AirTalk brings you the latest on LA Metro’s methods of addressing homelessness on its trains after the Metro Board of Directors voted to expand its outreach programs. We also dive into why fewer U.S. college students are enrolling in foreign language classes; review this week’s movie releases on FilmWeek; and more.
Social workers on the subway: LA Metro trying new approach to dealing with homelessness
As the homelessness crisis worsens in Los Angeles, the public transit system increasingly becomes a space where people without homes take shelter, which comes with repercussions for its safety, usability and sanitation.
L.A. Metro has allocated about $207 million for law enforcement this year, which is done by a mix of L.A. and Long Beach police departments, the Sheriff’s Department and private security. But as reported by the L.A. Times, under a new $1.2 million contract, Metro has been trying a new approach: social workers riding the Metro Red Line five days a week in an attempt to provide outreach and help to people who are homeless. This one year program, launched in May of last year, is now coming to a close, though there are plans to expand it out.
How well has this new program worked? How do social workers approach people who are homeless on the train? What is your experience with homelessness on L.A. Metro and what do you think can be done?
Guests:
Laura Nelson, transportation reporter for the Los Angeles Times; her recent article is “As waves of homeless descend onto trains, L.A. tries a new strategy: social workers on the subway”; she tweets
Tescia Uribe, chief program officer at the nonprofit People Assisting The Homeless (PATH) that has partnered with Metro on its homeless program
Alex Wiggins, chief system security and law enforcement officer who oversees Metro’s homeless outreach social services program
Adam Murray, executive director of Inner City Law Center, an organization that provides legal services on Skid Row
FilmWeek: ‘A Quiet Place,’ ‘Blockers,’ ‘Chappaquiddick’ and more
Larry Mantle and KPCC film critics Amy Nicholson, Tim Cogshell and Charles Solomon review this weekend’s new movie releases.
"A Quiet Place" in wide release
"Blockers" in wide release
"Chappaquiddick" in wide release
"Lean on Pete" at ArcLight Hollywood and The Landmark Theatre
"Pandas" at the IMAX Theatre at California Science Center
"You Were Never Really Here" at ArcLight Hollywood
"The Miracle Season" in wide release
"Ismael's Ghosts" at Laemmle's Royal Theatre
"6 Balloons" on Netflix
"Big Fish & Begonia" at Laemmle's NoHo
"Lowlife" at Arena Cinelounge Sunset
"The Workshop" at Nuart Theatre
Guests:
Amy Nicholson, film critic for KPCC and host of The Canon podcast; she tweets
Tim Cogshell, film critic for KPCC, Alt-Film Guide and CineGods.com; he tweets
Charles Solomon, film critic for KPCC, Animation Scoop and Animation Magazine
Open the pod bay doors, HAL: 50 years later, analyzing the impact of Kubrick’s ‘2001: A Space Odyssey’ on the sci-fi genre
“I’m sorry, Dave. I’m afraid I can’t do that.”
The deadpan, emotionless response from supercomputer HAL 9000 in Stanley Kubrick’s 1968 sci-fi classic “2001: A Space Odyssey” sets the tone for what is arguably one of the most spine-chilling final sequences in film as viewers stare into HAL’s unblinking, emotionless red eye and realize the extent of its omnipotence; that it sees itself not as subservient to the humans who created it, but as an equal. And that sense of fear is only amplified as, in yet another iconic and haunting moment, astronaut Dave Bowman (Keir Dullea) shuts HAL down for good as it sings a warbling, eerie version of “Bicycle Built for Two.”
“2001” turned 50 years old earlier this week, and its influence on the sci-fi genre is hard to understate. Movies like “Star Wars,” “Blade Runner,” “Alien,” “Contact” and more have followed in its footsteps. But the film is about more than space travel becoming the norm, or even humanity pushing the boundaries of the universe in search of the meaning of its existence. In an age where we have smartphones and speakers that can respond to commands, accomplish tasks, and even tell jokes, Kubrick’s message about the ability of machines to replicate human emotion and feeling rings as true as it ever has. And despite debuting to mixed reviews and failing to receive a Best Picture nomination at the 1968 Academy Awards (though it did win for Best Special Visual Effects and Kubrick was nominated for Best Director), the film has had and likely will continue to have a lasting impact on the sci-fi genre as we know it. References to the film continue to appear across pop culture, from the “Dawn of Man” scene making its way into an episode of “The Simpsons” to the design and familiar all-seeing red eye of the robot “Auto” in Disney-Pixar’s “WALL-E.” Last month, it was reported that at this year’s Cannes Film Festival in May, director Christopher Nolan will present a restored 70mm print of the film.
What are your memories of the first time you saw “2001?” What did the movie get right about the “future?” What themes from the film do you think are applicable to human life today? Where does “2001” rank among the great science-fiction films?
Guests:
Amy Nicholson, film critic for KPCC and host of The Canon podcast; she tweets
Tim Cogshell, film critic for KPCC, Alt-Film Guide and CineGods.com; he tweets
Charles Solomon, film critic for KPCC, Animation Scoop and Animation Magazine