later in the film makes even less sense) but the chemistry between the actors is undeniably fun to watch.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>When the movie focuses on the central trio, and articulates the alchemy that occurs when friendships form, it is a delight. \u003cem>Amsterdam\u003c/em> does this particularly well during Harold and Valerie’s first meeting, and in a voiceover moment right at the end of the film. That heart at the center of the story holds \u003cem>Amsterdam\u003c/em> together even as it beats along too many other paths.\u003c/p>\n\n","blocks":[],"excerpt":"David O. Russell borrows from the Coen Brothers, Wes Anderson and film noir in his messy new movie. ","status":"publish","parent":0,"modified":1705006307,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":592},"headData":{"title":"'Amsterdam' is a Caper Worth Watching—But It Will Also Test Your Patience | KQED","description":"David O. Russell borrows from the Coen Brothers, Wes Anderson and film noir in his messy new movie. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"'Amsterdam' is a Caper Worth Watching—But It Will Also Test Your Patience","datePublished":"2022-10-03T20:31:55.000Z","dateModified":"2024-01-11T20:51:47.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13919938/amsterdam-review-margot-robbie-christian-bale-john-david-washington","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The quickest way to sum up \u003cem>Amsterdam \u003c/em>— a very not-quick movie at 134 minutes long — is to reference all of the very familiar elements it decided to mash together willy-nilly.\u003c/p>\n\u003cp>These are as follows:\u003c/p>\n\u003col>\n\u003cli>The unnecessarily convoluted plot of an unnecessarily convoluted film noir\u003c/li>\n\u003cli>Cartoonish conspiratorial vibes, reminiscent of the Coen Brothers\u003c/li>\n\u003cli>The flawed characters and \u003ca href=\"https://www.youtube.com/watch?v=1Fg5iWmQjwk\" target=\"_blank\" rel=\"noopener noreferrer\">angular camera shots\u003c/a> that are a hallmark of Wes Anderson\u003c/li>\n\u003cli>The fast pace of a modern caper (like \u003ca href=\"https://www.youtube.com/watch?v=S-TvYHaUP1I\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Brothers Bloom\u003c/em>\u003c/a>, say)\u003c/li>\n\u003cli>The appearance of Another Beloved Famous Actor at every twist and turn that, one gets the feeling, is supposed to make the audience gasp or clap or something\u003c/li>\n\u003c/ol>\n\u003cp>It’s … a lot.\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/GLs2xxM0e78'\n title='//www.youtube.com/embed/GLs2xxM0e78'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Without giving too much away, the arc of \u003cem>Amsterdam\u003c/em> goes a little something like this. Burt (Christian Bale) and Harold (John David Washington) are injured while fighting in World War I. When they go to the hospital, a kooky, pipe-smoking nurse named Valerie (Margot Robbie) tends to them. The three become fast friends, spend a glorious time together in Amsterdam after the war, then (ill-advisedly) go their separate ways.\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>Fifteen years later, Burt and Harold are dragged into a mystery by Liz (Taylor Swift), the daughter of one of their wartime superior officers. That former officer has died suddenly, and Liz is sure it wasn’t of natural causes. As Burt and Harold unravel the truth, they reconnect with Valerie again. The plot they uncover together is a little known incident that really did happen on American soil in the early 1930s. I would tell you all about it, but that would spoil the entire movie. (Feel free to Google “The Business Plot” if you have no intention of watching this.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13919569","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>As previously mentioned, \u003cem>Amsterdam\u003c/em> does a lot of things. Some of those things are great — like the sets, costumes, dry comedic timing and fun side characters. (Chris Rock, Mike Myers and Michael Shannon are especially good in their small roles, and Taylor Swift is at the center of one of the most glorious scenes of the entire movie.) But some of those things are exhausting—one or two fewer steps in the unraveling of the central mystery would have certainly made for a more comfortable run time.\u003c/p>\n\u003cp>There is also something inherently discomfiting about the way the movie’s farcical tone rubs up against the big reveal at the end. (There is a reason film noir keeps things, well, \u003cem>noir\u003c/em>.) \u003cem>Amsterdam\u003c/em> spends so long getting to the point that by the time it gets there, the audience is denied sufficient time to digest it, or the fact that this dastardly thing actually happened.\u003c/p>\n\u003cp>The thing that ultimately gets you through the meandering plot and uneven tone, however, is the friendship at the center of the story. Yes, the way that Burt, Harold and Valerie come together is an improbable flight of fancy (and the way they reconnect later in the film makes even less sense) but the chemistry between the actors is undeniably fun to watch.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>When the movie focuses on the central trio, and articulates the alchemy that occurs when friendships form, it is a delight. \u003cem>Amsterdam\u003c/em> does this particularly well during Harold and Valerie’s first meeting, and in a voiceover moment right at the end of the film. That heart at the center of the story holds \u003cem>Amsterdam\u003c/em> together even as it beats along too many other paths.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13919938/amsterdam-review-margot-robbie-christian-bale-john-david-washington","authors":["11242"],"programs":["arts_140"],"categories":["arts_1","arts_74","arts_75"],"tags":["arts_10278","arts_977","arts_3410"],"featImg":"arts_13919962","label":"arts_140"},"arts_13904100":{"type":"posts","id":"arts_13904100","meta":{"index":"posts_1591205157","site":"arts","id":"13904100","score":null,"sort":[1633123298000]},"guestAuthors":[],"slug":"maid-is-an-unflinching-portrait-of-a-single-moms-will-to-survive","title":"'Maid' is an Unflinching Portrait of a Single Mom's Will to Survive","publishDate":1633123298,"format":"standard","headTitle":"‘Maid’ is an Unflinching Portrait of a Single Mom’s Will to Survive | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>In her 2019 memoir, \u003cem>Maid: Hard Work, Low Pay, and a Mother’s Will to Survive\u003c/em>, \u003ca href=\"https://www.npr.org/2019/01/29/689611873/in-maid-a-single-mother-finds-no-way-to-make-it-on-minimum-wage\" target=\"_blank\" rel=\"noopener noreferrer\">Stephanie Land \u003c/a>writes candidly about trying to raise her young daughter while working as a maid for hire. Now, a new 10-episode Netflix adaptation brings Land’s story to TV.\u003c/p>\n\u003cp>Most TV dramas adapted from books are identified in the opening credits as “based on,” but \u003cem>Maid \u003c/em>is called “inspired by,” and there’s a lot of new, fictional material added to the mix. This includes some new characters, and some changing of actual locations and events. But Land is on record approving of the TV show’s approach—and the creative team has done a great job making this story both captivating and relatable.\u003c/p>\n\u003cp>\u003cem>Maid\u003c/em>‘s executive producers include actress Margot Robbie and veteran TV writer-producer John Wells, whose credits include \u003cem>China Beach, \u003c/em>\u003cem>ER\u003c/em> and \u003cem>The West Wing\u003c/em>. Wells also was a writer and director on \u003cem>Shameless\u003c/em>, the recently concluded, excellent Showtime series about a family struggling to make ends meet.\u003c/p>\n\u003cp>Molly Smith Metzler, another writer on \u003cem>Shameless\u003c/em>, is the creator \u003cem>Maid\u003c/em>. She wrote many of the \u003cem>Maid \u003c/em>episodes, Wells directed four of them, and together they’ve crafted a story that’s told entirely from one point of view—with misunderstandings, missing information and flashes of fantasy all as part of the mix.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=tGtaHcqsSE8\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Maid \u003c/em>is the story of Alex, a young woman who, in the opening scene, wakes up in the middle of the night, sneaks out of bed where her husband Sean is sleeping, and carries their 2-year-old daughter, Maddie, to the car, preparing to drive off. We don’t know where she’s headed, and neither does she.\u003c/p>\n\u003cp>[aside postid='pop_92590']Alex (played by Margaret Qualley) has few options at the moment, and even less money. She starts out with access to only $18, and we see that amount dwindle on screen with every purchase of another gallon of gas or dollar-store toy for Maddie.\u003c/p>\n\u003cp>Eventually Alex gets a shot at an interview for a job working as a maid-for-hire at a daily cleaning service. But to land that job, she has to find someone to watch her daughter. And with no money to pay a sitter, her only choice is a risky one: Her own mother, a free-spirited artist with wild sculptures and paintings, wild hair, and wild, manic eyes. She’s played by Andie MacDowell, who dives into playing her bipolar character with all the fire and energy it requires.\u003c/p>\n\u003cp>Qualley played dancer \u003ca href=\"https://www.npr.org/2020/12/15/946566153/actress-dancer-choreographer-ann-reinking-dies-at-71\" target=\"_blank\" rel=\"noopener noreferrer\">Ann Reinking\u003c/a> in the FX limited series \u003ca href=\"https://www.kqed.org/pop/110850/fosse-verdon-is-totally-tone-deaf-in-the-age-of-metoo\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Fosse/Verdon\u003c/em>\u003c/a>, but that was a glamorous supporting role. Her Alex is a central starring role: \u003cem>Maid \u003c/em>is Alex’s journey every step of the way. We never know what’s happening, or who’s doing what, until Alex does. She keeps confronting crises, making decisions, and battling red tape and family members to move forward.\u003c/p>\n\u003cp>\u003cem>Maid\u003c/em>‘s supporting cast is deep and strong, but in the first few episodes, the best scenes are between Alex and her mom. And it’s worth noting—though I didn’t know it until afterward—that MacDowell and Qualley are mother and daughter in real life.\u003c/p>\n\u003cp>As to Alex’s life, \u003cem>Maid\u003c/em> never leaves her narrative or her perspective. Instead, the TV show finds very inventive ways to help us empathize with her point of view. The most dramatic thing that happens in the first episode occurs off camera, because Alex is too far away to see it, and we hear only the sound, as does she.\u003c/p>\n\u003cp>[aside postid='arts_13874517']Later, when she’s in court, fighting for custody of her daughter, all the words the attorneys and judges throw back and forth devolve into what she hears—and we hear—only as the repeated phrase “legal legal legal.” And as she flips through the endless forms she has to fill out for job and financial assistance applications, the words on the pages—to her eyes, and to ours—get more personal, more pessimistic and a lot more rude.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Any description of \u003cem>Maid \u003c/em>threatens to sound unremittingly bleak, but it’s not. In the moments of joy that surface—the small victories, the unexpected showings of support—the real message of \u003cem>Maid \u003c/em>is that each one of those small acts of kindness is indeed what can keep Alex going. And, really, any of us.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Maid%27+is+an+unflinching+portrait+of+a+single+mom%27s+will+to+survive&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"Netflix's new 10-part series is based on Stephanie Land's best-selling memoir.","status":"publish","parent":0,"modified":1705007666,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":785},"headData":{"title":"'Maid' is an Unflinching Portrait of a Single Mom's Will to Survive | KQED","description":"Netflix's new 10-part series is based on Stephanie Land's best-selling memoir.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"'Maid' is an Unflinching Portrait of a Single Mom's Will to Survive","datePublished":"2021-10-01T21:21:38.000Z","dateModified":"2024-01-11T21:14:26.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprImageCredit":"Ricardo Hubbs","nprByline":"David Bianculli","nprImageAgency":"Netflix","nprStoryId":"1042318752","nprApiLink":"http://api.npr.org/query?id=1042318752&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2021/10/01/1042318752/maid-review-netflix-tv-series?ft=nprml&f=1042318752","nprRetrievedStory":"1","nprPubDate":"Fri, 01 Oct 2021 13:32:00 -0400","nprStoryDate":"Fri, 01 Oct 2021 13:30:22 -0400","nprLastModifiedDate":"Fri, 01 Oct 2021 13:30:22 -0400","nprAudio":"https://ondemand.npr.org/anon.npr-mp3/npr/fa/2021/10/20211001_fa_03.mp3?orgId=427869011&topicId=1163&d=436&p=13&story=1042318752&ft=nprml&f=1042318752","nprAudioM3u":"http://api.npr.org/m3u/11042399038-3ba4c3.m3u?orgId=427869011&topicId=1163&d=436&p=13&story=1042318752&ft=nprml&f=1042318752","templateType":"standard","featuredImageType":"standard","path":"/arts/13904100/maid-is-an-unflinching-portrait-of-a-single-moms-will-to-survive","audioUrl":"https://ondemand.npr.org/anon.npr-mp3/npr/fa/2021/10/20211001_fa_03.mp3?orgId=427869011&topicId=1163&d=436&p=13&story=1042318752&ft=nprml&f=1042318752","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In her 2019 memoir, \u003cem>Maid: Hard Work, Low Pay, and a Mother’s Will to Survive\u003c/em>, \u003ca href=\"https://www.npr.org/2019/01/29/689611873/in-maid-a-single-mother-finds-no-way-to-make-it-on-minimum-wage\" target=\"_blank\" rel=\"noopener noreferrer\">Stephanie Land \u003c/a>writes candidly about trying to raise her young daughter while working as a maid for hire. Now, a new 10-episode Netflix adaptation brings Land’s story to TV.\u003c/p>\n\u003cp>Most TV dramas adapted from books are identified in the opening credits as “based on,” but \u003cem>Maid \u003c/em>is called “inspired by,” and there’s a lot of new, fictional material added to the mix. This includes some new characters, and some changing of actual locations and events. But Land is on record approving of the TV show’s approach—and the creative team has done a great job making this story both captivating and relatable.\u003c/p>\n\u003cp>\u003cem>Maid\u003c/em>‘s executive producers include actress Margot Robbie and veteran TV writer-producer John Wells, whose credits include \u003cem>China Beach, \u003c/em>\u003cem>ER\u003c/em> and \u003cem>The West Wing\u003c/em>. Wells also was a writer and director on \u003cem>Shameless\u003c/em>, the recently concluded, excellent Showtime series about a family struggling to make ends meet.\u003c/p>\n\u003cp>Molly Smith Metzler, another writer on \u003cem>Shameless\u003c/em>, is the creator \u003cem>Maid\u003c/em>. She wrote many of the \u003cem>Maid \u003c/em>episodes, Wells directed four of them, and together they’ve crafted a story that’s told entirely from one point of view—with misunderstandings, missing information and flashes of fantasy all as part of the mix.\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/tGtaHcqsSE8'\n title='//www.youtube.com/embed/tGtaHcqsSE8'\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>\u003cem>Maid \u003c/em>is the story of Alex, a young woman who, in the opening scene, wakes up in the middle of the night, sneaks out of bed where her husband Sean is sleeping, and carries their 2-year-old daughter, Maddie, to the car, preparing to drive off. We don’t know where she’s headed, and neither does she.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"pop_92590","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Alex (played by Margaret Qualley) has few options at the moment, and even less money. She starts out with access to only $18, and we see that amount dwindle on screen with every purchase of another gallon of gas or dollar-store toy for Maddie.\u003c/p>\n\u003cp>Eventually Alex gets a shot at an interview for a job working as a maid-for-hire at a daily cleaning service. But to land that job, she has to find someone to watch her daughter. And with no money to pay a sitter, her only choice is a risky one: Her own mother, a free-spirited artist with wild sculptures and paintings, wild hair, and wild, manic eyes. She’s played by Andie MacDowell, who dives into playing her bipolar character with all the fire and energy it requires.\u003c/p>\n\u003cp>Qualley played dancer \u003ca href=\"https://www.npr.org/2020/12/15/946566153/actress-dancer-choreographer-ann-reinking-dies-at-71\" target=\"_blank\" rel=\"noopener noreferrer\">Ann Reinking\u003c/a> in the FX limited series \u003ca href=\"https://www.kqed.org/pop/110850/fosse-verdon-is-totally-tone-deaf-in-the-age-of-metoo\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Fosse/Verdon\u003c/em>\u003c/a>, but that was a glamorous supporting role. Her Alex is a central starring role: \u003cem>Maid \u003c/em>is Alex’s journey every step of the way. We never know what’s happening, or who’s doing what, until Alex does. She keeps confronting crises, making decisions, and battling red tape and family members to move forward.\u003c/p>\n\u003cp>\u003cem>Maid\u003c/em>‘s supporting cast is deep and strong, but in the first few episodes, the best scenes are between Alex and her mom. And it’s worth noting—though I didn’t know it until afterward—that MacDowell and Qualley are mother and daughter in real life.\u003c/p>\n\u003cp>As to Alex’s life, \u003cem>Maid\u003c/em> never leaves her narrative or her perspective. Instead, the TV show finds very inventive ways to help us empathize with her point of view. The most dramatic thing that happens in the first episode occurs off camera, because Alex is too far away to see it, and we hear only the sound, as does she.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13874517","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Later, when she’s in court, fighting for custody of her daughter, all the words the attorneys and judges throw back and forth devolve into what she hears—and we hear—only as the repeated phrase “legal legal legal.” And as she flips through the endless forms she has to fill out for job and financial assistance applications, the words on the pages—to her eyes, and to ours—get more personal, more pessimistic and a lot more rude.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Any description of \u003cem>Maid \u003c/em>threatens to sound unremittingly bleak, but it’s not. In the moments of joy that surface—the small victories, the unexpected showings of support—the real message of \u003cem>Maid \u003c/em>is that each one of those small acts of kindness is indeed what can keep Alex going. And, really, any of us.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Maid%27+is+an+unflinching+portrait+of+a+single+mom%27s+will+to+survive&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13904100/maid-is-an-unflinching-portrait-of-a-single-moms-will-to-survive","authors":["byline_arts_13904100"],"categories":["arts_1","arts_73","arts_990"],"tags":["arts_3410","arts_3324"],"affiliates":["arts_137"],"featImg":"arts_13904101","label":"arts_137"},"arts_13847157":{"type":"posts","id":"arts_13847157","meta":{"index":"posts_1591205157","site":"arts","id":"13847157","score":null,"sort":[1544796001000]},"guestAuthors":[],"slug":"in-mary-queen-of-scots-history-and-her-neck-get-truncated","title":"In ‘Mary Queen of Scots,’ History, and Her Neck, Get Truncated","publishDate":1544796001,"format":"standard","headTitle":"In ‘Mary Queen of Scots,’ History, and Her Neck, Get Truncated | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>In nearly every frame of Josie Rourke’s subdued biopic \u003cem>Mary Queen of Scots\u003c/em>, the director concentrates our attention on Saoirse Ronan’s slender neck. Sixteenth-century collars and necklaces accentuate its paleness and vulnerability.\u003c/p>\n\u003cp>By doing so, Rourke visually emphasizes what we already know: the doomed Scottish and Catholic monarch will be beheaded in 1587 at the age of 45. In contrast, Queen Elizabeth I’s (Margot Robbie) neck stays covered, protected by one elaborate ruff after another. Mary’s English and Protestant cousin will retain both her head and the crown.\u003c/p>\n\u003cp>The film begins on Mary’s last day alive. Ronan’s back is to the camera, praying, until a cadre of black-clad men open the door of her prison cell. They take her to an execution room filled with even more men, many of whom we’ll come to recognize as the conspirators who removed her from power. Mary bends forward to place her head on a slab of cold stone. The executioner raises his axe, a white veil falls upon her head and Rourke cuts away from the scene to take us back to 1561.\u003c/p>\n\u003cfigure id=\"attachment_13847161\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847161\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/4113_D025_00307_R1513275057-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/4113_D025_00307_R1513275057-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/4113_D025_00307_R1513275057-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/4113_D025_00307_R1513275057-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/4113_D025_00307_R1513275057-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/4113_D025_00307_R1513275057-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/4113_D025_00307_R1513275057-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/4113_D025_00307_R1513275057-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/4113_D025_00307_R1513275057.jpg 1018w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(l-r) Ian Hart stars as Lord Maitland, Jack Lowden as Lord Darnley, Saoirse Ronan as Mary\u003cbr>Stuart and James McArdle as Earl of Moray in ‘Mary Queen of Scots’ (Liam Daniel / Focus Features)\u003c/figcaption>\u003c/figure>\n\u003cp>Ronan’s head is still bent forward under that veil, but now she’s vomiting on a Scottish beach from seasickness. After a brief marriage to the French King Francis II, she’s now an 18-year-old widow returning to Scotland to reclaim her throne. (Not that the script expends any energy to inform or orient the viewers to these facts.) Beau Willimon, the screenwriter responsible for the American reboot of \u003cem>House of Cards\u003c/em>, might seem like an ideal choice to write a movie about political machinations and palace intrigue. But apart from title cards that bookend the film, every plot advancement feels rushed-through, truncated or undeveloped.\u003c/p>\n\u003cp>The only way to make sense of what’s happening is to concentrate on the performances of the actors playing the two queens. Ronan, who is 24, plays Mary from aged 18 until her death 27 years later. The director made a decision not to use prosthetics or make-up to age her. This adds to an ongoing sense of disorientation. Because Mary always looks like a fresh-faced, 24-year-old movie star, the scenes built around her character don’t appear to move forward in time. Events take place—a battle, a marriage, a birth, then another marriage—as if they’re happening in parallel rather than linear time periods. The approach moves the film along at a brisk pace, but it also makes those events feel weightless.\u003c/p>\n\u003cfigure id=\"attachment_13847164\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847164\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/4113_D011_00381_R1543365054-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/4113_D011_00381_R1543365054-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/4113_D011_00381_R1543365054-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/4113_D011_00381_R1543365054-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/4113_D011_00381_R1543365054-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/4113_D011_00381_R1543365054.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Margot Robbie stars as Queen Elizabeth I in ‘Mary Queen of Scots’ (Liam Daniel / Focus Features)\u003c/figcaption>\u003c/figure>\n\u003cp>Robbie, however, has a nose that’s as impressive as the one Nicole Kidman wore in \u003cem>The Hours\u003c/em>. Her Elizabeth I also suffers from a pox that scars her face. In this narrative, the illness explains why she began to paint her face white. As Elizabeth masks herself in make-up and regalia, she constructs a persona that breaks the confines of her gender. She won’t marry or have children because her power could be easily usurped by a consort or her male progeny. She confides in her closest advisor William Cecil (Guy Pearce, who is marvelously bewigged) that she’s had to become a man, or her idea of one, in order to maintain her throne.\u003c/p>\n\u003cfigure id=\"attachment_13847165\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847165\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/4113_D019_00339_R1539042855-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/4113_D019_00339_R1539042855-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/4113_D019_00339_R1539042855-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/4113_D019_00339_R1539042855-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/4113_D019_00339_R1539042855-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/4113_D019_00339_R1539042855.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Saoirse Ronan as Mary Stuart in ‘Mary Queen of Scots’ (Liam Daniel / Focus Features)\u003c/figcaption>\u003c/figure>\n\u003cp>But the boldness that characterized Cate Blanchett’s performance as the Virgin Queen in 1998’s \u003cem>Elizabeth\u003c/em> appears only in Ronan’s performance in this film. Robbie’s Elizabeth is passive, deferential to counsel and unsure of her public identity—that is, until late in the film when she imprisons her cousin. But Ronan’s Mary speaks her mind, acts rashly and alienates her allies. (She sticks her neck out, so to speak.) But her various attempts to regain authority over Scotland unapologetically revolve around her femaleness. And, unlike the neutered English queen, she imperils herself as a result.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/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>\u003c/p>\n\u003cp>\u003cem>‘Mary Queen of Scots’ is now playing at Century San Francisco Centre 9.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Saoirse Ronan and Margot Robbie star as cousin queens in a man's world.","status":"publish","parent":0,"modified":1705026855,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":756},"headData":{"title":"In ‘Mary Queen of Scots,’ History, and Her Neck, Get Truncated | KQED","description":"Saoirse Ronan and Margot Robbie star as cousin queens in a man's world.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"In ‘Mary Queen of Scots,’ History, and Her Neck, Get Truncated","datePublished":"2018-12-14T14:00:01.000Z","dateModified":"2024-01-12T02:34:15.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13847157/in-mary-queen-of-scots-history-and-her-neck-get-truncated","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In nearly every frame of Josie Rourke’s subdued biopic \u003cem>Mary Queen of Scots\u003c/em>, the director concentrates our attention on Saoirse Ronan’s slender neck. Sixteenth-century collars and necklaces accentuate its paleness and vulnerability.\u003c/p>\n\u003cp>By doing so, Rourke visually emphasizes what we already know: the doomed Scottish and Catholic monarch will be beheaded in 1587 at the age of 45. In contrast, Queen Elizabeth I’s (Margot Robbie) neck stays covered, protected by one elaborate ruff after another. Mary’s English and Protestant cousin will retain both her head and the crown.\u003c/p>\n\u003cp>The film begins on Mary’s last day alive. Ronan’s back is to the camera, praying, until a cadre of black-clad men open the door of her prison cell. They take her to an execution room filled with even more men, many of whom we’ll come to recognize as the conspirators who removed her from power. Mary bends forward to place her head on a slab of cold stone. The executioner raises his axe, a white veil falls upon her head and Rourke cuts away from the scene to take us back to 1561.\u003c/p>\n\u003cfigure id=\"attachment_13847161\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847161\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/4113_D025_00307_R1513275057-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/4113_D025_00307_R1513275057-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/4113_D025_00307_R1513275057-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/4113_D025_00307_R1513275057-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/4113_D025_00307_R1513275057-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/4113_D025_00307_R1513275057-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/4113_D025_00307_R1513275057-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/4113_D025_00307_R1513275057-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/4113_D025_00307_R1513275057.jpg 1018w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(l-r) Ian Hart stars as Lord Maitland, Jack Lowden as Lord Darnley, Saoirse Ronan as Mary\u003cbr>Stuart and James McArdle as Earl of Moray in ‘Mary Queen of Scots’ (Liam Daniel / Focus Features)\u003c/figcaption>\u003c/figure>\n\u003cp>Ronan’s head is still bent forward under that veil, but now she’s vomiting on a Scottish beach from seasickness. After a brief marriage to the French King Francis II, she’s now an 18-year-old widow returning to Scotland to reclaim her throne. (Not that the script expends any energy to inform or orient the viewers to these facts.) Beau Willimon, the screenwriter responsible for the American reboot of \u003cem>House of Cards\u003c/em>, might seem like an ideal choice to write a movie about political machinations and palace intrigue. But apart from title cards that bookend the film, every plot advancement feels rushed-through, truncated or undeveloped.\u003c/p>\n\u003cp>The only way to make sense of what’s happening is to concentrate on the performances of the actors playing the two queens. Ronan, who is 24, plays Mary from aged 18 until her death 27 years later. The director made a decision not to use prosthetics or make-up to age her. This adds to an ongoing sense of disorientation. Because Mary always looks like a fresh-faced, 24-year-old movie star, the scenes built around her character don’t appear to move forward in time. Events take place—a battle, a marriage, a birth, then another marriage—as if they’re happening in parallel rather than linear time periods. The approach moves the film along at a brisk pace, but it also makes those events feel weightless.\u003c/p>\n\u003cfigure id=\"attachment_13847164\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847164\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/4113_D011_00381_R1543365054-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/4113_D011_00381_R1543365054-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/4113_D011_00381_R1543365054-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/4113_D011_00381_R1543365054-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/4113_D011_00381_R1543365054-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/4113_D011_00381_R1543365054.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Margot Robbie stars as Queen Elizabeth I in ‘Mary Queen of Scots’ (Liam Daniel / Focus Features)\u003c/figcaption>\u003c/figure>\n\u003cp>Robbie, however, has a nose that’s as impressive as the one Nicole Kidman wore in \u003cem>The Hours\u003c/em>. Her Elizabeth I also suffers from a pox that scars her face. In this narrative, the illness explains why she began to paint her face white. As Elizabeth masks herself in make-up and regalia, she constructs a persona that breaks the confines of her gender. She won’t marry or have children because her power could be easily usurped by a consort or her male progeny. She confides in her closest advisor William Cecil (Guy Pearce, who is marvelously bewigged) that she’s had to become a man, or her idea of one, in order to maintain her throne.\u003c/p>\n\u003cfigure id=\"attachment_13847165\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847165\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/4113_D019_00339_R1539042855-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/4113_D019_00339_R1539042855-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/4113_D019_00339_R1539042855-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/4113_D019_00339_R1539042855-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/4113_D019_00339_R1539042855-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/4113_D019_00339_R1539042855.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Saoirse Ronan as Mary Stuart in ‘Mary Queen of Scots’ (Liam Daniel / Focus Features)\u003c/figcaption>\u003c/figure>\n\u003cp>But the boldness that characterized Cate Blanchett’s performance as the Virgin Queen in 1998’s \u003cem>Elizabeth\u003c/em> appears only in Ronan’s performance in this film. Robbie’s Elizabeth is passive, deferential to counsel and unsure of her public identity—that is, until late in the film when she imprisons her cousin. But Ronan’s Mary speaks her mind, acts rashly and alienates her allies. (She sticks her neck out, so to speak.) But her various attempts to regain authority over Scotland unapologetically revolve around her femaleness. And, unlike the neutered English queen, she imperils herself as a result.\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>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/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>\u003c/p>\n\u003cp>\u003cem>‘Mary Queen of Scots’ is now playing at Century San Francisco Centre 9.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13847157/in-mary-queen-of-scots-history-and-her-neck-get-truncated","authors":["42"],"categories":["arts_74"],"tags":["arts_1118","arts_3410","arts_596"],"featImg":"arts_13847218","label":"arts"},"arts_13817344":{"type":"posts","id":"arts_13817344","meta":{"index":"posts_1591205157","site":"arts","id":"13817344","score":null,"sort":[1513951208000]},"guestAuthors":[],"slug":"i-tonya-you-implicated","title":"'I, Tonya,' You, Implicated","publishDate":1513951208,"format":"standard","headTitle":"‘I, Tonya,’ You, Implicated | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>Tonya Harding was never supposed to be a pro figure skater. Like so many young American dreamers before her, she had it all wrong for success: born into the wrong class, raised by the wrong role model, drawn to the wrong men. And she had the wrong kind of femininity for the sport she loved, too, because those judges didn’t want to see a ZZ Top routine from someone who sewed her own costume, even if it did include a flawlessly executed triple axel.\u003c/p>\n\u003cp>So when Harding did find a bit of glory, there were corrective measures in place, and her self-made undoing — by playing some part in the “hit” on U.S. rival Nancy Kerrigan’s leg, the scandal that would unravel her career and the entire 1990s along with it — was the fitting, flaming end to her membership in the elite club that never wanted her anyway.\u003c/p>\n\u003cp>That is the argument put forth by \u003cem>I, Tonya\u003c/em>, the cheeky and skate-sharp new biopic from director Craig Gillespie coming only a few short years after the \u003ca href=\"https://www.npr.org/sections/monkeysee/2014/01/16/263073794/complicating-the-tonya-and-nancy-narratives-20-years-later\">ESPN documentary\u003c/a>. The title tips us off that Harding’s story — drawn from interviews with all the key players — has been rehabilitated into the stuff of tabloid Greek tragedy. This is a bold film, especially in its leveraging of all that real-life contradiction to create something that shocks and delights us with its own stylistic wrongness. \u003cem>I, Tonya \u003c/em>takes greater risks with the biopic genre than any other in recent memory, and it’s remarkable how much of it lands upright. It’s the triple axel of based-on-a-true-story movies.\u003c/p>\n\u003cp>https://youtu.be/d2iy5y0YjGM\u003c/p>\n\u003cp>As played magnificently by Margot Robbie, Tonya is a powerhouse athlete, a fragile abuse victim, an impoverished country girl and a snarky media critic. Robbie embodies all these roles with a childlike sincerity, a lost-soul cluelessness, as her Tonya never ceases to wonder why it can’t just be about the skating. She and the film whip among these personas with wild abandon, mixing styles and tones in a chaotic fashion that borders on overkill. (Must we indulge “present-day” interviews, voice-over AND talking directly to the camera?) But it all builds to a satisfying and illuminating portrait of a poor American girl who maybe never stood a chance.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The film’s account of Harding’s upbringing is so heartbreaking that it would be unbearable if it weren’t presented in such a bouncy, off-kilter way. As a child in Oregon, she was practically shoved onto the ice by her waitress mother LaVona (a superb Allison Janney), partially because her mom sees talent but mostly because she is grooming Tonya for a future as the butt of her endless verbal and physical abuse. LaVona will hold the cost of Tonya’s skating lessons over her head for the rest of her life, long after she compelled her daughter to drop out of school so she can focus on the sport.\u003c/p>\n\u003cp>Most of the film is devoted to Tonya’s marriage to, and subsequent divorce from, Jeff Gillooly (Sebastian Stan). Although the Jeff in the “present day” sequences is muted and introspective, offering deep insights into how his decisions would go on to shape the culture, in the rest of the film, he is an abusive leech, incapable of offering anything to Tonya except psychological obsession as she climbs the ranks of U.S. Figure Skating. Their tumultuous relationship is marked by the cycle of Jeff’s abuse (he hits her at home and later threatens her at gunpoint) followed by his blubbering, shameless apologies and Tonya’s continued gravitation to him even after leaving him and filing a restraining order. Even these scenes, which are brutal enough to watch without the pop songs that punctuate them like thunderclaps, don’t come close to reaching the real-life Harding’s accounts of what Gillooly did to her. But abuse is complex, particularly if you live a sheltered, scrutinized existence, and one of the big strengths of \u003cem>I, Tonya \u003c/em>is how it refuses to make its hero into a sap or her abusers into mere monsters. If they were, we wouldn’t feel as affected by a moving (if a bit showoffy) long take of a post-divorce Jeff in various mopey positions around the house, inhabiting Tonya’s negative space.\u003c/p>\n\u003cp>The film abruptly shifts gears into full-blown farce as we approach what everyone on screen refers to as “the incident”: the attack that created the inescapable digital-video image of the innocent, white-dressed Kerrigan clutching her knee and wailing, “Why? Why?” Gillespie and screenwriter Steven Rogers know an inept hit job when they see one, and they milk this conspiracy of dunces for all it’s worth. It’s all orchestrated by Jeff’s buddy and self-proclaimed Tonya bodyguard Shawn Eckhardt (Paul Hauser, champion goober), who mimes criminal-mastermind behavior from inside his mom’s basement; his “guys” get hyped for their job by blasting “Gloria”; and when it’s all over and Shawn has blown his own cover, he insists to a TV reporter that he has training in “counterespionage and counterterrorism,” despite all evidence to the contrary.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>I, Tonya\u003c/em> gets mushy on the question of exactly how much knowledge Tonya had of the incident, which is consistent with the intrigue that has surrounded this sordid saga ever since. But it takes the extra step of insisting the \u003cem>real\u003c/em> culprits are us, the basic-cable mouth-droolers who hoovered up her every mistake because we love to watch train wrecks on ice. In fact, Tonya shames us right to our faces, an accusation we might take more seriously if the movie didn’t seem to be trying so hard to reconnect with whatever electric qualities first hooked America on her story. Still, for as jolting an experience as watching the film can be, it does help Tonya live her truth, while revealing, from within all its wrongs, the basic truth of figure skating: It has never just been about the skating.\u003c/p>\n\n","blocks":[],"excerpt":"Director Craig Gillespie brings bold innovation to the biopic genre, using various tones and approaches to tell the tale of Tonya Harding (Margot Robbie) while satirizing our love of spectacle.","status":"publish","parent":0,"modified":1705028853,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":10,"wordCount":1059},"headData":{"title":"'I, Tonya,' You, Implicated | KQED","description":"Director Craig Gillespie brings bold innovation to the biopic genre, using various tones and approaches to tell the tale of Tonya Harding (Margot Robbie) while satirizing our love of spectacle.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"'I, Tonya,' You, Implicated","datePublished":"2017-12-22T14:00:08.000Z","dateModified":"2024-01-12T03:07:33.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Andrew Lapin","nprImageAgency":"30West","nprStoryId":"567460570","nprApiLink":"http://api.npr.org/query?id=567460570&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2017/12/07/567460570/i-tonya-you-implicated?ft=nprml&f=567460570","nprRetrievedStory":"1","nprPubDate":"Fri, 08 Dec 2017 12:29:00 -0500","nprStoryDate":"Thu, 07 Dec 2017 17:00:51 -0500","nprLastModifiedDate":"Fri, 08 Dec 2017 12:30:02 -0500","path":"/arts/13817344/i-tonya-you-implicated","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tonya Harding was never supposed to be a pro figure skater. Like so many young American dreamers before her, she had it all wrong for success: born into the wrong class, raised by the wrong role model, drawn to the wrong men. And she had the wrong kind of femininity for the sport she loved, too, because those judges didn’t want to see a ZZ Top routine from someone who sewed her own costume, even if it did include a flawlessly executed triple axel.\u003c/p>\n\u003cp>So when Harding did find a bit of glory, there were corrective measures in place, and her self-made undoing — by playing some part in the “hit” on U.S. rival Nancy Kerrigan’s leg, the scandal that would unravel her career and the entire 1990s along with it — was the fitting, flaming end to her membership in the elite club that never wanted her anyway.\u003c/p>\n\u003cp>That is the argument put forth by \u003cem>I, Tonya\u003c/em>, the cheeky and skate-sharp new biopic from director Craig Gillespie coming only a few short years after the \u003ca href=\"https://www.npr.org/sections/monkeysee/2014/01/16/263073794/complicating-the-tonya-and-nancy-narratives-20-years-later\">ESPN documentary\u003c/a>. The title tips us off that Harding’s story — drawn from interviews with all the key players — has been rehabilitated into the stuff of tabloid Greek tragedy. This is a bold film, especially in its leveraging of all that real-life contradiction to create something that shocks and delights us with its own stylistic wrongness. \u003cem>I, Tonya \u003c/em>takes greater risks with the biopic genre than any other in recent memory, and it’s remarkable how much of it lands upright. It’s the triple axel of based-on-a-true-story movies.\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/d2iy5y0YjGM'\n title='//www.youtube.com/embed/d2iy5y0YjGM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As played magnificently by Margot Robbie, Tonya is a powerhouse athlete, a fragile abuse victim, an impoverished country girl and a snarky media critic. Robbie embodies all these roles with a childlike sincerity, a lost-soul cluelessness, as her Tonya never ceases to wonder why it can’t just be about the skating. She and the film whip among these personas with wild abandon, mixing styles and tones in a chaotic fashion that borders on overkill. (Must we indulge “present-day” interviews, voice-over AND talking directly to the camera?) But it all builds to a satisfying and illuminating portrait of a poor American girl who maybe never stood a chance.\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 film’s account of Harding’s upbringing is so heartbreaking that it would be unbearable if it weren’t presented in such a bouncy, off-kilter way. As a child in Oregon, she was practically shoved onto the ice by her waitress mother LaVona (a superb Allison Janney), partially because her mom sees talent but mostly because she is grooming Tonya for a future as the butt of her endless verbal and physical abuse. LaVona will hold the cost of Tonya’s skating lessons over her head for the rest of her life, long after she compelled her daughter to drop out of school so she can focus on the sport.\u003c/p>\n\u003cp>Most of the film is devoted to Tonya’s marriage to, and subsequent divorce from, Jeff Gillooly (Sebastian Stan). Although the Jeff in the “present day” sequences is muted and introspective, offering deep insights into how his decisions would go on to shape the culture, in the rest of the film, he is an abusive leech, incapable of offering anything to Tonya except psychological obsession as she climbs the ranks of U.S. Figure Skating. Their tumultuous relationship is marked by the cycle of Jeff’s abuse (he hits her at home and later threatens her at gunpoint) followed by his blubbering, shameless apologies and Tonya’s continued gravitation to him even after leaving him and filing a restraining order. Even these scenes, which are brutal enough to watch without the pop songs that punctuate them like thunderclaps, don’t come close to reaching the real-life Harding’s accounts of what Gillooly did to her. But abuse is complex, particularly if you live a sheltered, scrutinized existence, and one of the big strengths of \u003cem>I, Tonya \u003c/em>is how it refuses to make its hero into a sap or her abusers into mere monsters. If they were, we wouldn’t feel as affected by a moving (if a bit showoffy) long take of a post-divorce Jeff in various mopey positions around the house, inhabiting Tonya’s negative space.\u003c/p>\n\u003cp>The film abruptly shifts gears into full-blown farce as we approach what everyone on screen refers to as “the incident”: the attack that created the inescapable digital-video image of the innocent, white-dressed Kerrigan clutching her knee and wailing, “Why? Why?” Gillespie and screenwriter Steven Rogers know an inept hit job when they see one, and they milk this conspiracy of dunces for all it’s worth. It’s all orchestrated by Jeff’s buddy and self-proclaimed Tonya bodyguard Shawn Eckhardt (Paul Hauser, champion goober), who mimes criminal-mastermind behavior from inside his mom’s basement; his “guys” get hyped for their job by blasting “Gloria”; and when it’s all over and Shawn has blown his own cover, he insists to a TV reporter that he has training in “counterespionage and counterterrorism,” despite all evidence to the contrary.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>I, Tonya\u003c/em> gets mushy on the question of exactly how much knowledge Tonya had of the incident, which is consistent with the intrigue that has surrounded this sordid saga ever since. But it takes the extra step of insisting the \u003cem>real\u003c/em> culprits are us, the basic-cable mouth-droolers who hoovered up her every mistake because we love to watch train wrecks on ice. In fact, Tonya shames us right to our faces, an accusation we might take more seriously if the movie didn’t seem to be trying so hard to reconnect with whatever electric qualities first hooked America on her story. Still, for as jolting an experience as watching the film can be, it does help Tonya live her truth, while revealing, from within all its wrongs, the basic truth of figure skating: It has never just been about the skating.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13817344/i-tonya-you-implicated","authors":["byline_arts_13817344"],"categories":["arts_74"],"tags":["arts_1118","arts_3410","arts_769"],"affiliates":["arts_137"],"featImg":"arts_13817345","label":"arts_137"}},"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. 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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. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.","airtime":"THU 10pm, FRI 1am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.commonwealthclub.org/podcasts","meta":{"site":"news","source":"Commonwealth Club of California"},"link":"/radio/program/commonwealth-club","subscribe":{"apple":"https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2","google":"https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw","tuneIn":"https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"}},"considerthis":{"id":"considerthis","title":"Consider This","tagline":"Make sense of the day","info":"Make sense of the day. Every weekday afternoon, Consider This helps you consider the major stories of the day in less than 15 minutes, featuring the reporting and storytelling resources of NPR. 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You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED MindShift: How We Will Learn","officialWebsiteLink":"/mindshift/","meta":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"id":"morning-edition","title":"Morning Edition","info":"\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.","airtime":"MON-FRI 3am-9am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/morning-edition/","meta":{"site":"news","source":"npr"},"link":"/radio/program/morning-edition"},"onourwatch":{"id":"onourwatch","title":"On Our Watch","tagline":"Police secrets, unsealed","info":"For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. 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