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Academic lectures have invaded L.A. bars and tickets are selling out in minutes

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Academic lectures have invaded L.A. bars and tickets are selling out in minutes

On a nippy Monday night at the Zebulon in Frogtown, a man wearing a Jason Voorhees T-shirt steps onto a purple-lighted stage and stands next to a drum set. Audience members, seated in neat rows and cradling cocktails, enthusiastically applaud.

Then they look toward a glowing projector screen. Some clutch their pens, ready to take notes.

“In cinema, three elements can move: objects, the camera itself and the audience’s point of attention,” Drew McClellan says to the crowd before showing an example on the projector screen. The clip is a memorable scene from Jordan’s Peele’s 2017 film, “Get Out,” when the protagonist (Daniel Kaluuya) goes out for a late-night smoke and sees the groundskeeper sprinting toward him — in the direction of the camera and the viewer — before abruptly changing direction at the last second.

During his talk, McClellan screened several movie clips to illustrate key points.

(Emil Ravelo / For The Times)

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“Someone running at you full speed with perfect track form, you can’t tell me that’s not terrifying,” McClellan says laughing with the audience.

McClellan is an adjunct professor at the USC School of Cinematic Arts and the cinematic arts department chair at the Los Angeles County High School for the Arts (LACHSA). He’s presenting on two of the seven core visual components of cinema — tone and movement — as part of Lectures on Tap, an event series that turns neighborhood bars and venues into makeshift classrooms. Attendees hear thought-provoking talks from experts on wide-ranging topics such as Taylor Swift’s use of storytelling in her music, how AI technology is being used to detect cardiovascular diseases, the psychology of deception and the quest for alien megastructures — all in a fun, low-stakes environment. And rest assured: No grades are given. It’s a formula that’s been working.

“I hunted for these tickets,” says Noa Kretchmer, 30, who’s attended multiple Lectures on Tap events since it debuted in Los Angeles in August. “They sell out within less than an hour.”

Wife-and-husband duo Felecia and Ty Freely dreamed up Lectures on Tap last summer after moving to New York City where Ty was studying psychology at Columbia University. Hungry to find a community of people who were just as “nerdy” as they are, they decided to create a laidback space where people could enjoy engaging lectures typically reserved for college lecture halls and conferences.

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Felecia Freely, professor Drew McClellan and Ty Freely photographed post-lecture at Zebulon.

Founders Felecia and Ty Freely pose for a photo with Drew McClellan (center) after his presentation.

(Emil Ravelo / For The Times)

“At the end of every lecture, people always come up to us and [say] “I hated college when I was in it, but now that I’m not, I would love to come to a lecture and have access to these experts without having to feel pressured to get a good grade,’” says Felecia, who makes “brainy content” on social media, like explaining the phenomenon of closed-eye visualizations.

Lectures on Tap, which also hosts events in San Francisco, Boston and Chicago, is the latest iteration of gatherings that pair alcoholic beverages with academic talks. Other similar events include Profs and Pints, which launched in 2017 in Washington, D.C., and Nerd Nite, which came to L.A. in 2011 and takes place at a brewery in Glendale. At a time when the federal government is moving closer to dismantling the U.S. Department of Education, AI is impacting people’s ability to think critically, attention spans are shrinking and literacy rates are down, events like Lectures on Tap are becoming more than just a place to learn about an interesting new topic.

“I think folks are passionate about keeping intellectualism alive especially in this age that is kind of demonizing that,” Felecia says. “We’re in the age of people not trusting experts so everyone out there who still does wants to be in a room with their people.”

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“And there are a lot of them,” adds Ty. “It is actually alive and well, just maybe not mainstream.”

“In a weird way, this is kind of counterculture,” Felecia chimes in.

Wensu Ng on stage for Lectures On Tap at Zebulon.

Wensu Ng introduces the speaker for the night.

(Emil Ravelo / For The Times)

During his presentation, McClellan broke down key film concepts in layman’s terms for the diverse audience who were mostly composed of film lovers and people who were simply interested in the topic. (Though there were some writers in the crowd as well.) To illustrate his points, he played several movie clips including the 1931 version of “Frankenstein” and Juan Carlos Fresnadillo’s “28 Weeks Later,” both of which made several people in the audience, including myself, jump in fear.

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“This is how you scare the crap out of people,” he said while explaining why seeing a lighted-up character staring into an abyss of darkness is impactful.

Though some patrons like to go to Lectures on Tap events for specific topics they find interesting, others say they would attend regardless of the subject matter.

“I felt really comfortable and I loved the social aspect of it,” says Andrew Guerrero, 26, in between sips of wine. “It felt more like a communal vibe, but at the same time, I miss learning.”

Spectators experience professor Drew McClellan's lecture at Zebulon.

Attendees mingle at the bar.

(Emil Ravelo / For The Times)

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He adds, “I can absorb [the information] more because I’m not pressured to really retain it and because of that, I actually do retain it.”

After weeks of trying to secure tickets, which cost $35, Ieva Vizgirdaite took her fiancé, Drake Garber, to the event to celebrate his birthday.

“I didn’t go to college so I don’t have any prior experience with lecturing,” says Garber, 29, adding that he’s interested in film production and is a “big horror fan.” But the fact that “I get to sit and learn about something that I love doing with a pint? Like, that’s amazing.”

The relaxed environment allows the speakers to let their guard down as well.

“I can play with certain elements that I maybe haven’t used in the classroom,” says McClellan, who made jokes throughout his presentation. “It’s definitely looser and getting around people who’ve been drinking, they’ll ask more questions and different types of questions.”

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Spectators experience professor Drew McClellan's lecture at Zebulon.

“It’s kind of like mushing up the education into your applesauce — mushing it up in the beer,” says Drew McClellan.

(Emil Ravelo / For The Times)

After the talk is over, bar staff quickly remove the rows of chairs and clear the stage for a concert that’s happening next. Several Lectures on Tap attendees, including the founders, transition to the back patio to mingle. McClellan stays after to answer more questions over drinks.

“This is a nontraditional environment to be enjoying yourself but also learning at the same time,” he says. “It’s kind of like mushing up the education into your applesauce — mushing it up in the beer.”

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Jodie Foster plans more French roles after ‘A Private Life’

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Jodie Foster plans more French roles after ‘A Private Life’

Jodie Foster has her first solo lead role entirely in French in A Private Life.

Jérôme Prébois/Sony Pictures Classics


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After dozens of films over a storied six-decade career, Jodie Foster is trying something new, playing the lead role in a French film for the very first time.

There’s hardly a trace of an American accent in Foster’s turn as Parisian therapist Lilian Steiner in A Private Life (Vie privée) and she appears to be very much at home.

The character she plays is an American woman who built her career in France. So director Rebecca Zlotowski added some small asides — and swearing — in English because of Foster’s brisk and fluent French. “People suddenly were just completely confused that I wasn’t a French person,” the actress said.

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All apparent ease aside, “I have a different personality in French than I do in English,” Foster told Morning Edition host Leila Fadel during a recent visit to NPR’s New York studios.

Her voice has a higher pitch in French, something she attributes to the French ladies who taught her at the private school she attended, Le Lycée Français de Los Angeles. Foster also had some smaller roles in three French films prior to A Private Life, including in 2004’s A Very Long Engagement.

“I’m just much more insecure and kind of vulnerable because I never know whether I’m communicating properly. And, you know, am I going to find that word at the last minute?” Foster said.

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This frustration is also built into the script itself. When we first meet Steiner, she’s constantly frazzled, barely listening to her patients and hardly sparing a minute for her newborn grandson.

Lilian Steiner (Jodie Foster) and Gabriel Haddad (Daniel Auteuil) rekindle an old flame in A Private Life.

Lilian Steiner (Jodie Foster) and Gabriel Haddad (Daniel Auteuil) find love again — for each other — years after their divorce in A Private Life.

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Then, her eyes start watering constantly, something someone more grounded would call crying, but not Steiner, who grows increasingly frustrated that water is coming out of her eyes.

It turns out to be especially fitting for someone who is a Freudian psychoanalyst. “In true Freudian fashion [she] is having a physical demonstration of a psychic ill,” Foster explains.

That psychic ill is caused by the death of a patient (the Franco-Belgian social drama star Virginie Efira), purportedly by suicide.

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But Steiner suspects her patient has been murdered and launches her own — inconclusive, darkly comedic — investigation, enlisting help from her ex-husband (played by Daniel Auteuil, a mainstay of French cinema), and rekindling their old flame in the process.

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All of those disparate plot lines play into the film’s French title, Vie privée, which Foster explains is a double entendre: “So private life, meaning everything that you think that would mean the opposite of a public life — an internal life. But private also means has been deprived of, so somebody who has been deprived of life, meaning somebody who’s died potentially.”

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In her own life, Foster said she’s had to fight for privacy, ferociously. “I had to say I will go to Disneyland and I will not have a film crew following me… I will go to college and I will not give everything to the public eye, in order to make sure that I survived intact,” she explained.

After a frenetic pace of filming in her teens and twenties, Foster says she became more deliberate about the roles she accepted so that she could bring more depth to the screen. “I really was careful to make sure that I had real life and I worked more sporadically than most other actors,” she said.

In a dream sequence, Lilian (Jodie Foster), left, is transported to WWII-era Paris, where she knows her present-day patient Paula (Virginie Efira) under a different light.

In a hallucinatory dream sequence while under hypnosis, Lilian (Jodie Foster), left, is transported to WWII-era Paris, where she and her present-day patient Paula Cohen-Solal (Virginie Efira) were lovers.

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Today, she’s especially excited about working with women directors. She also directs herself. Recounting that she only worked with one female director — Mary Lambert for 1987’s Siesta — in the first four decades of her career, Foster said she’s now working more with women.

“It’s been a shift that’s a long time coming… But it came very, very late,” she added, noting that the prevailing bias against women directors has only “recently” changed in mainstream cinema.

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Foster also hopes to take part in more French movies, maybe even direct a film in France. “That’s something I’ve always wanted to do and something that would be a great challenge for me,” she said.

Director Rebecca Zlotowski, shown her on the set of A Private Life, says she long had dreamed of directing a film featuring Jodie Foster.

Director Rebecca Zlotowski, shown here on the set of A Private Life, says she had long dreamed of directing a film featuring Jodie Foster.

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She urged American audiences to embrace learning to speak languages other than English.

“It’s surprising how Americans don’t hear other languages… how you can go your whole life without really hearing other languages spoken in your state,” she said. “We have to make an effort to connect to a wider world and understand that we’re all part of the same universe.”

The broadcast version was produced by Julie Depenbrock. The digital version was edited by Treye Green.

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Gene Hackman’s House Goes Up for Sale Less Than a Year After Deaths

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Gene Hackman’s House Goes Up for Sale Less Than a Year After Deaths

Gene Hackman And Wife
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Tig Notaro talks growing up in Mississippi, parenthood and her friendship with poet Andrea Gibson : Wild Card with Rachel Martin

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Tig Notaro talks growing up in Mississippi, parenthood and her friendship with poet Andrea Gibson : Wild Card with Rachel Martin

A note from Wild Card host Rachel Martin: Tig Notaro has built a career dissecting her own life. In her stand up, podcasts, even a TV show – Tig has brought her audience into some of the most personal parts of her own living: growing up as a gay kid in the South, falling in love with her wife, and her struggle through breast cancer.

But in her latest creative project, Tig turned the spotlight on a close friend of hers – the poet Andrea Gibson. Andrea died from cancer last year. Tig produced a documentary about Andrea’s incredible life – it’s called “Come See Me in the Good Light.”

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