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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">Following \u003ca href=\"https://ww2.kqed.org/pop/2016/09/19/watch-the-four-best-political-moments-from-the-emmys/\">last month's Primetime Emmy Awards\u003c/a>, there was a lot of hubbub over a perceived shift -- a reconfiguration of the old guard -- in how we celebrate, spotlight, and create television. Things just felt different. People of color won all around. Queer women took home golden statuettes. Jeffrey Tambour of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Transparent\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> gracefully advocated for the trans community, as did the show’s creator Jill Soloway, who urged us to “Topple the patriarchy.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But then, amid the clamor of hurrahs, came the inevitable questions: What next? Is the job done? Operation Diversity achieved? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Enter Issa Rae, the star and co-creator of the new HBO comedy show, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Insecure\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. Partially based on her homemade YouTube series and memoir, \u003ci>The Misadventures of Awkward Black Girl\u003c/i>, \u003cem>Insecure\u003c/em> has already garnered significant critical praise, but its existence signals a specific and new turn in the growing wave of “diverse” projects gracing the small screen.\u003c/span>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MubTJyWukp8\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Insecure\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> chronicles the life of 29-year-old Issa — a character who is, as you might imagine, predominantly based on Rae herself — as she navigates the struggles of living and working in South Los Angeles. Issa feels stuck in her relationship with her live-in boyfriend of five years and, at work, feels the need to fend off the tokenized blackness that colleagues assign her with an “aggressively passive” attitude. If the show’s title isn't foreshadowing enough, the pilot episode quickly establishes Issa as lovably self-pitying and seemingly teetering on a quarter-life crisis. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The plot is simple and familiar enough — being awkward and aimless in your twenties in “X” metropolis. It seems to be the basis of countless (and often too many) shows in every new fall TV season. But it’s also the plainness of its premise that makes \u003cem>Insecure\u003c/em> feel so incredibly groundbreaking. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Yes, color is flourishing on screen, compared to the one-dimensional, stereotypes of television of yore. But most of the current shows casting leads of color are given the go-ahead because of juicy-on-paper plot lines that are meant to ensure a viewing audience. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Scandal\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> deals with a steamy affair with the President. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">How to Get Away With Murder\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> is full of plot-twisting murderous intrigue. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Empire\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> traces back-stabbing family politics in the bougie world of a music mogul. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The People v. OJ Simpson\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> recreated the drama of the “Trial of the Century.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Meanwhile,\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> Black-ish\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Carmichael Show\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Fresh Off the Boat\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> find humor in the everyday but only according to the rules of the tried-and-true family sitcom, a television institution whose color barrier was broken decades earlier. \u003c/span>\u003cspan style=\"font-weight: 400\">None of this is an effort to reduce the significance of these shows — they will forever be the trailblazers, the “firsts” in forcing the \u003c/span>\u003cspan class=\"s1\">obsolescence \u003c/span>\u003cspan style=\"font-weight: 400\"> of ethnic caricatures on screen. Every show with “diversity” that’s untainted by stereotypes helps end the perceived uniformity of blackness or brownness or Asian-ness. However, the notion of spotlighting non-white protagonists solely against gimmicky narrative backdrops seems to imply that audiences need to be enticed with fireworks to find interest in characters of color. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/detail.jpeg\">\u003cimg class=\"size-medium wp-image-40715 alignright\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/detail-800x450.jpeg\" alt=\"issa rae insecure hbo\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/10/detail-800x450.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/detail-400x225.jpeg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/detail-768x432.jpeg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/detail-1180x664.jpeg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/detail-960x540.jpeg 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/detail.jpeg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>Rae's show stands out for its depiction of colored ordinariness, or more importantly black female\u003c/span> \u003cspan style=\"font-weight: 400\">ordinariness. Because just as America has black music moguls, it also has funny, educated, and insecure black women just trying to figure things out. This type of narrative sparseness is an exercise in normalization and humanization, and ultimately a shift in how we give voice to color. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cem>Insecure\u003c/em> is not about glitz and glam, or murder in cold blood. It's about a singular, basic human experience in a particular setting at a particular age — and one partially informed by blackness and black femininity. It's a show about nothing and everything, where humor is derived from poking fun at quotidian micro-aggressions and drama comes from universal anxieties. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s Issa trying to figure out what she's doing with her life. Or why her relationship feels stagnant. It’s also Issa having to put up with her well-meaning white boss, who rocks a dashiki while asking her what James Baldwin would do to help kids of color. Or her co-workers asking her, “What's on \u003c/span>\u003cspan style=\"font-weight: 400\">fleek\u003c/span>\u003cspan style=\"font-weight: 400\">?”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">While the\u003c/span>\u003cspan style=\"font-weight: 400\"> inevitable comparisons to its HBO counterpart \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Girls\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> are \u003c/span>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://mic.com/articles/23205/lena-dunham-girls-is-white-girl-feminism-at-its-worst#.DUW3So7h4\">tiresome, diminishing and reductive,\u003c/a> they're \u003c/span>\u003cspan style=\"font-weight: 400\">still a signifier of progress. If a show about a black woman can be broadly categorized in the same genre as a show about four white women just existing in New York, while also being critically commended, that's a sign that representation is starting to level out.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rae’s success is not entirely isolated. Her show joins the ranks of a few brilliant projects just now being made, in which stories of unadorned humanity are deemed worthy (a.k.a. financially backed) for cultural consumption. \u003c/span>\u003cspan style=\"font-weight: 400\">Yet even among those few, \u003cem>Insecure\u003c/em> stands out in how HBO took a chance on a relatively unknown African-American female newcomer. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Master of None\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> came from veteran star and comic Aziz Ansari. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Atlanta\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> is the brainchild of Donald Glover, an already successful rapper and Hollywood writer/actor. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Queen Sugar\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> was borne out of a collaboration between the established Ava Duvernay and Oprah, and is currently airing on Oprah’s channel. Rae does have some ties to Hollywood, co-creating the show with Larry Wilmore and once partnering with Shonda Rhimes for a show that fell short of the pilot stage. But in terms of an insider’s résumé, she's ultimately transitioning from modest, DIY YouTube fame. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Insecure\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> hasn't been without its \u003c/span>\u003ca href=\"http://www.theroot.com/articles/culture/2016/09/is-insecure-preying-on-black-womens-insecurities/\">\u003cspan style=\"font-weight: 400\">critics\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. And whatever progress it spells only emphasizes how tragically far behind the industry is in giving opportunities and visibility to other forms of intersectional representation, from queer women of color to the trans community. But it’s a step in the right direction, one that cements the fact that the steps we’ve already made haven't been for naught.\u003c/span>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">If 2016 was ostensibly the revolutionary year that the Emmys celebrated shows starring people of color, the next revolutionary year should be the one highlighting shows that are \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">about\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> people of color. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Insecure\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> could very well be the crack in the glass ceiling.\u003c/span>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Following \u003ca href=\"https://ww2.kqed.org/pop/2016/09/19/watch-the-four-best-political-moments-from-the-emmys/\">last month's Primetime Emmy Awards\u003c/a>, there was a lot of hubbub over a perceived shift -- a reconfiguration of the old guard -- in how we celebrate, spotlight, and create television. Things just felt different. People of color won all around. Queer women took home golden statuettes. Jeffrey Tambour of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Transparent\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> gracefully advocated for the trans community, as did the show’s creator Jill Soloway, who urged us to “Topple the patriarchy.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But then, amid the clamor of hurrahs, came the inevitable questions: What next? Is the job done? Operation Diversity achieved? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Enter Issa Rae, the star and co-creator of the new HBO comedy show, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Insecure\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. Partially based on her homemade YouTube series and memoir, \u003ci>The Misadventures of Awkward Black Girl\u003c/i>, \u003cem>Insecure\u003c/em> has already garnered significant critical praise, but its existence signals a specific and new turn in the growing wave of “diverse” projects gracing the small screen.\u003c/span>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/MubTJyWukp8'\n title='//www.youtube.com/embed/MubTJyWukp8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Insecure\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> chronicles the life of 29-year-old Issa — a character who is, as you might imagine, predominantly based on Rae herself — as she navigates the struggles of living and working in South Los Angeles. Issa feels stuck in her relationship with her live-in boyfriend of five years and, at work, feels the need to fend off the tokenized blackness that colleagues assign her with an “aggressively passive” attitude. If the show’s title isn't foreshadowing enough, the pilot episode quickly establishes Issa as lovably self-pitying and seemingly teetering on a quarter-life crisis. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The plot is simple and familiar enough — being awkward and aimless in your twenties in “X” metropolis. It seems to be the basis of countless (and often too many) shows in every new fall TV season. But it’s also the plainness of its premise that makes \u003cem>Insecure\u003c/em> feel so incredibly groundbreaking. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Yes, color is flourishing on screen, compared to the one-dimensional, stereotypes of television of yore. But most of the current shows casting leads of color are given the go-ahead because of juicy-on-paper plot lines that are meant to ensure a viewing audience. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Scandal\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> deals with a steamy affair with the President. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">How to Get Away With Murder\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> is full of plot-twisting murderous intrigue. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Empire\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> traces back-stabbing family politics in the bougie world of a music mogul. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The People v. OJ Simpson\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> recreated the drama of the “Trial of the Century.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Meanwhile,\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> Black-ish\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Carmichael Show\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Fresh Off the Boat\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> find humor in the everyday but only according to the rules of the tried-and-true family sitcom, a television institution whose color barrier was broken decades earlier. \u003c/span>\u003cspan style=\"font-weight: 400\">None of this is an effort to reduce the significance of these shows — they will forever be the trailblazers, the “firsts” in forcing the \u003c/span>\u003cspan class=\"s1\">obsolescence \u003c/span>\u003cspan style=\"font-weight: 400\"> of ethnic caricatures on screen. Every show with “diversity” that’s untainted by stereotypes helps end the perceived uniformity of blackness or brownness or Asian-ness. However, the notion of spotlighting non-white protagonists solely against gimmicky narrative backdrops seems to imply that audiences need to be enticed with fireworks to find interest in characters of color. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/detail.jpeg\">\u003cimg class=\"size-medium wp-image-40715 alignright\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/detail-800x450.jpeg\" alt=\"issa rae insecure hbo\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/10/detail-800x450.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/detail-400x225.jpeg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/detail-768x432.jpeg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/detail-1180x664.jpeg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/detail-960x540.jpeg 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/detail.jpeg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>Rae's show stands out for its depiction of colored ordinariness, or more importantly black female\u003c/span> \u003cspan style=\"font-weight: 400\">ordinariness. Because just as America has black music moguls, it also has funny, educated, and insecure black women just trying to figure things out. This type of narrative sparseness is an exercise in normalization and humanization, and ultimately a shift in how we give voice to color. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cem>Insecure\u003c/em> is not about glitz and glam, or murder in cold blood. It's about a singular, basic human experience in a particular setting at a particular age — and one partially informed by blackness and black femininity. It's a show about nothing and everything, where humor is derived from poking fun at quotidian micro-aggressions and drama comes from universal anxieties. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s Issa trying to figure out what she's doing with her life. Or why her relationship feels stagnant. It’s also Issa having to put up with her well-meaning white boss, who rocks a dashiki while asking her what James Baldwin would do to help kids of color. Or her co-workers asking her, “What's on \u003c/span>\u003cspan style=\"font-weight: 400\">fleek\u003c/span>\u003cspan style=\"font-weight: 400\">?”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">While the\u003c/span>\u003cspan style=\"font-weight: 400\"> inevitable comparisons to its HBO counterpart \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Girls\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> are \u003c/span>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://mic.com/articles/23205/lena-dunham-girls-is-white-girl-feminism-at-its-worst#.DUW3So7h4\">tiresome, diminishing and reductive,\u003c/a> they're \u003c/span>\u003cspan style=\"font-weight: 400\">still a signifier of progress. If a show about a black woman can be broadly categorized in the same genre as a show about four white women just existing in New York, while also being critically commended, that's a sign that representation is starting to level out.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rae’s success is not entirely isolated. Her show joins the ranks of a few brilliant projects just now being made, in which stories of unadorned humanity are deemed worthy (a.k.a. financially backed) for cultural consumption. \u003c/span>\u003cspan style=\"font-weight: 400\">Yet even among those few, \u003cem>Insecure\u003c/em> stands out in how HBO took a chance on a relatively unknown African-American female newcomer. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Master of None\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> came from veteran star and comic Aziz Ansari. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Atlanta\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> is the brainchild of Donald Glover, an already successful rapper and Hollywood writer/actor. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Queen Sugar\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> was borne out of a collaboration between the established Ava Duvernay and Oprah, and is currently airing on Oprah’s channel. Rae does have some ties to Hollywood, co-creating the show with Larry Wilmore and once partnering with Shonda Rhimes for a show that fell short of the pilot stage. But in terms of an insider’s résumé, she's ultimately transitioning from modest, DIY YouTube fame. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Insecure\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> hasn't been without its \u003c/span>\u003ca href=\"http://www.theroot.com/articles/culture/2016/09/is-insecure-preying-on-black-womens-insecurities/\">\u003cspan style=\"font-weight: 400\">critics\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. And whatever progress it spells only emphasizes how tragically far behind the industry is in giving opportunities and visibility to other forms of intersectional representation, from queer women of color to the trans community. But it’s a step in the right direction, one that cements the fact that the steps we’ve already made haven't been for naught.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">If 2016 was ostensibly the revolutionary year that the Emmys celebrated shows starring people of color, the next revolutionary year should be the one highlighting shows that are \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">about\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> people of color. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Insecure\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> could very well be the crack in the glass ceiling.\u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"order": 12
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
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