NASA, NSF, and NOAA have made substantial progress in implementing the programs recommended in the 2013 decadal survey on solar and space physics (heliophysics) despite a challenging budgetary landscape, says a new midterm assessment from the National Academies of Sciences, Engineering, and Medicine.

Dried and cracked earth is visible on an unplanted field at a farm on April 29, 2014 near Mendota, California. ; Credit: Justin Sullivan/Getty Images

• Summer is upon us, and KPIX in San Francisco reports three years of drought in the Central Valley has turned America's salad bowl into a "dust bowl." (KPIX)
• Speaking of summer and San Francisco, it appears denizens of the City by the Bay have done such a good job of conserving water, their water agency has already decided there will be no mandatory restrictions this summer. (San Jose Mercury News)
• Meanwhile, SFGate columnist Mark Morford wonders how water availability will factor into property values for summer get-aways north of San Francisco:

Wait, what? Right, the water. The Looming Issue. The Unexpected Fear. Water – or rather, the potential lack thereof – is something I didn’t realize I’d be quite so worried about when I started my search. But now? It’s damn near unavoidable. (SFGate)

• "As the Water Bond Turns" continues in Sacramento. In the latest episode, Gov. Brown stops playing hard to get and decides to commit, but will he find a willing (political) partner? Stay Tuned. (Sacramento Bee)

This content is from Southern California Public Radio. View the original story at SCPR.org.

Less water in Hoover Dam means less power coming from the Dam's generating units. ; Credit: Dawn Danby/via Flickr

Monday's fat stack of news also includes some views about what to do about drought and Western water supplies.

The New York Times has published six answers to the questions "What are the best ways to share the water? And how can we ensure it lasts for the foreseeable future?" Pat Mulroy, former general manager of the Southern Nevada Water Authority, weighs in, as do several other think tankers:

[N]ew energy and fuel production options have become more water intensive. Unconventional oil and gas production methods such as hydraulic fracturing have significant implications for local and regional water quality and quantity. Bioenergy consumes water at various stages of production (including irrigation for crops) and also has impacts on water quality and quantity...We should be pursuing cleaner energy and streamlined approaches to conserving water in order to truly safeguard our water supply. (Newsha Ajami/Stanford University)

An incredible 40 percent of the water consumed by Americans goes into meat and dairy production. Livestock must drink water and there is some water use at the farm, but most of this water is for the producing animal feed...Is this a wise allocation of the limited supply of freshwater in America? (Arjen Hoekstra/University of Twente, Netherlands)

• Closer to home, the Sacramento Bee has an ongoing series about drought solutions. Mariposa County resident Tom DeVries, who lives in forestland at 4,000 feet, offers his take:

Trees take water; a big one can draw 100 gallons a day out of the ground. All that junk forest in California is sucking up water that should be filling my spring and well and flowing downhill toward the rest of you. (Sac Bee)

• You know who else has good ideas about how to conserve water in drought? Australians. (KQED)
• Jay Lund from UC Davis modeled a "mega-drought" with his team and found that the economic consequences of a big drought event could be mostly managed through smarter water conservation policies. (California Water Blog)
• Falling water levels at Lake Mead are lowering Hoover Dam's energy production. Generating units have recently been "derated," meaning that they're expected to have a lower capacity for producing electricity now that there's less water to turn turbines. (EE News)
• Jason Dearen and Garance Burke report on "senior rights holders," and how poorly California accounts for water use by people who have rights dating back before 1914 at anytime, and how much that matters now during the drought. (AP)
• You're gonna see a lot of these stories all week: it's a terrible year for setting off fireworks. I bet rural fire chiefs have their teeth on edge already. (Merced Sun-Star)
• And we'll finish up in Southern California. In the first of a duo of Dana Bartholomew stories, the Daily News reports on Turf Terminators, a company that offers to leverage the recently-raised turf removal incentive and swap out homeowners' lawns for less thirsty landscapes...essentially for free, since the company's premise is that it can do the work for the price of the rebate. (Daily News)
• In the second, Bartholomew profiles a Studio City water-conservation demonstration at homes along Rhodes Avenue. (Daily News)
• And a UCLA project examining water use and conservation potential in territory served by the Los Angeles Department of Water and Power suggests that we're not pricing water well enough to encourage conservation. Authors of a policy brief with the California Center for Sustainable Communities say dual metering, for inside and outside, would also improve conservation. (Imperial Valley News)

How has your community been affected by the drought? Share your story with a photo on Twitter or Instagram. Tag it #mydrought. For more details on our photo project, click here.

This content is from Southern California Public Radio. View the original story at SCPR.org.

California cherries. ; Credit: Flickr Creative Commons/ babi_santander

Food for thought:

• As food production in the California Salad Bowl withers, growers in Oregon are seeing more business come their way. Many are jumping at the chance:

That means there is a great opportunity to supply a need to grocery markets. “Growers can take advantage of the crops that can be grown here that they won’t grow there,” Penhallegon said. “This would be the year to increase production. (Farmers) just need to find out what is lacking. Lettuce, tomatoes, cucumbers; there is an open door there.” (Corvallis Gazette-Times)

• Are you enjoying cherry season? Have you noticed how expensive they are? That may be because the harvest is down 75 percent this year. It's because of warm days in the winter. (Capital Public Radio)

Water fight:

• The Wall Street Journal looks at the fines and citations that more California cities are using to get people to save water. Sacramento is one of the most aggressive when it comes to policing, but it kind of has to be:

This year, the city cut outdoor watering to three days a week from two. Because only about half its homes have water meters to measure use, Sacramento must rely on inspectors to help enforce the rules. (Wall Street Journal)

• Today's other fight is over those well-drilling men. Everyone wants a piece of these guys. All these new wells and shrinking aquifers puts me in mind of "There Will Be Blood." Perhaps a effective ad campaign would feature Daniel Day-Lewis yelling, "I ... drink ... your ... MILKSHAKE!"

We're on a one-way trajectory toward depletion, toward running out of groundwater, says Jay Famiglietti, a University of California hydrologist and a leading expert on groundwater. He points out that California is the only Western state that doesn't really monitor or regulate how much groundwater is pumped.

So it's not unlike having several straws in a glass, and everyone drinking at the same time, and no one really watching the level, Famiglietti says. (NPR)

Evaporation:

• Here and Now has an interesting story (also interesting sounding - think Radiolab) on the science of stopping water loss from evaporation. Apparently, reservoirs can lose just as much water to evaporation as it does to use. (Here & Now)

How has your community been affected by the drought? Share your story with a photo on Twitter or Instagram. Tag it #mydrought. For more details on our photo project, click here.

This content is from Southern California Public Radio. View the original story at SCPR.org.

Exide begins to remove lead-polluted soil on Monday morning at a house on the 1200 block of La Puerta Street in Boyle Heights.; Credit: Maya Sugarman/KPCC

All five members of the Los Angeles County Board of Supervisors have signed a letter imploring California Gov. Jerry Brown to intervene in the state’s handling of contamination around the Exide Technologies plant in Vernon.

The letter criticizing the state’s “piecemeal approach to an urgent environmental hazard” comes as workers paid for by Exide are removing lead-contaminated topsoil from two homes near the intersection of Olympic and Indiana avenues in L.A. 

Signed Tuesday, the letter asks for “guaranteed state funding to immediately begin testing” at 37 more homes also sampled, but to less specific degrees, during November 2013. In the words of the board, “further testing and remediation of the other 37 homes has not been confirmed and may not begin until at least October 2014 because Exide has not yet agreed to comply with DTSC directives issued last March.”

The supervisors also say the state has “reneged” on its commitments to test for lead inside the homes as well as outside.

The Department of Toxic Substances Control says that the two homes workers are at this week will be cleaned inside and out — even without indoor testing.  The DTSC’s Rizgar Ghazi said Monday that crews will use HEPA filters, vacuums and shampooing equipment on “basically any flat surface” inside the two residences.

Read the L.A. Board of Supervisors’ letter to Gov. Brown here:

http://www.scribd.com/doc/236655733/LA-County-Supervisors-Letter-to-Gov-Brown-8-12-14

This content is from Southern California Public Radio. View the original story at SCPR.org.

On Broad Beach in Malibu, high tide not only wets sand but also retaining walls and broken down rock revetments. What happens next in homeowners' efforts to get sand trucked in here will go to the State Lands Commission - and the next Controller likely will weigh in on the problem. ; Credit: Molly Peterson/KPCC

The most common question I’ve been asked about the statewide Controller race this election year is the same question I get every four years. “Wait, we have one?”

The inevitable follow-up question: “What does this person do?” Down-ballot races in California’s state election can seem like a tedious part of a the voting process. Most of us just don't take the time to research them. In 2010, the last time we elected statewide executives, 435,308 of those people who voted for Governor just didn’t bother to vote for anybody in the Controller race. 

But in addition to being the chief fiscal officer of the 8th-largest economy in the world, the Controller sits on something like 80 state commissions and boards. And if you’re interested in California’s environment, a biggie there is the State Lands Commission.

The State Lands Commission oversees roughly 4 million acres of submerged land and tidelands, holding them in trust for the public. Right now it's looking at policy alternatives to respond to sea level rise. It manage the state's offshore oil-drilling leases. It even gets authority over historical shipwrecks! 

Three issues coming before to the Lands Commission mean the Controller matters:  

• Coastal Access and Martin’s Beach: At the end of September, Governor Jerry Brown signed a law requiring the State Lands Commission to negotiate with Vinod Khlosa, a private property owner who famously shut down coastal access over his land this year. The commission has all of next year to negotiate with Khlosa. If no deal is reached, it can use eminent domain authority to force public access – something that would represent a big break in historical practice, because that authority hasn’t ever been used in the 76 years that the commission has existed.
• Malibu’s Broad Beach has been rapidly eroding under pressure of waves and storms worsened by climate change, and very rich homeowners there have been seeking to add sand in front of their houses to combat the risk of damage to very expensive properties. Earlier this year, those homeowners successfully completed an application to the State Lands Commission, and the commission was expected to decide on it in October. The decision’s been put over till after the election.
• Fracking: Offshore oil made news late last year and earlier this year when some operators didn’t report that they were using drilling and production techniques collectively referred to as hydraulic fracturing. The news prompted the EPA to require chemical disclosures for drilling operations it oversees.  The state agencies that should be overseeing these issues – the Coastal Commission and the Lands Commission – are considering their next moves too.

Positions on these issues don’t really come up when it comes to the Controller race, though both Betty Yee and Ashley Swearengin have gone on the record to say they’re against fracking. 

This content is from Southern California Public Radio. View the original story at SCPR.org.

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Agora Financial's Byron King and John-Mark Staude of Riverside Resources offer their viewpoints on markets during the COVID-19 pandemic in this conversation with Maurice Jackson of Proven and...

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Though sector expert Michael Ballanger's focus is on the precious metals, given current market conditions he sees potential in oil as well.

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Ron Struthers of Struthers' Resource Stock Report details the value proposition of Bam Bam Resources and its flagship prospect.

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Bob Moriarty of 321gold provides an update on how Getchell Gold is likely to handle its warrants.

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The junior gold explorer with a nascent exploration breakthrough could soar on the back of a gold bull market, writes Peter Krauth.

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Peter Epstein of Epstein Research looks into the Gross Overriding Royalty that just changed hands on the company's flagship Red Hill project, and discusses what it means for the firm.

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Dr. Anthony Fauci steps out of the West Wing for a briefing on the novel coronavirus in the Rose Garden of the White House in March.; Credit: Mandel Ngan/AFP via Getty Images

The White House will not allow the leading immunologist on the coronavirus task force to testify to Congress next week, calling the request "counter-productive" to the administration's efforts to contain the virus.

Dr. Anthony Fauci's testimony had been requested by the House Appropriations Committee, as part of an investigation into the White House response to the COVID-19 pandemic.

A committee spokesman on Friday said the White House had blocked the doctor from appearing before the panel.

"The Appropriations Committee sought Dr. Anthony Fauci as a witness at next week's Labor-HHS-Education Subcommittee hearing on COVID-19 response. We have been informed by an administration official that the White House has blocked Dr. Fauci from testifying," spokesman Evan Hollander said in a statement.

Fauci has become one of the most well recognized experts in the administration's coronavirus response team, often speaking publicly during task force briefings, and at times, seeming to contradict statements made by President Trump.

"While the Trump Administration continues its whole-of-government response to COVID-19, including safely opening up America again and expediting vaccine development, it is counter-productive to have the very individuals involved in those efforts appearing at Congressional hearings. We are committed to working with Congress to offer testimony at the appropriate time," White House spokesman Judd Deere said in a statement.

This content is from Southern California Public Radio. View the original story at SCPR.org.

Dr. Anthony Fauci, director of the National Institute of Allergy and Infectious Diseases, and CDC Director Robert Redfield will appear before a Senate committee on May 12.; Credit: Patrick Semansky/AP

Dr. Anthony Fauci, the director of the National Institute of Allergy and Infectious Diseases, will join Centers for Disease Control and Prevention Director Robert Redfield and other administration representatives in testifying before a Senate committee on May 12.

The announcement comes as members of President Trump's coronavirus task force are being asked to limit their appearances on Capitol Hill despite ongoing calls from lawmakers for more oversight into the administration's coronavirus response. Last week, the Trump administration blocked Fauci from appearing before a House committee on the subject of spending on coronavirus testing.

President Trump told reporters Tuesday that he doesn't want the officials appearing before House Democrats.

"The House is a setup," Trump said. "The House is a bunch of Trump haters."

White House officials gave a less adversarial explanation when justifying the decision to limit task force testimony in a memo to top congressional aides.

"For primary response departments, including HHS, DHS, and State, in order to preserve department-wide resources, no more than one COVID-related hearing should be agreed to with the department's primary House and Senate authorizing committee and appropriations subcommittee in the month of May, for a total of no more than four COVID-related hearings department-wide," the memo stated.

Congressional Democrats are demanding greater oversight over the roughly $3 trillion that has already been approved for the coronavirus response. House Speaker Nancy Pelosi, D-Calif., has launched a new select committee to conduct the oversight, but Republicans have so far refused to name members to the panel despite the plan to make the panel bipartisan.

The Senate hearing was announced shortly after the administration sent the memo to Capitol Hill banning committee appearances from task force members during May unless approved by the White House chief of staff.

Deputy White House Press Secretary Judd Deere said the decision to block Fauci from the House committee appearance was intended to allow him to focus on his primary task of overseeing the coronavirus response.

"While the Trump Administration continues its whole-of-government response to COVID-19, including safely opening up America again and expediting vaccine development, it is counter-productive to have the very individuals involved in those efforts appearing at Congressional hearings," Deere said. "We are committed to working with Congress to offer testimony at the appropriate time."

Fauci, Redfield, HHS Assistant Secretary Brett Giroir and FDA Commissioner Stephen Hahn are scheduled to discuss "safely getting back to work and back to school" when they appear before the Health, Education, Labor and Pensions — or HELP — Committee next Tuesday.

Senate Democrats, including Patty Murray, D-Wash., the top Democrat on the HELP committee, have called for the administration to provide greater transparency and a nationwide plan for testing. So far their demands have not received a response.

This content is from Southern California Public Radio. View the original story at SCPR.org.

President Trump speaks in the Oval Office Wednesday.; Credit: Evan Vucci/AP

In a whistleblower complaint filed this week, top federal scientist Rick Bright alleges he was removed from his post for failing to go along with the president's push to promote a drug as a cure for COVID-19.

On Wednesday, Trump dismissed the complaint, telling reporters Bright "seems like a disgruntled employee who's trying to help the Democrats win an election."

"I never met him, I know nothing about him," Trump said, adding that he didn't think "disgruntled people" should work for his administration.

Trump also observed that Bright is being represented by a legal team that represented "other people" – seemingly an allusion to lawyer Debra Katz's representation of Christine Blasey Ford, who testified against Supreme Court Justice Brett Kavanaugh during his confirmation.

Bright's legal team declined to comment.

Bright says he was ousted from his position as director of the Biomedical Advanced Research and Development Authority because he wanted to spend money on safe and vetted treatments for COVID-19 — not hydroxychloroquine. The president has called that common anti-malaria drug a possible "game-changer," but there is no proof that it works for COVID patients, and it has side effects. The Food and Drug Administration ultimately warned against using the drug to treat COVID-19 without "strict medical supervision."

This content is from Southern California Public Radio. View the original story at SCPR.org.

"For Sale By Owner" and "Closed Due to Virus" signs are displayed in the window of Images On Mack in Grosse Pointe Woods, Mich. Congress is considering ways to help those struggling during the economic downturn and stabilize businesses hoping to reopen.; Credit: Paul Sancya/AP

Updated at 3:20 p.m. ET

Democrats and some Republicans are considering ways for the federal government to get money into people's pockets while the coronavirus is keeping much of the economy on ice.

Proposals for the next round of aid are being floated, and Democrats in the House are prepping another relief package as jobless claims continue to rise in the country. The Labor Department announced Friday that 20.5 million jobs were lost in April, pushing the overall unemployment rate to 14.7 %.

House Speaker Nancy Pelosi, D-Calif., hopes to release another bill, which is being crafted without the input of Republicans or the White House as early as next week.

"This is a reflection of the needs of the American people," Pelosi said Thursday. "We have to start someplace and, rather than starting in a way that does not meet the needs of the American people, want to set a standard."

The latest proposal from Sens. Kamala Harris, D-Calif., Bernie Sanders, I-Vt., and Ed Markey D-Mass., is a plan for the federal government to provide $2,000 a month for every individual earning less than $120,000, including children and other dependents. The draft legislation would extend the payments until three months after the public health emergency is lifted.

The proposal is a vast expansion on the recovery rebate program that sent a one-time payment of $1200 to every person earning less than $75,000 and an additional $500 for every child.

The trio of Democratic senators wants to make the payments, which would be available to every U.S. resident, retroactive to March. They didn't provide a cost estimate for the ambitious proposal, and it's unclear whether Senate leaders have an appetite for payments like these.

Official scorekeepers at the Congressional Budget Office estimate that the existing one-time $1200 payment program in the CARES Act package enacted in March could cost around $300 billion. Republican leaders have signaled concerns with the growing cost of the relief bills that have already passed.

Senate Majority Leader Mitch McConnell, R-Ky., has called for a pause on any new aid.

"Let's see what we are doing that is succeeding, what is not succeeding, what needs less, what needs more," McConnell told reporters in April. "Let's weigh this very carefully because the future of our country in terms of the amount of debt that we are adding up is a matter of genuine concern."

Not all Republicans agree. Sen. Josh Hawley, R-Mo., has introduced a comprehensive response plan that includes a proposal to cover 80 percent of payroll for companies that rehire workers and a bonus for the companies that take advantage of the program.

"The federal government should cover 80 percent of wages for workers at any U.S. business, up to the national median wage, until this emergency is over," Hawley wrote in an editorial in The Washington Post. "The goal must be to get unemployment down — now — to secure American workers and their families, and to help businesses get ready to restart as soon as possible."

Hawley's proposal would cap payments at the national median income level. The median income can be calculated in several different ways. Hawley told St. Louis Public radio the payments could be as high as $50,000. Other calculation set the figure at roughly $33,000, a figure many Democrats say is not sufficient in higher-cost areas like cities.

House Progressive Caucus co-chair Rep. Pramila Jayapal, D-Wash., has a separate version that would guarantee a worker's full salary up to $100,000 for three months. Jayapal's plan would automatically renew the payments on a monthly basis until consumer demand returns to pre-crisis levels.

The proposal has nearly two dozen co-sponsors but has not received an endorsement from party leadership.

Pelosi has not ruled out the possibility of including some minimum income payments in an upcoming coronavirus aid bill.

"We may have to think in terms of some different ways to put money in people's pockets," Pelosi said in an interview with MSNBC. "Let's see what works, what is operational and what needs other attention."

This content is from Southern California Public Radio. View the original story at SCPR.org.

A 2018 exhibit at the Billy Ireland Cartoon Library & Museum at Ohio State University celebrated the artistic legacy of MAD magazine.; Credit: Andrew Welsh-Huggins/AP

The funny, freckled face of Alfred E. Neuman is more or less retiring.

One of the last widely circulated print satirical magazines in America will leave newsstands after this year, according to sources at DC Comics, which publishes MAD magazine.

While the Harvard Lampoon remains in business, The Onion hasn't been in print since 2013. The once-influential Spy was a casualty of the 1990s.

At MAD's peak in the early 1970s, more than 2 million people subscribed to it, both for its pungent political humor and deeply adolescent jokes.

In 2017, that number had reportedly dropped to 140,000.

MAD isn't completely shutting down, but it will be radically downsized and changed.

Readers will only be able to find the 67-year-old humor magazine at comic book stores and through subscriptions.

After issue No. 10 this fall, there will no longer be new content, except for end-of-year specials which will be all new. Starting with issue No. 11, the magazine will feature classic, best-of and nostalgic content, repackaged with new covers.

This content is from Southern California Public Radio. View the original story at SCPR.org.

Two years after it released the first season of the show 13 Reasons Why with a graphic suicide scene, Netflix has announced that it has edited it out.

The show is centered on the suicide of fictional teen Hannah Baker, and the first season's finale shows her taking her own life. Several organizations, including the National Association of School Psychologists, raised concerns that it could romanticize suicide for vulnerable teens.

"Our creative intent in portraying the ugly, painful reality of suicide in such graphic detail in Season 1 was to tell the truth about the horror of such an act, and make sure no one would ever wish to emulate it," show creator Brian Yorkey said in a statement. "But as we ready to launch Season 3, we have heard concerns about the scene from Dr. Christine Moutier at the American Foundation for Suicide Prevention and others, and have agreed with Netflix to re-edit it."

"No one scene is more important than the life of the show, and its message that we must take better care of each other," he added. "We believe this edit will help the show do the most good for the most people while mitigating any risk for especially vulnerable young viewers."

After some initial criticism, Netflix added a warning card to the beginning of the episode, alerting viewers that the episode contained "graphic depictions of suicide and violence."

The show also has a website, 13reasonswhy.info, containing resources about suicide prevention. It contains videos of cast members discussing topics such as bullying, consent, depression and how to talk with a teen about the series. The site also warns: "If you are struggling, this series may not be right for you or you may want to watch it with a trusted adult."

The edited version, now on Netflix, shows Hannah looking at herself in the mirror, full of emotion. It then cuts to her parents finding her body in the bathroom and reacting to her death. The previous version was nearly three minutes long, according to The Hollywood Reporter, and showed her cutting her wrists with a razor blade.

Netflix's decision has drawn praise from a number of suicide prevention advocates, such as American Association of Suicidology, American Foundation for Suicide Prevention, American School Counselor Association, Dr. Helen Hsu from Stanford, advocacy group Mental Health America, the Trevor Project and Dr. Rebecca Hedrick from Cedars-Sinai, according to THR.

"We support the decision to edit the scene in which Hannah takes her own life from 13 Reasons Why. There has been much debate about the series in the medical community," they said in a joint statement, as THR reported. "But this positive change will ensure that 13 Reasons Why continues to encourage open conversation about mental health and suicide prevention — while also mitigating the risk for the most vulnerable teenage viewers."

Ron Avi Astor at the University of Southern California, who studies adolescent bullying and mental health, discussed with NPR's Anya Kamenetz how the images of self-harm on the show could affect teens.

Avi Astor told Kamenetz that the depiction could be contagious — but just for certain teens. "It's not just that any random kid would see it and do it," he said, but for a kid who was already thinking about suicide, it had the potential to influence their behavior.

If you or someone you know may be considering suicide, contact the National Suicide Prevention Lifeline at 1-800-273-8255 (En Español: 1-888-628-9454; Deaf and Hard of Hearing: 1-800-799-4889) or the Crisis Text Line by texting HOME to 741741.

This content is from Southern California Public Radio. View the original story at SCPR.org.

Hachette Book Group employees in New York City, during a Thursday walkout protesting their company's decision to publish Woody Allen's memoir.; Credit: Kendra Barkoff Lamy/Twitter

On Thursday afternoon, dozens of employees of the publishing imprints Grand Central Publishing and Little, Brown staged a walkout to protest Grand Central's decision to publish Woody Allen's memoir, Apropos of Nothing, next month.

Both imprints are owned by Hachette Book Group (HBG), the same house that published journalist Ronan Farrow's Catch and Kill. The walkout comes after Farrow announced on Tuesday that he felt he could no longer work with HBG after the Allen acquisition.

Farrow is Allen's son with actress Mia Farrow; his sister, Dylan Farrow, has accused Allen of having sexually abused her as a child. Allen has long denied her allegations.

In his statement, Farrow wrote in part that HBG "concealed the decision from me and its own employees while we were working on Catch and Kill — a book about how powerful men, including Woody Allen, avoid accountability for sexual abuse."

Dylan Farrow also released a statement on Monday evening, in which she said in part: "Hachette's publishing of Woody Allen's memoir is deeply upsetting to me personally and an utter betrayal of my brother whose brave reporting, capitalized on by Hachette, gave voice to numerous survivors of sexual assault by powerful men. ... This provides yet another example of the profound privilege that power, money and notoriety affords. Hachette's complicity in this should be called out for what it is and they should have to answer for it."

Employees at both HBG's New York and Boston offices participated in the Thursday walkout. Many also sent out an auto-reply email that read in part: "We stand in solidarity with Ronan Farrow, Dylan Farrow and survivors of sexual assault." Those include Little, Brown executive editor Vanessa Mobley, who was the editor of Catch and Kill.

In a statement sent to NPR Thursday afternoon, HBG CEO Michael Pietsch said: "We respect and understand the perspective of our employees who have decided to express their concern over the publication of this book. We will engage our staff in a fuller discussion about this at the earliest opportunity."

NPR reached out for comment to Allen's agent, who did not respond as of publication time.

The New York Post reported that HBG employees approached the company's human resources department on Thursday afternoon to complain about the planned publication of Allen's book. A Hachette employee told NPR that HBG's CEO, Michael Pietch, attempted to hold a town hall meeting on Thursday to discuss the issue, but the employees walked out before the meeting was held.

Farrow's agent, Lynn Nesbit, told NPR on Thursday, "I feel moved almost to tears by the walkout. It was such a brave gesture to management who, in my opinion, made such a misguided decision." Signing Allen, she said, was "a betrayal of Ronan, of the women in his book, of the issues in the book and of the staff of this publisher." She added that Farrow is "grateful for the support of his colleagues at Little, Brown."

Last year, The New York Times reported that Allen had tried to sell the memoir to several major publishing houses, "only to be met with indifference or hard passes"; one source told NPR on Thursday afternoon that the title had been considered "radioactive" in the publishing world.

Farrow also said in his Tuesday statement that HBG had not fact-checked Allen's memoir, nor did it contact Dylan Farrow for any response. "It also shows a lack of ethics and compassion for victims of sexual abuse, regardless of any personal connection or breach of trust here. ... I've also told Hachette that a publisher that would conduct itself in this way is one I can't work with in good conscience."

This content is from Southern California Public Radio. View the original story at SCPR.org.

Faced with financial issues, the Upright Citizens Brigade Theater closed its Chelsea location in 2017.; Credit: Andrew Toth/Getty Images

When the Upright Citizens Brigade announced plans to permanently close its New York bases last week, comedy lost a beloved home. The scrappy, alternative comedy troupe that grew into a school and theater revolutionized improv in New York and beyond with its embrace of "Yes, and ..."

The New York institution incubated the talents of stars such as Kate McKinnon, Aziz Ansari, Chris Gethard, Donald Glover, Aubrey Plaza and many others in the comedy world. A pillar of longform improv, UCB teachings have been brought into countless comedy writers' rooms and are etched into many successful TV shows.

Four of the company's founding members, known as the "UCB4" — Amy Poehler, Matt Besser, Matt Walsh and Ian Roberts — told staff in an email on April 21 that the organization couldn't afford to renew its leases on the group's two Manhattan locations: the UCB theater in Hell's Kitchen and a training center in the Garment District.

UCB also has two locations in Los Angeles where operations have been temporarily halted during the coronavirus outbreak, but there are currently no plans to close them.

Obits followed, marking the exit of UCB's physical presence in the city where it took off in the '90s, when the group turned a former strip club into its first theater.

"The guys that I came up with in New York at the UCB Theater — we made our bones there basically," said Rob Corddry, who went on to be a Daily Show correspondent and star in comedy films including Hot Tub Time Machine. "It's really sad. Sort of the end of an era."

The news comes a month after layoffs were announced at the group's New York and Los Angeles facilities in response to the coronavirus. A small number of staff were kept at training centers on both coasts.

But UCB was under financial strain long before the pandemic. Many UCBers cast the move as an example of an opaque, top-down decision-making that, over the years, they say has sowed distrust in UCB leadership among its members.

"The biggest issue with UCB was the lack of communication of the company and the owners to their employees," said Paris Adkins, a New York performer who was laid off from her administrative job with the company last month.

A previous round of layoffs took place at the end of 2018, mostly of New York employees. Adkins said the pandemic "is just the extenuating circumstance that put things over the edge."

As for the most recent closures, UCB's founders admitted to falling short of expectations.

"Look, we heard the community when they said, 'We're scared, too, and we want better communication,' " Amy Poehler told The Hollywood Reporter in an interview with the UCB4 after the announcement. "I think we did make mistakes, and we're trying to do better."

UCB has not responded to NPR's attempts to contact the organization.

Chris Renfro, an LA-based performer and show producer who relied on UCB as his main source of income, said that learning in March via a mass email that his 3-year career there had come to an end struck him as a betrayal of the values the UCB4 claimed to live by.

"UCB is about a community, it's about having each other's backs," he said, referencing the improv tradition UCB students learn of literally patting each other's backs and saying "Got your back."

"It felt like they had turned their backs on this massive community they had built up around them," he said. "So now there's a weird taste in a lot of peoples' mouths because of that."

According to a letter sent to staff addressing the layoffs, Poehler said she would pay for an additional month of health care for former full-time staff.

Much of the company's operations run on part-time staff, according to Adkins. She estimated that UCB cut a total of 45 New York-based employees across the city since last month.

Despite the community's frustrations, when the indefinite shutdown of the New York outposts turned definite, the tributes rolled in online.

Stephen Colbert, who studied at the peer improv hub Second City in Chicago before moving to New York, tweeted "I'll always be grateful" for the times he was roped in to perform with UCB during the '90s in the acclaimed sketch show mainstay Asssscat.

Daily Show correspondent Jordan Klepper added, "When I left Chicago, the people at UCB NY welcomed me, challenged me, and embodied the NY spirit of full commitment today because tomorrow you could run out of cash and life ships you back home."

Other dispatches on social media were less endearing.

Former students, many of whom shelled out several hundred dollars for improv classes, wrote about negative experiences and wasted money. Some revived longstanding criticism of the theater's policy to not pay its performers, unlike many of its improv peers.

Despite its problems, many felt a sense of community at UCB, Adkins said.

"I think people are grieving," she said. "It's pretty much my only community in New York and I think a lot of people feel that way. You don't get the support of a community like you do at UCB."

In an effort to financially support herself and her peers following the layoffs, Adkins started a GoFundMe page to raise money for New York staff. To date, the account has raised nearly $60,000. She's splitting the funds between staff members, who will receive a month's worth of pay. The rest will be divided among teachers who are in need, Adkins said.

In the THR interview, Amy Poehler assured the UCB community, "We're not leaving New York."

At least for the short-term, the company has moved both LA and New York classes online. For the long-term in New York, leadership has floated plans to return to the old days of renting other independent spaces to hold classes and performances.

Still, even some of its youngest members see the now-shuttered hubs as a piece of history.

"But that's replaceable and people are not," said former training center staff member Maicy Jo Schwartz, who began her UCB NY career in 2014.

Schwartz sees a silver lining.

"I wouldn't be surprised if in the future some people branch off and start their own theaters or their own training centers or their own underground improv and sketch, because New York is a perfect place to do that," she said. "And I do hope that the UCB4 — Amy, Matt, Matt and Ian — can be part of that and support that when there are future endeavors that their alumni take on."

NPR's Elizabeth Blair contributed to this story.

This content is from Southern California Public Radio. View the original story at SCPR.org.

I know these Presidential debates aren’t debates in the historical sense.  Regardless, I’m looking forward to seeing how both men do on a topic of immense complexity.  Is Mitt Romney going to be more forthcoming about what tax deductions he’d want cut to keep his tax reform plan from ballooning the deficit?  Will President Obama  give more detail about how he would improve the economy, short of a government stimulus that could never get through a GOP Congress?

I’ll be live tweeting during the debate.  Join me @AirTalk #debates.

This content is from Southern California Public Radio. View the original story at SCPR.org.

After the San Francisco 49ers beat the Atlanta Falcons for the right to go to the Super Bowl, I tweeted my appreciation of a California team going to the game.  If no local team is in the running (or exists), I'm always glad to root for a Bay Area team that makes it.

My tweet got responses from some Southern Californians who have no interest in supporting a San Francisco team, especially given the Giants' World Series championship.  It goes without saying that many Dodger fans are loathe to support the Giants, under any circumstances. 

Given the historic bad blood between the teams, that's no surprise, but I think it runs even deeper.  The divide between Northern and Southern California is about more than sports, or even water rights.  It's rooted in distinct cultural differences between the two.

However, California has evolved to the point where the bigger cultural divide now might be between coastal and inland regions.  Rural Northern Californians typically dislike San Francisco far more than Angelenos do.  Similarly, inland Southern California residents often see Los Angeles as the prohibitively expensive home of two-hour traffic jams.

Until the Inland Empire or the San Joaquin Valley get major league teams, we won't see that rivalry playing out at a stadium near you.   In the meantime, I'm cheering on the Niners, and my state, on February 3rd.

This content is from Southern California Public Radio. View the original story at SCPR.org.

Shout out to my 20 million brothers and sisters-  The one in seven U.S. taxpayers who waited until the last minute to file. 

This year, the IRS even gave us 'til April 18th-  So the 18th is when I filed- For my extension!  See you in October!

In my defense, it was not due to lack of effort.  It feels like I spent 200 hours on my taxes this year, because they were unusually complicated. 

Back when I was in my twenties?  Much effort was put into stacking red milk crates for bookshelves and trying to fold up a futon without mangling my fingers-30 years later, I'm trying to do really smart grown-up things.

To wit, my life partner and I have been business partners for almost 20 years.  We used to be young-  Now we're-ahem-"less young"-  Picture the Boomers you see in those ads, silver-haired, in wet suits, running towards the ocean with surfboards, very at peace with nature and our fully-funded 401-K plans - Except that we don't surf and, regarding those 401-K plans?

Well, what I have written on the notepad I stole from Charles Schwab is-  And I quote:
"Retirement and write it off, and something about medical." 

When I look at this enigmatic scribble, an image comes to me: A friendly thirty-something man dressed in charcoal gray business casual- And a desk, and a plant-  And that man is saying:

"Sandra, by all means, you need to form a C corp!  NOT an S corp!"

But wait, is that what he said? Maybe it was:
"Sandra, by all means, you need to form an S Corp!  NOT a C corp!"

It was like being in school and confronting a page of long division- Or sitting in a deadly after-lunch class like "US Government"-  There's this mix of incomprehension, coupled with boredom, that makes it all sound like white noise.

S corp, C corp-  These things involve a part of my brain that refuses to fire.  All I know is there was one kind that was right, it's not the one I did, at some moderate expense, and now I'm going to jail. 

Where at least I won't have to fold a futon.  I think.

Next week: Separate Bathrooms, Separate Quicken Accounts

This content is from Southern California Public Radio. View the original story at SCPR.org.

Dave Ramsey—  The financial radio talk show host—  Says every couple has two people.  One is the nerd with the calculator.   The other is the spendy free spirit. 

In my couple, I am the nerd.  I am calmed by a seven-by-seven Ken Ken and a mechanical pencil.  No surprise that I have used Quicken now for several decades.  But it seems in the last five or 10 years—  What with the Russian hackers stealing our info to get porn—  The cheapo, Windows-based laptops Quicken favors have gotten very buggy. 

So buggy, I bought a sacrificial Dell laptop just for Quicken.   But even that lasted barely six months without crashing.  So Charlie, the free spirit, took over paying the bills!  Writing checks by hand!  Notating them in a large, impressive leatherette binder!  The checks are pretty—tan and sort of antique-looking.  There's a stagecoach on them.

This was all charming until I realized it was tax time. To get all my financial info into the computer, I was going to have to hand-enter each check.  With a quill pen and a butter churn.

While in the joyous process of hand-inputting each check that went out in calendar year 2016— I learned some interesting things!

That beautiful 8-lane highway we drove on that time we visited friends in Orange County? That was a toll road that we apparently didn't pay for. 250 dollar fine! Plus--We're subscribers to something called Cook's Country Magazine, even though I am NOT into "homestyle cooking." And -- we've been paying hundreds of dollars a month for gym memberships that I didn't know we have!

Argh!

Losing it, I throw in the towel and buy myself my own personal version of Quicken—for Mac—  There's a help line to call—  And unbelievably, an operator immediately answers.  He's a courteous gentleman with a lilting, slightly British accent.  He answers my "sign in" question, and asks: "Do you want me to stay on the line while you try it?" "Sure!" I say, surprised.

We click pleasantly through a few more windows—  He's marvelously patient, and attentive—  Wanting to be entertaining, I actually start reciting my passwords aloud as I type them.  

"Let's see—2, 3, 4—asterisk, star, Sparky Sparky, that was my first pet— "Now I'm actually going to have to go downstairs to get my purse," I say, "and maybe go to the ladies' on the way 'cause I've had a lot of coffee— "
"It's fine!" he says—
"Well you can continue playing Solitaire or whatever you're doing!" I say.  And he chuckles!
Doing your taxes?  It takes a village.  And a butter churn.

This content is from Southern California Public Radio. View the original story at SCPR.org.

Life is already hard enough, but with teen daughters—  of which I have two, ages 15 and 16 -- well, let's just say that, what with everything going on these days, my mind is a bit addled. And my latest TV obsession isn't exactly helping.

"I have such a sense of dystopia," I complained to my friend Carol. 

She replied: "Maybe you should stop binge-watching The Handmaid's Tale!

It's true.  I've watched so many hours of The Handmaid's Tale, I've started to involuntarily greet people with, "Blessed be the day," "Blessed be!"  If that's not  familiar to you, you're probably not aware that in the oppressive futuristic society depicted here—?   Fertile young women are farmed out to "commanders" and forced to have sex with them between their wives' legs, in order to birth mutant babies. . .

I'm old enough to remember "Happy Days."  Do you remember the sitcom "Happy Days"?  What was it about?  Days. . . that were Happy!  Teens hanging around the jukebox!  With poodle skirts!  The Fonz!  Having shenanigans! 

So I resolve to turn off the news—  Except for the headlines that actually leap out of the radio—  And maul you, like a wolverine—   Ever seen that?  Anyway—

I also take a break from The Handmaid's Tale—  I turn instead to the comedy Grace and Frankie, with Jane Fonda and Lily Tomlin!  I embrace their comforting presences like the stylish pashmina throw either might wear—  If The Cheese Nun was still on?  I would binge-watch that!  Very reassuring.  The Cheese and the Nun.

But then I start getting emails -- the Concerned Parent E-Blasts I don't recall ever signing up for, a la—?  "Does your teen get enough sleep?"  No.  "Is your teen ready for the SAT?"  No. "Does your teen eat too much sugar and waste a lot of time?"  Yes.   Apparently that's abnormal behavior and there's medication for that.  Good to know!

 Well—  The truly alarming news is that—  Often unbeknownst to their parents— All of our teens are secretly watching this new TV series called "13 Reasons Why."  As in, 13 reasons why this teenage girl commits suicide.  She leaves behind the reasons in a box of tapes.  One reason is rape.  Shown on screen. 

It's a long way from Happy Days.

As a responsible parent, I need to talk to my daughters. . . about this show.

 Next week: A Visit with Dr. Mom.

This content is from Southern California Public Radio. View the original story at SCPR.org.

Life is stressful enough.  And now—?  I've been getting all these alarming missives from parenting organizations about the Netflix series "13 Reasons Why."  As in, 13 reasons why this teenaged girl commits suicide—  Which is depicted on screen, as is a rape!  Yikes!  Apparently all teens are secretly streaming it, so we parents need to open up the conversation.

But then I'm thinking: What if my two teen daughters are the only teens not watching it?  And then my raising the topic would be—what do you call it?  A trigger?  It's so confusing these days!  College campuses are full of "safe spaces"—  But middle schoolers can stream suicide shows!

And my younger daughter?  She's already fluttery, like a leaf.  Sample text—and I can't convey how terrifying these words look on one's phone: "Mom.  Mom.  Mom.  Please!  I'm so scared.  I don't know what to do!  Help me!"  Situation?  She was in the bathroom at Starbucks and the toilet wouldn't flush.  Fortunately Dr. Mom was right outside the door.

So with this one, driving home from school, I just ask, with an odd vague heartiness: "So. . . What movies or TV shows are all the kids watching these days?"

"All the kids?" she says.  "What are you talking about?  What kids?"

"You kids!" I say.  "You!  You and your peeps!"

"What?" she says.  "Nothing."  She goes on instead to describe her traumatic field trip.  Instead of studying tide pools at a nice quiet museum, her class went to the actual beach!  She slipped on a rock and all these kids from the Medical Magnet too-eagerly stormed her with gauze and bandages! 

Okay.  I'll let that fragile kid be.  Now it's on to my older, more sophisticated daughter.  The one with the nose ring—at least it's fake.  I ask her bluntly: "So, what's the deal with this '13 Reasons Why' show?"

 She groans.  "I already read the book back in sixth grade."
 

"In sixth grade?" I exclaim.

Apparently at her old middle school, everyone was reading books about teen suicide—  Which appears to have been an actual cottage industry, possibly it's own Young Adult genre.  Sheesh!  What happened to Nancy Drew?

She says she did watch the show but stopped during the rape scene, which was a bit much.  In fact, now, on social media, the show's premise had surfaced as a joke meme.  As in, "I asked to borrow a pencil.  You said you didn't have one."  Ominous pause.  "It's one of the 13 Reasons Why." Ba-dum-bum.

In the end, Dr. Mom felt a bit out of her league.  I guess I'll just have to trust that the teens are going to be fine.  And to be on hand to flush the toilet.}
 

This content is from Southern California Public Radio. View the original story at SCPR.org.

The Getty spent $65m (and change) for this late Manet masterpiece, "Spring."

A  132-year-old vision of springtime has landed permanently at the Getty Museum, smack in the middle of this California autumn: "Spring (Jeanne Demarsy)," one of Impressionist painter Edouard Manet’s  last completed pictures.

Here's what Getty Director Timothy Potts had to say about the artist:

Manet was the ultimate painter’s painter: totally committed to his craft, solidly grounded in the history of painting and yet determined to carve out a new path for himself and for modern art. ... Alone of his contemporaries (the only one who comes near is Degas), Manet achieved this almost impossible balancing act, absorbing and channeling the achievements of the past into a radically new vision of what painting could be.

"Spring" somehow manages to be the evocation of youth itself and all its hopes. The subject is 16-year-old actress Jeanne Demarsy, just then seeing her stage career ascend at the same time Manet neared the end of his own career. (He died at age 51 in 1883,  soon after the painting went on display.) 

For most of the years since its creation, the picture has been in private hands. It was recently on loan to the National Gallery.

Getty Assistant Curator Scott Allan said that the Getty worked hard to acquire "Spring" and was lucky to get her. According to news reports, the Christie's auction price paid was an eyebrow-lifting $65 million — about double the top previous sale price for a Manet. "We don’t discuss the price," Potts said.

At the Getty, "Spring (Jeanne Demarsy)" hangs next to an early Manet in the museum's Impressionist-Post Impressionist gallery. It was intended to be one of the "Four Seasons" by the late-19th century French master. The series was never completed (although "Autumn" hangs in a museum in France).

(More seasoning: Manet's "Autumn." Museum of Fine Arts of Nancy, France)

Allan said that, unlike many of Manet's early works, "Spring" was intended to hang in the Salon, the French art establishment’s showplace of traditional painting, which had rejected innovators like the Impressionists for decades. That led most of the Impressionists to disdain the Salon. But Allan said Manet was extremely pleased that his late work was accepted there. 

Here's Potts again:

So popular was it that "Spring" became the subject of one of the first color photographs of a work of art. Its acquisition by the Getty brings to Los Angeles the most important — and beautiful! — painting by this artist left in private hands and one of the great masterpieces of late-19th-century art. 

The painting depicts a lovely teenager, dressed in the peak of 1880s fashion in a blue-on-white printed dress; a flowered, fringed hat; and a parasol balanced on her left shoulder. The background features white rhododendrons, barely in blossom.

Mlle. Demarsy stares off to the left, the demure image of a confident young woman at the earliest spring of her adulthood, with an entire creative life before her, already immortalized before the world by one of the century’s greatest artists.

But Manet was himself at the peak of his accomplishments,  just before his sudden demise.
 
"Spring" became one of Manet’s most popular works, deeply appreciated by art lovers young and old and by critics of both the old guard and the avant garde. It was his last picture to hang in the Salon. Manet’s powers would soon decline, and he devoted much of his last few months to watercolors, said Allan.

(Getty director Timothy Potts looks at the Getty's new painting, Manet's "Spring." Getty Museum)

This content is from Southern California Public Radio. View the original story at SCPR.org.

Frank Romero with one of his French paintings, in his home in the South of France. But every year, he and his wife Sharon throw a big studio sale for Christmas, and you're invited.; Credit: John Rabe

"Live! Life's a banquet and most poor suckers are starving to death!" - Auntie Mame.

Your calendar is filling up, but here are four holiday events you'll want to make room for:

Every year, pioneering Chicano artist Frank Romero and his wife Sharon throw a big studio sale that includes works by a wide group of artists, and a lot of food and drink. It's just as much a party as a sales event, and Frank and the other artists are always there to meet and greet. And now that the couple is spending more time at their home in France, it's a chance for their old friends to catch up with them, so who knows who you'll see from L.A.'s arts community.

RELATED: See Frank's new works - French scenes with an East LA flavor

The Romero Studio annual Christmas party and sale is Saturday, Dec. 6, 6-10pm; and Sunday, Dec. 7, 1-5pm, at Plaza de la Raza, Boathouse Gallery, 3540 North Mission Rd., LA CA 90031 (in Lincoln Park across from the DMV — which BTW is a very good DMV).

Then, on Sunday, Dec. 14, at 4:30pm,  it's the Advent Procession of Lessons and Carols, at St. James Episcopal Church, which a friend describes as "one of the truly beautiful choral events of the season," and the highlight of the Choir of St. James' season. It's free and it's at St. James' Episcopal Church in Koreatown (3903 Wilshire Blvd., Los Angeles 90010).
 

"Auntie Mame," the 1958 Rosalind Russell movie with more quotable quips than a weekend getaway with Oscar Wilde, has become something of a Christmas tradition. It's screening at the American Cinematheque's Egyptian Theatre on Wednesday, Dec. 17, at 7:30. As delightful as this movie is any day of the week on your TV at home, this is a film to be seen in 35mm with a theater full of people reacting to every bon mot and heart-touching moment.

GO INSIDE: The Disney Hall organ, "Hurricane Mama," turns 10

Last year, my husband and I blindly went to Disney Hall for the Holiday Organ Spectacular. We expected some music and a little fun. But it really was spectacular. It's back this year, on Friday, Dec. 19, with organist David Higgs leading the evening from the console of Hurricane Mama.

If you've never seen or heard the organ in person, this is a great evening because Higgs — a teacher as well as master organist — gives you a guided tour of every stop, and every mood the organ can produce, from cathedral-loud to country-church-quiet. At the end of the night, he breaks the audience into parts to sing "The Twelve Days of Christmas," and you may sing as loud as you like.

These are just a few curated selections, but they're just the tip of the iceberg in Southern California; please make your own holiday event recommendations in the comments below. 

This content is from Southern California Public Radio. View the original story at SCPR.org.

One of 4,000 "The Far Side" panels Gary Larson drew over 14 years. The full collection is now out in paperback.; Credit: Gary Larson

Off-Ramp animation expert Charles Solomon reviews "The Complete Far Side: 1980-1994" by Gary Larson.

It’s hard to believe the last panel of Gary Larson’s wildly popular comic strip “The Far Side” ran 20 years ago: January 1, 1995. The comics page of the LA Times (and many other papers) still feels empty without it.

RELATED: Charles Solomon interviews artists responsible for look of "Big Hero 6"

During its 14-year run, "The Far Side" brought a new style of humor to newspaper comics that was weird, outré and hilarious. The strip became an international phenomenon, appearing in over 1,900 newspapers worldwide. Larson won both the National Cartoonists' Society Reuben Award for Outstanding Cartoonist of the Year and the Best Syndicated Panel Award. An exhibit of original artwork from the strip broke attendance records at natural history museums in San Francisco, Denver and here in L.A. Fans bought tens of millions of "Far Side" books and calendars.

Much of the humor in “The Far Side” derived from Larson's seemingly effortless juxtaposition of the mundane and bizarre. When a bug-housewife declares "I'm leaving you, Charles...and I'm taking the grubs with me," it's the utter normalcy of the scene that makes it so funny. Mrs. Bug wears cats eye glasses, while Mr. Bug reads his newspaper in an easy chair with a doily on the back.

Or, a mummy sits an office waiting room reading a magazine while a secretary says into the intercom, “Mr. Bailey? There’s a gentlemen here who claims an ancestor of your once defiled his crypt, and now you’re the last remaining Bailey and … oh, something about a curse. Should I send him in?”

"The Complete Far Side" contains every strip ever syndicated: more than 4,000 panels. It should probably come with a warning label, "Caution: reading this book may result in hyperventilation from uncontrollable laughter." Except for a few references to Leona Helmsley or other now-forgotten figures, Larson’s humor remains as offbeat and funny as it was when the strips were first printed.

Andrews and McMeel initially released this collection in 2003 in two hardbound volumes that weighed close to 10 pounds apiece. You needed a sturdy table to read them. The three volumes in the paperback re-issue weigh in around three pounds and can be held comfortably in the lap for a while.

Because “The Far Side” ended two decades ago, many people under 30 don’t know it. The reprinted collection offers geezers (35 or older) a chance to give a present that should delight to that impossible-to-shop-for son, daughter, niece or nephew. How often does an older adult get a chance to appear cool at Christmas or Hanuka? 

And if that ingrate kid doesn’t appreciate it, "The Complete Far Side" also makes an excellent self-indulgence.

Charles Solomon lends his animatio expertise to Off-Ramp and Filmweek on Airtalk, and has just been awarded the Annie's (The International Animated Film Society) June Foray Award, "for his significant and benevolent or charitable impact on the art and industry of animation." Congratulations, Charles!

This content is from Southern California Public Radio. View the original story at SCPR.org.

Rob Marshall is either the bravest director in Hollywood or the most foolhardy. Three of his five theatrical films — the musicals "Chicago," "Nine" and now "Into the Woods" — don't just invite comparison to the eccentric genius of other artists, they insist on it.

Originally a Bob Fosse stage project, "Chicago" was so imbued with Fosse's vitriolic spirit that even in Marshall's more straightforward hands the movie version felt like the missing piece in a triptych with Fosse's "Cabaret" and "All That Jazz."

"Nine" is the musical created from Fellini's masterpiece "8 1/2."

(Marcello Mastroianni in Fellini's "8 1/2")

Odd enough that someone thought Fellini's intimate but epic fugue on his own creative doubts and sexual fantasies should be adapted by others for Broadway; stranger still to re-import the hybrid back to the screen, in the workmanlike form Marshall gave to it.

And now we have "Into the Woods," a film placing Marshall in the long line of moviemakers defeated by Sondheim's difficult musical brilliance and penchant for challenging material. It's distinguished company, reaching back all the way to "A Hard Day's Night" director Richard Lester's re-invention of "A Funny Thing Happened (On the Way to the Forum)" as a kind of psychedelic Keystone Cops movie, and forward to Tim Burton's more adept but still wrong-headed Murnau-meets-Hammer-Horror approach to "Sweeney Todd."

Even director Hal Prince, the principal theatrical collaborator during Sondheim's most fertile and formative period, made an absolute hash of their shared stage success "A Little Night Music" in a film version later disavowed by both men, and mostly remembered for Elizabeth Taylor's chirpy and discernibly flat rendition of "Send in the Clowns."

Liz singing "Send in the Flat Clowns"

It's just possible that the real problem is that Sondheim's self-reflexive and deconstructive impulse (his musicals are almost always and to varying degrees commentaries on the Musical itself) makes his projects unfit for screen adaptation. In movies, we miss the artifice of the proscenium, the sweat on the actor's brow. But if any of Sondheim's late-period projects held out the hope of a successful movie version it was surely "Into the Woods," a droll recombination of the fairytale form's literary DNA into something like Sondheim's masterpiece "Company," set in a realm of magic beanstalks and slippers made of glass.

The characters are straight out of the Disney pantheon (or "Shrek"): Cinderella meets Rapunzel meets Red Riding Hood meets Jack and his Beanstalk, with a generic Wicked Witch, a couple of not so charming Prince Charmings, plus a peasant couple thrown in. But the issues at stake — marital fidelity, raising children, the fear of aging and death — are complicated, and filled with gray tones which Sondheim and librettist James Lapine masterfully etched across the fairytale's Manichean black and white.

What seemed audacious when Sondheim and Lapine conceived it in 1987 ought to fit comfortably into the era of "Sleepy Hollow" and "Maleficent," but in Marshall's hands, it does not. The good news is that though populated by what old school TV shows used to call a Galaxy of Today's Brightest Stars (Anna Kendrick as an appealingly unglamorous Cinderella; Chris Pine as the nymphomaniac Prince who stalks her; Meryl Streep quite moving in the Wicked Witch role made famous on Broadway by Bernadette Peters) this is mostly a very well-sung movie. There have been controversial excisions and revisions (enabled by Lapine, who is Marshall's screenwriter), but as an introduction to one of Sondheim's more beloved scores, "Into the Woods" makes for a solid musical primer.

WATCH: The "Into the Woods" trailer

But though Marshall has taken a lot of flack for daring to cut out characters (most notably the stage production's Narrator, who served as a kind of Greek Chorus in the original) and for softening plot points (Rapunzel died onstage), the big problem is that Marshall isn't nearly ruthless enough in rethinking "Into the Woods" as an honest-to-God movie. There are many moments (Johnny Depp ending a scene with a stagy howl at the Moon that virtually screams "and... fade out!;" the unseen death of a major character) where Marshall embraces the limitations of stagecraft when something bigger and more cinematic is needed, as if afraid to mar the pedigree of Broadway with Hollywood's debased visual stamp.

"Giants in the Sky," Jack's coming-of-age number, where he describes finding manhood in the sexual and physical dangers available above the clouds in the Giant's Castle, is a showstopper onstage, where we're willing to accept rhetoric in place of physical immediacy. Onscreen, it's simply frustrating for a character to suddenly appear and tell us he's just had the adventure of a lifetime, and that it's too bad we missed it.

The Woods themselves — both character and symbol onstage, a kind of living maze representing moral confusion — are lush here and geographically nondescript, like a particularly plush unit set, done up in a generic Lloyd Webber-meets-Disney house style.

Perhaps most unfortunately of all, Marshall seems constitutionally incapable of conveying the pervasive satiric impulse at the heart of the Sondheim/Lapine original, which could have been called "What Happens After Happily Ever After." Without ironic distancing, the film's second half, where the characters betray each other in decidedly contemporary sexual and self-interested terms, plays as non-sequitur.

It's possible to imagine a more idiosyncratic movie director who both understands and embraces the arsenal of cinematic effects available through editing, camera movement and design transforming "Into the Woods" into a rousing cinematic triumph — the young Terry Gilliam comes to mind. But Hollywood doesn't really embrace its daring cranks and visionaries very often, as Gilliam's difficult career demonstrates. Whenever possible, today's studios like to import genius at a safe remove, and then hand it off to a reliable journeyman who won't make waves or piss off the suits. The limitations of that approach are visible in every scene of "Into the Woods," and perhaps they explain its failure best of all. It's one thing not to be up to the task of adapting a work of odd brilliance. It's something else again to not even take it on.

This content is from Southern California Public Radio. View the original story at SCPR.org.

Actors Carla Gugino, Matthew Lillard and Sir Patrick Stewart pose at the "Match" screening during the Palm Springs International Film Festival on January 3, 2015 in Palm Springs, California. ; Credit: Chelsea Lauren/Getty Images for PSIFF

Is there a happier star in Hollywood than Patrick Stewart?

Certainly no one seems to be having more fun than the onetime Star Trek captain and current (and seemingly permanent) X-Man. And why shouldn't Sir Patrick be pleased with himself? He really has got it all: a thriving stage profile in both New York and London, the unconditional love of a vast and loyal fan base, and a film career that oscillates freely between franchise blockbusters and the small, character-driven chamber pieces Stewart so clearly relishes.

"Match" is about as small a movie as Stewart has ever appeared in: a well-intentioned three-character film studded with very funny dialogue courtesy of writer/director Stephen Belber, upon whose play "Match" is based.

Stewart plays an aging gay dance instructor named Tobi Powell, who may or may not have sired a child back in the swinging 60s – an era movies now take to have been 10 years of uninterrupted orgy punctuated by Beatles records and gunshots aimed at the Kennedy brothers.

As the saying goes, "If you can remember the '60s, you weren't there." Stewart's Tobi Powell was vibrantly there at the time, so it's perhaps natural that he can't seem to recall whether or not one of his rare couplings with a female partner might have had some unintended consequences.

Mincing slightly and speaking in an accent that sounds Midwestern by way of Wales, Stewart is an absolute blast to watch. His genuine (and usually underutilized) flair for comedy is roguishly on display, allowing "Match" to shift between pathos and farce with an assurance born more of the performer's bravado than the emotional contours of Belber's somewhat overeager text.

Though allegedly a bit of a shut-in, Tobi is a minor masterpiece of a lost and exuberant art form: the exaggerated star turn. It's unsurprising Frank Langella got a Tony nomination for playing him on Broadway a decade ago, and at least a bit unexpected that Stewart has gone completely unnoticed this awards season, even by the nomination-happy Golden Globes.

Belber's best writing is mostly his comedic stuff. One aria comparing cunnilingus to knitting may just be the best scene of its type since Meg Ryan faked an orgasm in "When Harry Met Sally" a quarter century ago.

Solid and believable supporting turns from Carla Gugino and Matthew Lillard add to the fun until Belber's script bogs down in the third act into the kind of paint-by-numbers epiphany shtick even TV has given up on at this point.

WATCH: The official trailer for "Match," starring Patrick Stewart

Everybody cries. Everybody changes. Everybody yawns.  Or I did anyway.

Still, go see this movie — or better yet, watch it on your phone, since it's shot almost entirely in close up — to see a grand and gracefully aging actor strut his stuff with contagious delight. You will definitely laugh, and, God, does this movie hope you'll also cry.

But if you do weep, don't be surprised if, like Tobi himself, you hate yourself in the morning.

Off-Ramp contributor R. H. Greene is covering the 26th Annual Palm Springs International Film Festival, where he recently saw the new comedy "Match" starring Patrick Stewart. "Match" comes to theaters and video-on-demand on Jan. 14.

This content is from Southern California Public Radio. View the original story at SCPR.org.

A scene from Tomislav Mrisic's "Cowboys (Kauboji)," which screened at the Palm Springs Film Festival.; Credit: Kino films

It has escaped the average filmgoer's notice, but Eastern Europe has been in the midst of a cinematic renaissance for quite a while now. A few individual titles and filmmakers have bubbled to the surface in U.S. cinemas, including Danis Toanovic's Serbian antiwar satire "No Man's Land," which won an Oscar in 2001, and Cristian Mungiu's Romanian abortion drama "4 Months, 3 Weeks, and 2 Days," which nabbed the Palme d'Or at Cannes 2007.

Those are both great movies, but they are also the small tip of a very large iceberg. This year, Estonian filmmaker Zaza Urushadze's "Tangerines" — a humanist drama about the Georgian civil war of 1992 — is a leading contender for a foreign film Oscar.

As of now, its main competitor for the trophy would seem to be the Polish film "Ida" by Pawel Pawlikowski, which has taken most of the top critics prizes for foreign film this awards season. And who has heard of Radu Jude, the witty Romanian director of "The Happiest Girl in the World," or Kamen Kalev, Bulgaria's great hope for the cinematic future? Among so many others.

A sort of "Waiting for Guffman" with a Croat twist, the delightful Croatian Oscar entry "Cowboys (Kauboji)" isn't in the same league as the best Eastern Europe has to offer, and in an odd way this is one of its strengths.

Tomislav Mrisic's film utterly lacks pretension, which is not to say that it has no point to make. If there's an Eastern European precedent for "Cowboys'" assured mix of satire, drama and farce, it's probably the "Loves of a Blonde"-era Milos Forman.

Mrisic shares with Forman an acute eye for the foibles of small town bureaucracy and a soft humanism that simultaneously allows "Cowboys" to embrace its rag-tag ensemble of eccentrics and to spoof them mercilessly.

(A screen shot from Croation Oscar entry "Cowboys (Kauboji)")

The plot sees Sasa (Sasa Anlokovic), a failed and hangdog theater director with health problems, returning to his small and economically desolate Croatian town, where he is enlisted by an old friend-turned-local-bureaucrat to bring Big City "culture" to the sticks.

Aware that his lung cancer may have fallen out of remission and that time may be running out for him, Sasa sets about the task of creating what may be his last opus with the clay available to hand: a half dozen unskilled, uneducated and, in most cases, un-hygienic misfits, culled from the dregs of the town. They decide to create a Western stageplay based on their shared love of "Stagecoach," "High Noon" and John Wayne. Something decidedly unlike "Stagecoach" is the result.

There are titters and belly laughs abounding in "Cowboys" — a film that may actually be even funnier to an American audience than it is in Croatia, given Mrisic's deft mangling of the worn-out genre cliches of old school horse opera.

The performances are all solid and specific: This is no undifferentiated cluster of cliche yahoos, but rather a broadly drawn ensemble, in which each character has a specific logic and an unspoken need he or she is trying to fill.

WATCH the "Cowboys" trailer in the original Croatian

Mrisic finds much to mock in his small town provincials, but also much to celebrate. "Cowboys" is a smart film that still sees goodness everywhere it looks, which makes it a refreshing change not just from the American school of rote affirmation comedy but also from the relentless bleakness we associate with so much European fare.

For all the farce on hand, "Cowboys" is in the end a covertly passionate defense of the creative act: Its imperishability and its importance for its own sake, excluding aesthetic considerations. It is also a plea for that hoary old chestnut, the healing power of laughter. While that may read like a cliche, with "Cowboys," Mrisic's point is made.

Off-Ramp contributor R.H. Greene is covering the 26th Annual Palm Springs International Film Festival and will be posting regularly from there.

This content is from Southern California Public Radio. View the original story at SCPR.org.

Andrew J. West stars in Anna Mastro's "Walter"; Credit: "Walter"

It's always dicey to characterize a major film festival based on the movies you personally see there, because no matter how diligent you try to be, your impression will always be statistically anecdotal.

I'll see perhaps 10 percent of the films at this year's Palm Springs International Film Festival by the time they roll up the red carpets for the final time, added to the 25 or so I'd watched before I got here, owing to the festival's unique programming policies.

Not bad considering there are 190 movies being screened. So I think I've got the feel of things here. I wouldn't want my doctor to diagnose me based on a test with a 35 to 40 percent chance of accuracy, but I'm not a doctor. Instead of "Do no harm," I quote Spencer Tracy to myself. He said the secret to the creative process is to "just look 'em in the eye and tell 'em the truth."

And the truth is, with the exception of a couple of documentaries and a horror movie, virtually every film I've seen at Palm Springs so far shared some obvious characteristics: the Palm Springs International Film Festival loves it some poignancy and affirmation.

I've already commented on "Match," the Patrick Stewart acting showcase, and "Cowboys," a very funny Croatian comedy with cross-currents of seriousness. I may comment later about "Today," Iran's Oscar submission. (It's terrific by the way, a deeply affecting story about a burnt out cab driver who gets yanked into the world of a battered, unwed mother who steps into his cab.)

(Still from "Today” (Emrooz) by Iranian filmmaker Reza Mirkarimi)

I also saw an Anne Hathaway passion project called "Song One" here. I'm not going to write about it because I'm not in the mood to stomp on somebody else's butterfly. Plus the dramedy "1001 Grams" by the splendiferous-ly named Norwegian Bent Hamer, whose deadpan satire is routinely compared to Jacques Tati.

WATCH the official trailer for "1001 Grams," which includes some foreign languages

At their best, these are all movies that want to move the audience to tears before bouncing a ray of hope off the screen at them. At their worst, these movies are about pain in the same way Novocain is. They acknowledge its reality, in order to neutralize it.

Filmmaker Anna Mastro's debut film "Walter" (one of the Palm Springs premieres) fits what seems to be the festival's programming model, too, and is, I think, a really quite appealing little indie film, with the by now familiar mildly magical realist bent.

It's is a story about grief, though one with a screwball premise so that it doesn't quite present that way at first. Walter (portrayed with charisma and nuance by Andrew J. West) is a 20-something slacker, but a very uptight one, with a soldier's commitment to dress and routine.

He still lives with mom (Virginia Madsen, now shifting toward the character actress portion of her career with ease and grace) and has a job one rung above fast food worker on the ladder of success: He's a ticket taker at the local multiplex.

But what the world surely sees as failure, Walter knows to be his cover for a far more important vocation. Walter's father died when he was just 10 years old; ever since the funeral, Walter has realized something we don't: His real job in life is to decide where people go after they die.

His snap judgments secretly send people to heaven or hell ... until a dead guy from Walter's past shows up and demands that Walter determine his fate, and then all hell breaks loose.

It's an odd premise, bordering on the labored, but Mastro and her extremely appealing cast pull it off, in part by wearing their influences on their sleeves. The fingerprints of Wes Anderson are all over this picture, especially in terms of the way shots are framed and music is used, and I was able to identify the pivotal contribution of "Beasts of the Southern Wild" co-composer Dan Romer by ear, long before I noticed his screen credit.

I suppose that's supposed to be a damning criticism of a first-timer, but I don't see it that way. Tarantino aped Scorsese for years and virtually remade a minor Hong Kong gangster picture when he debuted with "Reservoir Dogs."

Spielberg acknowledges his debt to David Lean. Hitchcock's apprenticeship at Germany's UFA film studio resulted in a lifelong visual and thematic debt to the great Expressionist master Fritz Lang.

The question is, what do you do with your influences, how do you make them your own? And Mastro — who has a real gift for casting, pacing a scene and maneuvering her actors easily between farce and seriousness — has her own talents. She understands how Anderson's visual syntax has become a cinematic shorthand for quirk, and she deploys it to that effect, then tells the story at hand.

There are some issues with that story, though. There's a girl in concessions (Leven Rambin) Walter likes, and there's a bully at work. For all its surface oddity, the mechanical underpinnings of "Walter" frequently feel like they belong in an "American Pie" sequel.

And yet this movie won me over. I liked its faith in the movie palace as a place that still vibrates with the marvelous. I found a dream sequence, where Rambin undresses to camera while sprawled on a rich yellow bed of movie house popcorn hilarious and deeply expressive.

But I think my affection for this picture is mostly centered on Mastro and her cast, which includes a standout performance by Justin Kirk as a very grounded ghost and a broad but successful cameo from William H. Macy as Walter's psychiatrist. They're all groping toward something rather grim and real about loss, while doing their best to serve up some laughs and wonder along the way.

It touched me, because it feels kind of wise.

Off-Ramp contributor R.H. Greene, former editor of Boxoffice Magazine, is in Palm Spring this week to cover the 26th Annual Palm Springs International Film Festival. Look for his missives here, and listen Saturday at noon to Off-Ramp, when he'll interview Chaz Ebert about her late husband Roger Ebert's contributions to the film festival circuit.

This content is from Southern California Public Radio. View the original story at SCPR.org.

There are still a couple dozen tickets left for one of the most interestingly-cast performances of H.G. Wells, Orson Welles and Howard Koch's "War of the Worlds." On Saturday, Jan. 17,  generations of Star Trek actors will take on the world's most famous radio show.

The cast — directed by Jim Fall — features: René Auberjonois (“Star Trek: Deep Space Nine”), Michael Dorn (“Star Trek: TNG”), Dean Haglund (“The X-Files”), Walter Koenig ("Star Trek"), Linda Park ("Star Trek: Enterprise"), Jason Ritter (“The Event”), Tim Russ (“Star Trek: Voyager”), Armin Shimerman (“Star Trek: Deep Space Nine”) and Wil Wheaton, playing... Orson Welles.

The performance is a fundraiser for Sci-Fest LA, the new annual science fiction play festival, so tickets aren't cheap — but they're scarce, and this looks like a memorable night.

KPCC and "Off-Ramp" celebrated the 75th anniversary of the broadcast last year by distributing the original 1938 performance, and a new documentary, internationally... introduced by George Takei, another original Trek actor you might have heard of.

War of the Worlds: Sat., Jan. 17,  8 PM; The Acme Theatre, 135 North La Brea Ave. LA CA 90036

This content is from Southern California Public Radio. View the original story at SCPR.org.

A Southern California Edison sign outside the San Onofre Nuclear Plant.; Credit: Grant Slater/KPCC

Large utilities cut off power to millions of Californians over the past two months to reduce the risk that power lines might spark new fires. Nearly 200,000 Southern California Edison customers were blacked out, some for days at a time. These public safety power shutoffs mean that many rural residents lose a lot more than just their electricity. 

This content is from Southern California Public Radio. View the original story at SCPR.org.