The Gulf Research Program (GRP) of the National Academies of Sciences, Engineering, and Medicine today announced a new funding opportunity under its Healthy Ecosystems Initiative.

Current evidence supports the classification of the contemporary red wolf as a distinct species of wolf, although additional genomic evidence from historic wolf specimens could change that assessment, says Evaluating the Taxonomic Status of the Mexican Gray Wolf and the Red Wolf, a new report from the National Academies of Sciences, Engineering, and Medicine.

The U.S. Department of Veterans Affairs (VA) should expand the requirement in its disability compensation process regarding who can diagnose traumatic brain injury (TBI) to include any health care professional with pertinent and ongoing brain injury training and experience, says a new congressionally mandated report from the National Academies of Sciences, Engineering, and Medicine.

The nation’s highways and roads connect almost 330 million Americans and are important to both commerce and national security. Two-thirds of total passenger travel in the country moves along this vast network of roads, as does 60 percent of the weight and almost three-quarters of the value of total U.S. freight transported.

Rev. Heber Brown III wants people to erase the term “food desert” from their vocabulary.

A new report from the National Academies of Sciences, Engineering, and Medicine – which reviews a separate report by a federally funded laboratory that examines options for treating low-activity radioactive waste at the Hanford Nuclear Reservation -- is available for public comment until Oct. 31.

Summer is a chance for children and youth to continue developing, but for those living in disadvantaged communities, summertime experiences can lead to worse health, social, emotional, academic, and safety outcomes, says a new report from the National Academies of Sciences, Engineering, and Medicine.

We recently launched a new website intended to highlight the science underlying questions that our research shows Americans have about current issues.

A new report from the National Academies of Sciences, Engineering and Medicine finds that the U.S. Environmental Protection Agencys (EPA) approach to its ongoing Integrated Risk Information System (IRIS) assessment plan is appropriate for synthesizing the scientific evidence and quantifying estimates of inorganic arsenic toxicity.

Autonomous vehicles (AV) took center stage at the Chair’s Luncheon of the Transportation Research Board’s annual meeting today.

The Gulf Research Program (GRP) of the National Academies of Sciences, Engineering, and Medicine today announced $7.25 million in grant awards for eight projects focused on strengthening safety culture in the offshore oil and gas industry.

The National Academy of Sciences, in partnership with The Kavli Foundation and the Alfred P. Sloan Foundation, will host a symposium to consider the future of science in the U.S. and how it can best serve society in the 21st century.

NASA should collaborate with the Federal Aviation Administration (FAA), industry, academia to research the full effects that increased unpiloted air vehicle traffic would have on society, including ramifications to sound, privacy, environmental matters, and cybersecurity, says a new report from the National Academies of Sciences, Engineering, and Medicine.

A new report from the National Academies of Sciences, Engineering, and Medicine finds new and innovative approaches to dust control are needed at Owens Lake, California, to improve air quality, reduce water use, and preserve habitats.

In light of the present situation in the U.S., we believe that it is essential to explore a wide range of options for treating the increasing numbers of very ill patients with COVID-19 respiratory illness.

From N-95 masks that are protecting health care workers during the COVID-19 pandemic to food packaging found in every aisle of the grocery store, plastics play an essential role in our lives.

This is a public service campaign suggesting you save water...and suggesting some other things too. ; Credit: SFPUC

Friday's news is going to make you wait for it...when it comes to an explanation for the picture above.

The Wall Street Journal takes on pricing and other big-think policies that various authors claim are worsening the drought.

• Those higher food prices Jed wrote about yesterday? Alyssia Finley, assistant editor of OpinionJournal.com, says they're the fault of environmentalists, and higher food prices will be the way the rest of the country will pay for California's "green sanctimony." (WSJ)
• Economist Edward Lazear argues that "government-dictated prices, coupled with restrictions on the transfer of water, have made a bad situation much worse." He takes aim at the state's limitations on water transfers (lifted, he doesn't note; but he argues that pricing distorts the need for transfers anyway). He argues that public agencies that protect environmental conditions with water should pay for the privilege:

Although there may be good reasons to ensure that some fish and wildlife be protected, we should not pretend that this protection is costless. Agencies that divert water for environmental purposes should be required to budget explicitly for the lost revenue associated with the decision to divert it for this purpose, rather than allowing it to be sold at the market price for urban or agricultural use. (WSJ)

...and he argues that farmers, who might have to pay more for water on a more-open market, should get extra money to help them transition to the free market.

• Cato loves Lazear's arguments, and offers one amendment. Chris Edwards wants the federal government to get out of the water business, and in California, to hand over the Central Valley Project to the state. (Cato)
• In other business news, it's going to be a mixed bag for boat businesses at California recreation areas this summer. They're nervous in Tahoe, but overall expect to benefit from Folsom Lake's bad year. (TradeOnly Today)
• CNN gets into the Firehawk, which is a U.S. Army Black Hawk helicopter with a giant water tank on it. L.A. County owns a few. They're going to be busy this summer, thanks to the drought. (CNN)
• And finally, in a move that reminds me of the time I wanted to name this blog "Hot, Wet, Climate Action," the San Francisco Public Utility Commission has a new, sexy (or is it sexxy?) campaign to conserve water, with words like "QUICKIE" and "DOING IT" popping out of copy alongside minimalist pictures of pieces of water plumbing. My favorite is "DIRTY HANDS" with its faucet shot to look like a piece of anatomy. (SFPUC)

VIDEO: Get paid for doing it nice!

How has your community been affected by the drought (besides getting more suggestive ads about jiggling the toilet handle)? 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.

File: Western monarch butterfly in Huntington Beach; Credit: Courtesy of Huntington Beach Tree Society

A group of conservation organizations teamed up with a leading monarch butterfly scientist on Tuesday to petition for protection of the monarch butterfly under the Endangered Species Act.

The monarch butterfly is one of the most iconic butterfly species in the country. But according to conservation group the Xerces Society, the monarch butterfly population is in trouble.

“Many scientists estimate that there are about 33 million monarchs. And just for comparison, in the past, researchers have estimated more than 1 billion monarchs,” said Sarina Jepsen, who directs the Endangered Species Program for the Xerces Society.

That’s a decline of about 90 percent in just fewer than 20 years, Jepsen said.

The main culprit in the monarch’s decline is the weed killer Roundup, Jepsen said. Most monarch caterpillars breed in the Midwest, and feed off of milkweed. While Roundup doesn’t kill genetically modified crops like soy and corn, it does kill milkweed.

“So, milkweed growing in a large agricultural landscape has largely disappeared in the last decade-and-a-half to two decades,” said Jepsen.

Other contributing factors include climate change and a general loss of habitat, Jepsen said. California’s drought might also play a role.

“There’s a real strong relationship between drought severity and the number of monarchs that we see in the winter on the California coast,” said Jepsen. “In years when droughts are worse, there are fewer monarchs.”

Thousands of the butterflies gather on California’s coast each winter. Spots locally includeLeo Carrillo Beach in Malibu and Doheny Beach in Dana Point, though the Xerces Society has observed a large decline in the butterflies at these locations in the last several decades.

More on the drought’s effect on the monarch population will be known around Thanksgiving, when a group of so-called "citizen scientists" with the Xerces Society perform an annual count of the monarchs.

Along with the Xerces Society, the Center for Biological Diversity, the Center for Food and Safety and leading monarch butterfly scientist Dr. Lincoln Brower filed the petition.

The Fish and Wildlife Service has 90 days to decide whether to go forward with a further review to potentially classify the monarch butterfly as threatened or endangered. 

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

Peter Epstein of Epstein Research discusses the macro picture for precious metals prices and one junior that he believes will benefit from higher prices.

Visit the aureport.com for more information and for a free newsletter

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

Visit the aureport.com for more information and for a free newsletter

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.

Visit the aureport.com for more information and for a free newsletter

The newly renovated plaza joins Ahmanson Theatre, Walt Disney Concert Hall, Dorothy Chandler Pavilion, and Mark Taper Forum as the Music Center's "fifth venue." It will be home to free and low-cost events. ; Credit: Courtesy of The Music Center

After 20 months of work, a $41-million reconstruction project at The Music Center in downtown Los Angeles was completed with this week. 

The goal is to be more welcoming to everyone, not just those who can afford tickets to the opera or the theater, Music Center President and CEO Rachel Moore said. 

The plaza will be home to performances, screenings, and other public events, most of which will be free or low-cost.

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

This year's SXSW festival was cancelled due to the coronavirus pandemic. Now the films that were scheduled to be shown there have the option to be screened on Amazon.; Credit: Suzanne Cordeiro/AFP via Getty Images

Amazon Prime Video will be hosting some of the movies that never got screen time at this year's cancelled SXSW Film Festival. Amazon and SXSW announced today that the online film festival will be free to all audiences for 10 days — but you will need an Amazon account.

According to the statement, the slate of films offered will depend on which filmmakers choose to opt into the festival. "Filmmakers who choose to participate will receive a screening fee for streaming their film over the 10-day period... SXSW has shared details on the opportunity with 2020 filmmakers, who can opt in starting today."

SXSW joins a number of cancelled and delayed film festivals going the online route: the Tribeca Film Festival has been posting a short film every day, the Greenwich International Film Festival will be bringing its May festival online, and the Washington D.C. Environmental Film Festival has also posted a number of this year's movies, along with an archive going back to 1990. The film distributor Kino Lorber has also began working with independent and art-house theaters across the country to "screen" current independent releases, starting with the acclaimed Brazilian movie Bacurau.

No date has been announced for the Amazon Prime SXSW Film Festival, though the companies are shooting for an April launch.

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.

2006-2011

Actors Benedict Cumberbatch and Sophie Hunter arrive at the 26th Annual Palm Springs International Film Festival Film Festival Awards Gala at Palm Springs Convention Center on January 3, 2015 in Palm Springs, California.; Credit: Frazer Harrison/Getty Images

The 26th Annual Palm Springs International Film Festival opened this weekend, distinguished by robust audience turnouts, megawatt celebrity visitations and constant reminders of the unique space PSIFF occupies and the specialized services it provides to Hollywood.

Falling as it does just before Sundance and just after the Golden Globes nominations, Palm Springs is as much a part of the awards season calendar as it is the festival circuit. Big ticket screenings are presented with all the photo op pomp that would greet a major world premiere at, say, the Los Angeles Film Festival, but in many cases this is to build buzz for (or to re-energize) films that are already in theaters.

At Sundance or Tribeca, the suspense is usually about whether the films in competition will get good reviews and/or find distribution. At Palm Springs, especially on opening weekend, it's more about whether you'll run into Brad Pitt in the guest and industry suite at the Renaissance Hotel.

At the PSIFF awards gala, Golden Globe nominee Reese Witherspoon took home the oddly gender specific Chairman's Award for her performance in "Wild."

J.K. Simmons received something called a Spotlight Award for his superb turn as the menacing music instructor in "Whiplash."

David Oyelowo grabbed the "Breakthrough Performance Award (Male)" for depicting Martin Luther King Jr. in "Selma." Brad Pitt's sing-along presentation of Oyelowo's award became the meme for much of the post-event press coverage.

Sing-a-long with Brad Pitt

Rosamund Pike got the "Breakthrough Performance Award (Female)" for "Gone Girl."

Michael Keaton presented the Director of the Year award to his "Birdman" collaborator Alejandro G. Iñárritu.

And the Palm Spring Convention Center stage was home to two young British heartthrobs who are in Oscar contention this year for period biopics about scientific genius: Eddie Redmayne, who grabbed the Desert Palm Achievement Award (Male) for portraying ALS sufferer Stephen Hawking in "The Theory of Everything," and Benedict Cumberbatch, who split glory with the cast of the Alan Turing biography "The Imitation Game" as co-winner of the Ensemble Performance Award.

The Desert Palm Achievement Award (Female) went to Julianne Moore in the Alzheimer's drama "Still Alice."

Every single one of the movies honored is in theaters now, almost all of them in the midst of slowly expanding release patterns as they mount their long slow march toward the Academy Awards.

The generous "one award per movie" policy and the care with which PSIFF avoids alienating celebrity affections by giving out trophies with such blunt and unequivocal titles as "Best Actress" or "Best Actor" mark the PSIFF awards gala as a psuedo-event: a kind of open-armed Hollywood team huddle before things get grim and serious with the Oscar announcements at the end of the month.

Even an Oscar-worthy oddity like Richard Linklater's "Boyhood" managed to find a place in the parade, with Linklater, who directed Shirley MacLaine in the 2010 black comedy "Bernie," presenting the 80-year-old actress with the Sonny Bono Visionary Award, essentially for career achievement.

Meanwhile, the festival's generous supply of indie, studio and foreign movies churned away in various local movie theaters, a really quite remarkable cluster of buzzworthy pictures, almost all of which have played elsewhere, including at Sundance and Toronto and Tribeca, and in many cases at your local multiplex.

This programming approach can be a double-edged sword. Director Ava DuVernay, whose civil rights-era epic "Selma" opened the festival, was unable to stay for her full run of Palm Springs personal appearances because her movie has been out long enough to spark a rather bitter controversy over its depiction of President Lyndon Johnson. DuVernay abandoned a Palm Springs Q and A in order to defend her film on Charlie Rose. 

While some audience members were bitterly disappointed at missing the chance to hear one of this year's golden ones, I'm sure the PSIFF Board of Governors understood completely. This time of year, you have to play the long game, and, in the words of the civil rights anthem, "keep your eyes on the prize."

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 to Off-Ramp for his report on the festival.

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.

Police and lifeguards patrol as people walk on the beach south of Newport Pier on May 3, 2020 in Newport Beach, California. ; Credit: Michael Heiman/Getty Images

After the cities of San Clemente and Laguna Beach were given the OK by state officials on Monday to reopen beaches with limited conditions, the California Natural Resources Agency gave Dana Point, Seal Beach and Huntington Beach the green light on Tuesday after approving the plans they submitted for safe reopening.

The plans vary as far as when the beach can be used, but the common thread through each is that leisure activities like sunbathing or large gatherings of people would not be allowed, and that beachgoers will be required to remain active while on the sand. 

The news comes as Orange County Supervisors voted 3-2 on Tuesday to submit a plan to submit to Sacramento that would create a set of uniform rules for reopening beaches countywide. Supervisor Lisa Bartlett spearheaded the proposal, which received pushback from Supervisors Don Wagner and Michelle Steel who argue that after being singled out by Governor Gavin Newsom last week when he ordered a “hard close” on all state and local beaches in Orange County, taking issue with the idea of the county bowing to pressure from the state.

Today on AirTalk, we’ll check back in with Supervisor Bartlett, who joined us Monday on AirTalk, to find out more about the specifics of the county’s plan to reopen its beaches.

Guest:

Lisa Bartlett, Orange County Supervisor representing the Fifth County District, which encompasses South County cities like Aliso Viejo, San Clemente, Laguna Beach, Dana Point and more; she tweets @OCSupBartlett

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