window.__IS_SSR__=true
window.__INITIAL_STATE__={
"attachmentsReducer": {
"audio_0": {
"type": "attachments",
"id": "audio_0",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background0.jpg"
}
}
},
"audio_1": {
"type": "attachments",
"id": "audio_1",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background1.jpg"
}
}
},
"audio_2": {
"type": "attachments",
"id": "audio_2",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background2.jpg"
}
}
},
"audio_3": {
"type": "attachments",
"id": "audio_3",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background3.jpg"
}
}
},
"audio_4": {
"type": "attachments",
"id": "audio_4",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background4.jpg"
}
}
},
"placeholder": {
"type": "attachments",
"id": "placeholder",
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"fd-lrg": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"fd-med": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"fd-sm": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"xxsmall": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"xsmall": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"small": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"xlarge": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1920x1280.jpg",
"width": 1920,
"height": 1280,
"mimeType": "image/jpeg"
},
"guest-author-32": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 32,
"height": 32,
"mimeType": "image/jpeg"
},
"guest-author-50": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 50,
"height": 50,
"mimeType": "image/jpeg"
},
"guest-author-64": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 64,
"height": 64,
"mimeType": "image/jpeg"
},
"guest-author-96": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 96,
"height": 96,
"mimeType": "image/jpeg"
},
"guest-author-128": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 128,
"height": 128,
"mimeType": "image/jpeg"
},
"detail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 160,
"height": 160,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1.jpg",
"width": 2000,
"height": 1333
}
}
},
"arts_13863228": {
"type": "attachments",
"id": "arts_13863228",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13863228",
"found": true
},
"parent": 13863220,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/5c99860432727c61772cd777_A-transmasculine-person-with-a-furry-blue-coat-drinking-coffee-with-a-friend-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/5c99860432727c61772cd777_A-transmasculine-person-with-a-furry-blue-coat-drinking-coffee-with-a-friend-160x96.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 96
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/5c99860432727c61772cd777_A-transmasculine-person-with-a-furry-blue-coat-drinking-coffee-with-a-friend-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/5c99860432727c61772cd777_A-transmasculine-person-with-a-furry-blue-coat-drinking-coffee-with-a-friend.jpg",
"width": 1920,
"height": 1156
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/5c99860432727c61772cd777_A-transmasculine-person-with-a-furry-blue-coat-drinking-coffee-with-a-friend-1020x614.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 614
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/5c99860432727c61772cd777_A-transmasculine-person-with-a-furry-blue-coat-drinking-coffee-with-a-friend-1200x723.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 723
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/5c99860432727c61772cd777_A-transmasculine-person-with-a-furry-blue-coat-drinking-coffee-with-a-friend-1920x1156.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1156
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/5c99860432727c61772cd777_A-transmasculine-person-with-a-furry-blue-coat-drinking-coffee-with-a-friend-800x482.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 482
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/5c99860432727c61772cd777_A-transmasculine-person-with-a-furry-blue-coat-drinking-coffee-with-a-friend-768x462.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 462
}
},
"publishDate": 1565131675,
"modified": 1565133198,
"caption": "A transmasculine person with a furry blue coat drinking coffee with a friend.",
"description": "A transmasculine person with a furry blue coat drinking coffee with a friend.",
"title": "5c99860432727c61772cd777_A-transmasculine-person-with-a-furry-blue-coat-drinking-coffee-with-a-friend",
"credit": "The Gender Spectrum Collection",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13863158": {
"type": "attachments",
"id": "arts_13863158",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13863158",
"found": true
},
"parent": 13863147,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/jiatolentino-elenamudd-8756-2-2-21c2b3ab031715d5af946cde30fc2fb6b199c26b-s1400-c85-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/jiatolentino-elenamudd-8756-2-2-21c2b3ab031715d5af946cde30fc2fb6b199c26b-s1400-c85-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/jiatolentino-elenamudd-8756-2-2-21c2b3ab031715d5af946cde30fc2fb6b199c26b-s1400-c85-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/jiatolentino-elenamudd-8756-2-2-21c2b3ab031715d5af946cde30fc2fb6b199c26b-s1400-c85.jpg",
"width": 1400,
"height": 1050
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/jiatolentino-elenamudd-8756-2-2-21c2b3ab031715d5af946cde30fc2fb6b199c26b-s1400-c85-1020x765.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 765
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/jiatolentino-elenamudd-8756-2-2-21c2b3ab031715d5af946cde30fc2fb6b199c26b-s1400-c85-1200x900.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 900
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/jiatolentino-elenamudd-8756-2-2-21c2b3ab031715d5af946cde30fc2fb6b199c26b-s1400-c85-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/jiatolentino-elenamudd-8756-2-2-21c2b3ab031715d5af946cde30fc2fb6b199c26b-s1400-c85-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
}
},
"publishDate": 1565120563,
"modified": 1565120603,
"caption": "Jia Tolentino's essay collection 'Trick Mirror' looks for meaning in the many absurdities all around us.",
"description": "Jia Tolentino's essay collection 'Trick Mirror' looks for meaning in the many absurdities all around us.",
"title": "Jia Tolentino's essay collection 'Trick Mirror' looks for meaning in the many absurdities all around us.",
"credit": "Penguin Random House",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13863062": {
"type": "attachments",
"id": "arts_13863062",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13863062",
"found": true
},
"parent": 13863056,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/Obama_GettyImages-1037465870-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/Obama_GettyImages-1037465870-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/Obama_GettyImages-1037465870-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/Obama_GettyImages-1037465870.jpg",
"width": 1920,
"height": 1280
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/Obama_GettyImages-1037465870-1020x680.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 680
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/Obama_GettyImages-1037465870-1200x800.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 800
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/Obama_GettyImages-1037465870-1920x1280.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1280
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/Obama_GettyImages-1037465870-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/Obama_GettyImages-1037465870-768x512.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 512
}
},
"publishDate": 1565048430,
"modified": 1565048458,
"caption": " Former President Barack Obama speaks during a campaign rally for Senator Bob Casey (D-PA) and Pennsylvania Governor Tom Wolf on September 21, 2018 in Philadelphia, Pennsylvania.",
"description": " Former President Barack Obama speaks during a campaign rally for Senator Bob Casey (D-PA) and Pennsylvania Governor Tom Wolf on September 21, 2018 in Philadelphia, Pennsylvania.",
"title": "Obama_GettyImages-1037465870",
"credit": "Mark Makela/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10189955": {
"type": "attachments",
"id": "arts_10189955",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10189955",
"found": true
},
"parent": 10189953,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/12/Hands-up-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/12/Hands-up-400x266.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 266
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/12/Hands-up-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/12/Hands-up.jpg",
"width": 3000,
"height": 2000
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/12/Hands-up-1180x786.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 786
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/12/Hands-up-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/12/Hands-up-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/12/Hands-up-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/12/Hands-up-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/12/Hands-up-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/12/Hands-up-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1417769224,
"modified": 1564790972,
"caption": "Demonstrators, protesting the shooting death of teenager Michael Brown, hold up signs after they were ordered off the street on August 13, 2014 in Ferguson, Missouri. ",
"description": "FERGUSON, MO - AUGUST 13: Demonstrators, protesting the shooting death of teenager Michael Brown, hold up signs after they were ordered off the street on August 13, 2014 in Ferguson, Missouri. Brown was shot and killed by a Ferguson police officer on Saturday. Ferguson, a St. Louis suburb, has experienced three days of violent protests since the killing. ",
"title": "Outrage In Missouri Town After Police Shooting Of 18-Yr-Old Man",
"credit": " Scott Olson/AP/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13862987": {
"type": "attachments",
"id": "arts_13862987",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13862987",
"found": true
},
"parent": 13862986,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/4wed_101_jm_01067r_wide-735a1e1ebae3d59cf2395a05c02e32284f9519db-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/4wed_101_jm_01067r_wide-735a1e1ebae3d59cf2395a05c02e32284f9519db-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/4wed_101_jm_01067r_wide-735a1e1ebae3d59cf2395a05c02e32284f9519db-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/4wed_101_jm_01067r_wide-735a1e1ebae3d59cf2395a05c02e32284f9519db.jpg",
"width": 2048,
"height": 1152
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/4wed_101_jm_01067r_wide-735a1e1ebae3d59cf2395a05c02e32284f9519db-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/4wed_101_jm_01067r_wide-735a1e1ebae3d59cf2395a05c02e32284f9519db-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/4wed_101_jm_01067r_wide-735a1e1ebae3d59cf2395a05c02e32284f9519db-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/4wed_101_jm_01067r_wide-735a1e1ebae3d59cf2395a05c02e32284f9519db-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/4wed_101_jm_01067r_wide-735a1e1ebae3d59cf2395a05c02e32284f9519db-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1564985503,
"modified": 1564985829,
"caption": "Nathalie Emmanuel is the best thing about the ultimately disappointing television adaptation of 'Four Weddings and a Funeral.'",
"description": "Nathalie Emmanuel is the best thing about the ultimately disappointing television adaptation of 'Four Weddings and a Funeral.'",
"title": "Nathalie Emmanuel is the best thing about the ultimately disappointing television adaptation of 'Four Weddings and a Funeral.'",
"credit": "Jay Maidment/Hulu",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13862918": {
"type": "attachments",
"id": "arts_13862918",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13862918",
"found": true
},
"parent": 13862917,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/wanda_unit_00407r_wide-bfdbb3ea0171d25ac16c5ccbb6c056e2252769bc-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/wanda_unit_00407r_wide-bfdbb3ea0171d25ac16c5ccbb6c056e2252769bc-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/wanda_unit_00407r_wide-bfdbb3ea0171d25ac16c5ccbb6c056e2252769bc-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/wanda_unit_00407r_wide-bfdbb3ea0171d25ac16c5ccbb6c056e2252769bc-e1564774428128.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/wanda_unit_00407r_wide-bfdbb3ea0171d25ac16c5ccbb6c056e2252769bc-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/wanda_unit_00407r_wide-bfdbb3ea0171d25ac16c5ccbb6c056e2252769bc-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/wanda_unit_00407r_wide-bfdbb3ea0171d25ac16c5ccbb6c056e2252769bc-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/wanda_unit_00407r_wide-bfdbb3ea0171d25ac16c5ccbb6c056e2252769bc-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/wanda_unit_00407r_wide-bfdbb3ea0171d25ac16c5ccbb6c056e2252769bc-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1564774304,
"modified": 1564774442,
"caption": "Wanda Sykes surprised herself by coming out publicly as a lesbian at a 2008 LGBTQ rally in Las Vegas. \"I didn't even know that I was going to do it,\" she says. \"It wasn't planned at all.\"",
"description": "Wanda Sykes surprised herself by coming out publicly as a lesbian at a 2008 LGBTQ rally in Las Vegas. \"I didn't even know that I was going to do it,\" she says. \"It wasn't planned at all.\"",
"title": "Wanda Sykes surprised herself by coming out publicly as a lesbian at a 2008 LGBTQ rally in Las Vegas. \"I didn't even know that I was going to do it,\" she says. \"It wasn't planned at all.\"",
"credit": "Atsushi Nishijima/Netflix",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13862794": {
"type": "attachments",
"id": "arts_13862794",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13862794",
"found": true
},
"parent": 13862786,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/hobbsandshaw-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/hobbsandshaw-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/hobbsandshaw.jpg",
"width": 800,
"height": 449
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/hobbsandshaw-800x449.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 449
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/hobbsandshaw-768x431.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 431
}
},
"publishDate": 1564688134,
"modified": 1564688210,
"caption": "Bald-faced fury: Dwayne \"The Rock\" Johnson and Jason Statham team up as Luke Hobbs and Deckard Shaw in this 'Fast & Furious' spinoff directed by David Leitch.",
"description": "Bald-faced fury: Dwayne \"The Rock\" Johnson and Jason Statham team up as Luke Hobbs and Deckard Shaw in this 'Fast & Furious' spinoff directed by David Leitch.",
"title": "hobbsandshaw",
"credit": "Daniel Smith/Universal",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13862798": {
"type": "attachments",
"id": "arts_13862798",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13862798",
"found": true
},
"parent": 13862797,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/jane100_wide-e0eb3fad2af684142eb9b31c7b70d512f46dc55e-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/jane100_wide-e0eb3fad2af684142eb9b31c7b70d512f46dc55e-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/jane100_wide-e0eb3fad2af684142eb9b31c7b70d512f46dc55e-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/jane100_wide-e0eb3fad2af684142eb9b31c7b70d512f46dc55e.jpg",
"width": 1139,
"height": 640
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/jane100_wide-e0eb3fad2af684142eb9b31c7b70d512f46dc55e-1020x573.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 573
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/jane100_wide-e0eb3fad2af684142eb9b31c7b70d512f46dc55e-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/jane100_wide-e0eb3fad2af684142eb9b31c7b70d512f46dc55e-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1564688499,
"modified": 1564689224,
"caption": "Gina Rodriguez and Justin Baldoni as Jane and Rafael, whose wedding was the centerpiece of the finale of 'Jane The Virgin.'",
"description": "Gina Rodriguez and Justin Baldoni as Jane and Rafael, whose wedding was the centerpiece of the finale of 'Jane The Virgin.'",
"title": "Gina Rodriguez and Justin Baldoni as Jane and Rafael, whose wedding was the centerpiece of the finale of 'Jane The Virgin.'",
"credit": "Kevin Estrada/The CW",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13862790": {
"type": "attachments",
"id": "arts_13862790",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13862790",
"found": true
},
"parent": 13862789,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/peppa-core-landscape-73f127c915a9ef8761ae55b059dc49e5bc35957d-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/peppa-core-landscape-73f127c915a9ef8761ae55b059dc49e5bc35957d-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/peppa-core-landscape-73f127c915a9ef8761ae55b059dc49e5bc35957d-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/peppa-core-landscape-73f127c915a9ef8761ae55b059dc49e5bc35957d.jpg",
"width": 2048,
"height": 1536
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/peppa-core-landscape-73f127c915a9ef8761ae55b059dc49e5bc35957d-1020x765.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 765
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/peppa-core-landscape-73f127c915a9ef8761ae55b059dc49e5bc35957d-1200x900.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 900
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/peppa-core-landscape-73f127c915a9ef8761ae55b059dc49e5bc35957d-1920x1440.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1440
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/peppa-core-landscape-73f127c915a9ef8761ae55b059dc49e5bc35957d-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/peppa-core-landscape-73f127c915a9ef8761ae55b059dc49e5bc35957d-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
}
},
"publishDate": 1564686603,
"modified": 1564687718,
"caption": "The award-winning British cartoon 'Peppa Pig' airs in more than 180 countries. Peppa, who is voiced by 17-year-old Harley Bird, has just dropped her first album titled 'My First Album.'",
"description": "The award-winning British cartoon 'Peppa Pig' airs in more than 180 countries. Peppa, who is voiced by 17-year-old Harley Bird, has just dropped her first album titled 'My First Album.'",
"title": "The award-winning British cartoon 'Peppa Pig' airs in more than 180 countries. Peppa, who is voiced by 17-year-old Harley Bird, has just dropped her first album titled 'My First Album.'",
"credit": "ABD Ltd/Ent. One UK Ltd 2003",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13862670": {
"type": "attachments",
"id": "arts_13862670",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13862670",
"found": true
},
"parent": 13862669,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/gettyimages-1065246004_wide-db14613126abfe5ba6d08af6ff286a087a92e33f-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/gettyimages-1065246004_wide-db14613126abfe5ba6d08af6ff286a087a92e33f-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/gettyimages-1065246004_wide-db14613126abfe5ba6d08af6ff286a087a92e33f-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/gettyimages-1065246004_wide-db14613126abfe5ba6d08af6ff286a087a92e33f.jpg",
"width": 2048,
"height": 1152
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/gettyimages-1065246004_wide-db14613126abfe5ba6d08af6ff286a087a92e33f-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/gettyimages-1065246004_wide-db14613126abfe5ba6d08af6ff286a087a92e33f-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/gettyimages-1065246004_wide-db14613126abfe5ba6d08af6ff286a087a92e33f-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/gettyimages-1065246004_wide-db14613126abfe5ba6d08af6ff286a087a92e33f-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/gettyimages-1065246004_wide-db14613126abfe5ba6d08af6ff286a087a92e33f-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1564607277,
"modified": 1564607810,
"caption": "Barbara Stanwyck and Fred MacMurray in a scene from 'Double Indemnity.'",
"description": "Barbara Stanwyck and Fred MacMurray in a scene from 'Double Indemnity.'",
"title": "Barbara Stanwyck and Fred MacMurray in a scene from 'Double Indemnity.'",
"credit": "Donaldson Collection/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13862642": {
"type": "attachments",
"id": "arts_13862642",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13862642",
"found": true
},
"parent": 13862641,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/ap_800608018_wide-e2845b1d1222f8e5bda26dd30d076eb402642568-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/ap_800608018_wide-e2845b1d1222f8e5bda26dd30d076eb402642568-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/ap_800608018_wide-e2845b1d1222f8e5bda26dd30d076eb402642568-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/ap_800608018_wide-e2845b1d1222f8e5bda26dd30d076eb402642568-e1564601582453.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/ap_800608018_wide-e2845b1d1222f8e5bda26dd30d076eb402642568-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/ap_800608018_wide-e2845b1d1222f8e5bda26dd30d076eb402642568-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/ap_800608018_wide-e2845b1d1222f8e5bda26dd30d076eb402642568-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/ap_800608018_wide-e2845b1d1222f8e5bda26dd30d076eb402642568-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/ap_800608018_wide-e2845b1d1222f8e5bda26dd30d076eb402642568-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1564601480,
"modified": 1564601563,
"caption": "Harold Prince poses with his Tony Award for best direction of a musical in 1980. He earned the honor for his work on Evita.",
"description": "Harold Prince poses with his Tony Award for best direction of a musical in 1980. He earned the honor for his work on \u003cem>Evita.\u003c/em>",
"title": "Harold Prince poses with his Tony Award for best direction of a musical in 1980. He earned the honor for his work on Evita.",
"credit": "Associated Press",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13862549": {
"type": "attachments",
"id": "arts_13862549",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13862549",
"found": true
},
"parent": 13862548,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/seesaw-mexico-border_wide-30a88faf44136f944da9b65677281206918e6028-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/seesaw-mexico-border_wide-30a88faf44136f944da9b65677281206918e6028-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/seesaw-mexico-border_wide-30a88faf44136f944da9b65677281206918e6028-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/seesaw-mexico-border_wide-30a88faf44136f944da9b65677281206918e6028-e1564522699475.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/seesaw-mexico-border_wide-30a88faf44136f944da9b65677281206918e6028-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/seesaw-mexico-border_wide-30a88faf44136f944da9b65677281206918e6028-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/seesaw-mexico-border_wide-30a88faf44136f944da9b65677281206918e6028-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/seesaw-mexico-border_wide-30a88faf44136f944da9b65677281206918e6028-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/seesaw-mexico-border_wide-30a88faf44136f944da9b65677281206918e6028-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1564522498,
"modified": 1564522687,
"caption": "A set of pink seesaws allowed people to share some fun along the U.S.-Mexico border wall this week. Here, a woman helps her little girls ride the seesaw that was installed near Ciudad de Juarez, Mexico.",
"description": "A set of pink seesaws allowed people to share some fun along the U.S.-Mexico border wall this week. Here, a woman helps her little girls ride the seesaw that was installed near Ciudad de Juarez, Mexico.",
"title": "A set of pink seesaws allowed people to share some fun along the U.S.-Mexico border wall this week. Here, a woman helps her little girls ride the seesaw that was installed near Ciudad de Juarez, Mexico.",
"credit": "Christian Chavez/AP",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"byline_arts_13863220": {
"type": "authors",
"id": "byline_arts_13863220",
"meta": {
"override": true
},
"slug": "byline_arts_13863220",
"name": "Paul Nicolaus",
"isLoading": false
},
"byline_arts_13863147": {
"type": "authors",
"id": "byline_arts_13863147",
"meta": {
"override": true
},
"slug": "byline_arts_13863147",
"name": "Vincent Acovino",
"isLoading": false
},
"byline_arts_13863056": {
"type": "authors",
"id": "byline_arts_13863056",
"meta": {
"override": true
},
"slug": "byline_arts_13863056",
"name": "Brian Naylor",
"isLoading": false
},
"byline_arts_13862941": {
"type": "authors",
"id": "byline_arts_13862941",
"meta": {
"override": true
},
"slug": "byline_arts_13862941",
"name": "Nicholas Cannariato",
"isLoading": false
},
"byline_arts_13862986": {
"type": "authors",
"id": "byline_arts_13862986",
"meta": {
"override": true
},
"slug": "byline_arts_13862986",
"name": "Linda Holmes",
"isLoading": false
},
"byline_arts_13862917": {
"type": "authors",
"id": "byline_arts_13862917",
"meta": {
"override": true
},
"slug": "byline_arts_13862917",
"name": "Terry Gross",
"isLoading": false
},
"byline_arts_13862786": {
"type": "authors",
"id": "byline_arts_13862786",
"meta": {
"override": true
},
"slug": "byline_arts_13862786",
"name": "Chris Klimek",
"isLoading": false
},
"byline_arts_13862797": {
"type": "authors",
"id": "byline_arts_13862797",
"meta": {
"override": true
},
"slug": "byline_arts_13862797",
"name": "Linda Holmes",
"isLoading": false
},
"byline_arts_13862789": {
"type": "authors",
"id": "byline_arts_13862789",
"meta": {
"override": true
},
"slug": "byline_arts_13862789",
"name": "Mandalit del Barco",
"isLoading": false
},
"byline_arts_13862669": {
"type": "authors",
"id": "byline_arts_13862669",
"meta": {
"override": true
},
"slug": "byline_arts_13862669",
"name": "Marc Rivers",
"isLoading": false
},
"byline_arts_13862641": {
"type": "authors",
"id": "byline_arts_13862641",
"meta": {
"override": true
},
"slug": "byline_arts_13862641",
"name": "Jeff Lunden",
"isLoading": false
},
"byline_arts_13862548": {
"type": "authors",
"id": "byline_arts_13862548",
"meta": {
"override": true
},
"slug": "byline_arts_13862548",
"name": "Bill Chappell",
"isLoading": false
}
},
"pagesReducer": {
"arts_affiliate_npr": {
"type": "terms",
"id": "arts_137",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "137",
"score": 14.258304
},
"featImg": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/logo-npr-lg1.png",
"name": "NPR",
"description": null,
"taxonomy": "affiliate",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "NPR Archives | KQED Arts",
"ogDescription": null
},
"ttid": 138,
"slug": "npr",
"isLoading": false,
"title": "NPR",
"pageMeta": {
"site": "arts",
"WpPageTemplate": "page-topic-editorial",
"currentPage": 121
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?affiliate=npr",
"seeMore": false,
"paginated": true,
"page": 121
}
},
{
"blockName": "kqed/ad"
}
]
}
},
"pfsSessionReducer": {},
"postsReducer": {
"stream_live": {
"type": "live",
"id": "stream_live",
"audioUrl": "https://streams.kqed.org/kqedradio",
"title": "Live Stream",
"excerpt": "Live Stream information currently unavailable.",
"link": "/radio",
"featImg": "",
"label": {
"name": "KQED Live",
"link": "/"
}
},
"stream_kqedNewscast": {
"type": "posts",
"id": "stream_kqedNewscast",
"audioUrl": "https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1",
"title": "KQED Newscast",
"featImg": "",
"label": {
"name": "88.5 FM",
"link": "/"
}
},
"arts_13863220": {
"type": "posts",
"id": "arts_13863220",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13863220",
"score": null,
"sort": [
1565200857000
]
},
"guestAuthors": [],
"slug": "want-to-feel-happier-today-try-talking-to-a-stranger",
"title": "Want To Feel Happier Today? Try Talking To A Stranger",
"publishDate": 1565200857,
"format": "standard",
"headTitle": "Want To Feel Happier Today? Try Talking To A Stranger | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>The doors open wide, you enter, and they close behind you. As the elevator begins its ascent, you realize it’s just you and one other person taking this ride. The silence soon grows uncomfortable.\u003c/p>\n\u003cp>Pop quiz. What’s your go-to move?\u003c/p>\n\u003cp>A) Stare at your shoes.\u003c/p>\n\u003cp>B) Pull out your cellphone.\u003c/p>\n\u003cp>C) Make brief eye contact.\u003c/p>\n\u003cp>D) Initiate chitchat.\u003c/p>\n\u003cp>If your answer was B, you’re like far too many of us, eyes glued to our phones, attention focused on the digital world.\u003c/p>\n\u003cp>Many of us tend to do just about anything to avoid conversation or even eye contact with strangers. And smartphones make it easier than ever to do that. A \u003ca href=\"https://www.sciencedirect.com/science/article/pii/S0747563218304643\">recent study\u003c/a> found that phones can keep us from even exchanging brief smiles with people we meet in public places. But a body of research has shown that we might just be short-changing our own happiness by ignoring opportunities to connect with the people around us.\u003c/p>\n\u003cp>[aside postID='mindshift_49569' hero='https://ww2.kqed.org/wp-content/uploads/sites/23/2017/11/moodmandala-1180x714.png' target='_blank']\u003c/p>\n\u003cp>Several years ago, University of British Columbia psychologist \u003ca href=\"https://dunn.psych.ubc.ca/\">Elizabeth Dunn\u003c/a> and her colleague \u003ca href=\"https://www.essex.ac.uk/people/sands04300/gillian-sandstrom\">Gillian M. Sandstrom\u003c/a>, tested whether \u003ca href=\"https://journals.sagepub.com/doi/abs/10.1177/1948550613502990\">short conversations with strangers\u003c/a> could lift moods. They asked participants to enter a busy coffee shop and grab a beverage — half would get in and get out, and half would strike up a conversation with the cashier.\u003c/p>\n\u003cp>“We found that people who were randomly assigned to turn this economic transaction into a quick social interaction left Starbucks in a better mood,” Dunn says. “And they even felt a greater sense of belonging in their community.”\u003c/p>\n\u003cp>The same researchers \u003ca href=\"https://journals.sagepub.com/doi/abs/10.1177/0146167214529799\">found\u003c/a> that these seemingly trivial encounters with the minor characters in our lives — the random guy at the dog park or the barista at our local coffee shop — can affect feelings of happiness and human connection on a typical day.\u003c/p>\n\u003cp>Social anxiety, however, could be preventing these types of interactions, says \u003ca href=\"https://www.chicagobooth.edu/faculty/directory/e/nicholas-epley\">Nicholas Epley\u003c/a>, a University of Chicago behavioral scientist.\u003c/p>\n\u003cp>One day, during a daily train ride, he noticed something paradoxical. People — social creatures — were basically ignoring one another. Why, he wondered, if connecting with others makes us happy, do we so often avoid it?\u003c/p>\n\u003cp>Either solitude really is more enjoyable than talking to strangers, he figured, or we have mistaken assumptions holding us back.\u003c/p>\n\u003cp>His curiosity led to \u003ca href=\"https://psycnet.apa.org/doiLanding?doi=10.1037%2Fa0037323\">a series of experiments\u003c/a> revealing that train and bus commuters who interacted with other passengers experienced a more pleasant ride — even when they believed they would prefer the solitude of, say, reading a book.\u003c/p>\n\u003cp>It is fear that the person sitting next to us won’t enjoy talking to us that makes us keep to ourselves, Epley found. But when we do talk to each other, those social interactions with strangers tend to be both less awkward and more enjoyable than most people predict.\u003c/p>\n\u003cp>[aside postID='arts_13847875' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2018/12/too-tired-3-copy_custom-47083b7dd7325a378de021d80a85a45b11539c47-s800-c85-768x568.jpg' target='_blank']\u003c/p>\n\u003cp>If striking up small talk with a stranger sounds daunting, you might be relieved to hear that even something as simple as making eye contact offers benefits.\u003c/p>\n\u003cp>No one likes feeling invisible when someone walks past. The Germans even have a term for it — \u003cem>wie Luft behandeln\u003c/em>, which means “to be looked at as though air.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.purdue.edu/hhs/psy/directory/faculty/Williams_Kip.html\">Kipling Williams\u003c/a>, a Purdue University psychologist, studied how people felt when a young woman walked by them and either made eye contact, made eye contact while smiling, or completely ignored them. \u003ca href=\"https://journals.sagepub.com/doi/abs/10.1177/0956797611427921\">Even brief eye contact\u003c/a> increased people’s sense of inclusion and belonging.\u003c/p>\n\u003cp>“Just that brief acknowledgment, that brief glance — with or without a smile — made them at least temporarily feel more socially connected,” Williams says. And it works both ways. Those that had been “looked through” felt even more disconnected than the control group.\u003c/p>\n\u003cp>So, how can we dodge the risks of loneliness and stop short-changing our own happiness?\u003c/p>\n\u003cp>It might be easier than you think.\u003c/p>\n\u003cp>“It takes very little to acknowledge somebody’s existence,” Williams says.\u003c/p>\n\u003cp>Start with folks like the cashier in a grocery store or the barista at your local coffee shop, Dunn says. You’ve got to interact with them anyway, so you might as well make an effort to turn it into a friendly exchange.\u003c/p>\n\u003cp>And be mindful that using your smartphone sends a signal that you’re not interested in interacting with the people around you. Put it away and you easily remove that barrier, she says.\u003c/p>\n\u003cp>The mood boost of talking to strangers may seem fleeting, but the research on well-being, Epley says, suggests that a happy life is made up of a high frequency of positive events, and even small positive experiences make a difference.\u003c/p>\n\u003cp>“Happiness seems a little bit like a leaky tire on a car,” Epley explains. “We just sort of have to keep pumping it up a bit to maintain it.”\u003c/p>\n\u003cp>This doesn’t mean we need to set out on some grand quest to connect at every possible turn. Instead, he recommends paying closer attention to those times when the urge to offer a compliment or strike up a conversation arises.\u003c/p>\n\u003cp>Sure, there may be a bit of fear or reluctance holding us back, but it’s worth overcoming.\u003c/p>\n\u003cp>The next time you walk into an elevator, consider leaving the phone in your pocket, acknowledging the presence of that other person, and maybe even saying “hello” or “good morning.”\u003c/p>\n\u003cp>Who knows? It could wind up putting a smile on your face and theirs.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Paul Nicolaus is a Wisconsin-based freelance writer specializing in science, nature, and health. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
"blocks": [],
"excerpt": "Happiness, says one researcher, is the sum of many positive moments throughout the day. Something as simple as a friendly chat in the elevator can boost your mood. So put down your phone and try it.",
"status": "publish",
"parent": 0,
"modified": 1726766474,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 36,
"wordCount": 987
},
"headData": {
"title": "Want To Feel Happier Today? Try Talking To A Stranger | KQED",
"description": "Happiness, says one researcher, is the sum of many positive moments throughout the day. Something as simple as a friendly chat in the elevator can boost your mood. So put down your phone and try it.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Want To Feel Happier Today? Try Talking To A Stranger",
"datePublished": "2019-08-07T11:00:57-07:00",
"dateModified": "2024-09-19T10:21:14-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Paul Nicolaus",
"nprImageAgency": "Olivia Falcigno/NPR",
"nprStoryId": "744267015",
"nprApiLink": "http://api.npr.org/query?id=744267015&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "https://www.npr.org/sections/health-shots/2019/07/26/744267015/want-to-feel-happier-today-try-talking-to-a-stranger?ft=nprml&f=744267015",
"nprRetrievedStory": "1",
"nprPubDate": "Fri, 26 Jul 2019 10:16:00 -0400",
"nprStoryDate": "Fri, 26 Jul 2019 05:00:00 -0400",
"nprLastModifiedDate": "Fri, 26 Jul 2019 10:16:38 -0400",
"path": "/arts/13863220/want-to-feel-happier-today-try-talking-to-a-stranger",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The doors open wide, you enter, and they close behind you. As the elevator begins its ascent, you realize it’s just you and one other person taking this ride. The silence soon grows uncomfortable.\u003c/p>\n\u003cp>Pop quiz. What’s your go-to move?\u003c/p>\n\u003cp>A) Stare at your shoes.\u003c/p>\n\u003cp>B) Pull out your cellphone.\u003c/p>\n\u003cp>C) Make brief eye contact.\u003c/p>\n\u003cp>D) Initiate chitchat.\u003c/p>\n\u003cp>If your answer was B, you’re like far too many of us, eyes glued to our phones, attention focused on the digital world.\u003c/p>\n\u003cp>Many of us tend to do just about anything to avoid conversation or even eye contact with strangers. And smartphones make it easier than ever to do that. A \u003ca href=\"https://www.sciencedirect.com/science/article/pii/S0747563218304643\">recent study\u003c/a> found that phones can keep us from even exchanging brief smiles with people we meet in public places. But a body of research has shown that we might just be short-changing our own happiness by ignoring opportunities to connect with the people around us.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "mindshift_49569",
"hero": "https://ww2.kqed.org/wp-content/uploads/sites/23/2017/11/moodmandala-1180x714.png",
"target": "_blank",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Several years ago, University of British Columbia psychologist \u003ca href=\"https://dunn.psych.ubc.ca/\">Elizabeth Dunn\u003c/a> and her colleague \u003ca href=\"https://www.essex.ac.uk/people/sands04300/gillian-sandstrom\">Gillian M. Sandstrom\u003c/a>, tested whether \u003ca href=\"https://journals.sagepub.com/doi/abs/10.1177/1948550613502990\">short conversations with strangers\u003c/a> could lift moods. They asked participants to enter a busy coffee shop and grab a beverage — half would get in and get out, and half would strike up a conversation with the cashier.\u003c/p>\n\u003cp>“We found that people who were randomly assigned to turn this economic transaction into a quick social interaction left Starbucks in a better mood,” Dunn says. “And they even felt a greater sense of belonging in their community.”\u003c/p>\n\u003cp>The same researchers \u003ca href=\"https://journals.sagepub.com/doi/abs/10.1177/0146167214529799\">found\u003c/a> that these seemingly trivial encounters with the minor characters in our lives — the random guy at the dog park or the barista at our local coffee shop — can affect feelings of happiness and human connection on a typical day.\u003c/p>\n\u003cp>Social anxiety, however, could be preventing these types of interactions, says \u003ca href=\"https://www.chicagobooth.edu/faculty/directory/e/nicholas-epley\">Nicholas Epley\u003c/a>, a University of Chicago behavioral scientist.\u003c/p>\n\u003cp>One day, during a daily train ride, he noticed something paradoxical. People — social creatures — were basically ignoring one another. Why, he wondered, if connecting with others makes us happy, do we so often avoid it?\u003c/p>\n\u003cp>Either solitude really is more enjoyable than talking to strangers, he figured, or we have mistaken assumptions holding us back.\u003c/p>\n\u003cp>His curiosity led to \u003ca href=\"https://psycnet.apa.org/doiLanding?doi=10.1037%2Fa0037323\">a series of experiments\u003c/a> revealing that train and bus commuters who interacted with other passengers experienced a more pleasant ride — even when they believed they would prefer the solitude of, say, reading a book.\u003c/p>\n\u003cp>It is fear that the person sitting next to us won’t enjoy talking to us that makes us keep to ourselves, Epley found. But when we do talk to each other, those social interactions with strangers tend to be both less awkward and more enjoyable than most people predict.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13847875",
"hero": "https://ww2.kqed.org/wp-content/uploads/sites/2/2018/12/too-tired-3-copy_custom-47083b7dd7325a378de021d80a85a45b11539c47-s800-c85-768x568.jpg",
"target": "_blank",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If striking up small talk with a stranger sounds daunting, you might be relieved to hear that even something as simple as making eye contact offers benefits.\u003c/p>\n\u003cp>No one likes feeling invisible when someone walks past. The Germans even have a term for it — \u003cem>wie Luft behandeln\u003c/em>, which means “to be looked at as though air.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.purdue.edu/hhs/psy/directory/faculty/Williams_Kip.html\">Kipling Williams\u003c/a>, a Purdue University psychologist, studied how people felt when a young woman walked by them and either made eye contact, made eye contact while smiling, or completely ignored them. \u003ca href=\"https://journals.sagepub.com/doi/abs/10.1177/0956797611427921\">Even brief eye contact\u003c/a> increased people’s sense of inclusion and belonging.\u003c/p>\n\u003cp>“Just that brief acknowledgment, that brief glance — with or without a smile — made them at least temporarily feel more socially connected,” Williams says. And it works both ways. Those that had been “looked through” felt even more disconnected than the control group.\u003c/p>\n\u003cp>So, how can we dodge the risks of loneliness and stop short-changing our own happiness?\u003c/p>\n\u003cp>It might be easier than you think.\u003c/p>\n\u003cp>“It takes very little to acknowledge somebody’s existence,” Williams says.\u003c/p>\n\u003cp>Start with folks like the cashier in a grocery store or the barista at your local coffee shop, Dunn says. You’ve got to interact with them anyway, so you might as well make an effort to turn it into a friendly exchange.\u003c/p>\n\u003cp>And be mindful that using your smartphone sends a signal that you’re not interested in interacting with the people around you. Put it away and you easily remove that barrier, she says.\u003c/p>\n\u003cp>The mood boost of talking to strangers may seem fleeting, but the research on well-being, Epley says, suggests that a happy life is made up of a high frequency of positive events, and even small positive experiences make a difference.\u003c/p>\n\u003cp>“Happiness seems a little bit like a leaky tire on a car,” Epley explains. “We just sort of have to keep pumping it up a bit to maintain it.”\u003c/p>\n\u003cp>This doesn’t mean we need to set out on some grand quest to connect at every possible turn. Instead, he recommends paying closer attention to those times when the urge to offer a compliment or strike up a conversation arises.\u003c/p>\n\u003cp>Sure, there may be a bit of fear or reluctance holding us back, but it’s worth overcoming.\u003c/p>\n\u003cp>The next time you walk into an elevator, consider leaving the phone in your pocket, acknowledging the presence of that other person, and maybe even saying “hello” or “good morning.”\u003c/p>\n\u003cp>Who knows? It could wind up putting a smile on your face and theirs.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Paul Nicolaus is a Wisconsin-based freelance writer specializing in science, nature, and health. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13863220/want-to-feel-happier-today-try-talking-to-a-stranger",
"authors": [
"byline_arts_13863220"
],
"categories": [
"arts_235"
],
"tags": [
"arts_8167",
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13863228",
"label": "arts_137"
},
"arts_13863147": {
"type": "posts",
"id": "arts_13863147",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13863147",
"score": null,
"sort": [
1565120714000
]
},
"guestAuthors": [],
"slug": "trick-mirror-finds-hope-that-little-truths-will-emerge-amid-absurdities",
"title": "'Trick Mirror' Finds Hope That Little Truths Will Emerge Amid Absurdities",
"publishDate": 1565120714,
"format": "standard",
"headTitle": "‘Trick Mirror’ Finds Hope That Little Truths Will Emerge Amid Absurdities | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>What’s worth writing about at a time in history where both everything and nothing seems worthy of our attention? Anything, argues Jia Tolentino.\u003c/p>\n\u003cp>Tolentino is the author of the phenomenal essay collection \u003cem>Trick Mirror. \u003c/em>She rose to prominence as the deputy editor of \u003cem>Jezebel, \u003c/em>a place where she helped redefine what feminist discourse looks like on the internet. \u003cem>Jezebel\u003c/em> was then owned by the media group \u003cem>Gawker,\u003c/em> known for a kind of gonzo journalism that, since its closure, we’ve seen less of as the idea of monetizing anything subversive on the internet feels increasingly impossible. In this special corner of the web, Tolentino’s writing made the argument that both political transgressions and dumb memes were ripe for thoughtful—and often very fun—feminist criticism. That might mean a \u003ca href=\"https://jezebel.com/she-told-me-i-was-beautiful-a-chat-with-the-horse-from-1732849308\">semi-fictional interview \u003c/a>with the horse from a Taylor Swift music video, but it also might mean a\u003ca href=\"https://jezebel.com/all-the-greedy-young-abigail-fishers-and-me-1782508801\"> longform work of reportage\u003c/a> implicating herself in a story of generational class privilege.\u003c/p>\n\u003cp>Tolentino, at only 30 years old, is now a staff writer at \u003cem>The New Yorker\u003c/em>, where she’s carried over her trademark brand of freewheeling wit and intelligence. That same energy is found all over \u003cem>Trick Mirror: Reflections on Self-Delusion, \u003c/em>a collection that feels somehow riskier than her usual output, unburdened by the demands and constraints of a big, mainstream publication.\u003c/p>\n\u003cp>\u003cem>Trick Mirror \u003c/em>was written between the spring of 2017 and the fall of 2018, and finds Tolentino making her way through a time in American history that often communicates in the language of absurdity. It’s a period that, writes Tolentino\u003cstrong>, \u003c/strong>taught her\u003cstrong> “\u003c/strong>to suspend … desire for a conclusion, to assume that nothing is static and renegotiation is perpetual, to hope primarily that little truths will keep emerging in time.” Tolentino finds these little truths in just about every corner of American cultural life. Her best pieces read like viral Twitter threads written by the Frankfurt School, seamlessly blending cynical humor with academic rigor.\u003c/p>\n\u003cp>The collection opens with “The I In The Internet,” which might be the only thing you read this year that mentions both Bari Weiss and Geocities in the same space. Here, Tolentino talks about how the internet demands, reflects, and distorts our public selves in a way it didn’t always do. She reminisces about the simpler days of the internet—when expressing our digital selves could almost be considered wholesome—by walking us through her Angelfire page adorned with \u003cem>Dawson’s Creek \u003c/em>references and Smash Mouth lyrics. That long-defunct version of the internet, she argues, has been replaced by one that thrives off our faux-outrage cycles, considers our support and dissent for others on Twitter as central to our self hood, and that feeds us news designed to “make us feel self-righteous and also mad.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Stories about the toxicity of the internet are not new, but what’s interesting here is how our writer is so uniquely implicated in her subject. As somebody who could be considered \u003cem>very online\u003c/em> even during the early days of the internet, and who is now dependent on the internet for her livelihood, there are few forced to navigate it’s machinery the way she is. “I don’t know what to do with the fact that I myself continue to benefit from all this: that my career is possible in large part because of the way the Internet collapses identity, opinion and action,” she writes. It’s this kind of constant self-awareness and inward inquiry that give \u003cem>Trick Mirror \u003c/em>its most chewable moments.\u003c/p>\n\u003cp>In “Always Be Optimizing,” Tolentino critiques establishment feminism while offering up a new definition for the contemporary female ideal, one that “looks like Instagram.” This is an optimized woman: one that invests in Sweetgreen, Barre and Lululemon in order to keep up with a “hyper-accelerated capitalist life.” In “Ecstasy”—the collection’s most elliptical and daring essay—Tolentino draws a loose comparison between the rapture she feels taking MDMA to the feelings of religious fervor she saw in her childhood. In “We Came from Old Virginia,” she writes about the ugly history of sexual assault at University of Virginia, and attempts to understand how and where the infamous \u003cem>Rolling Stone\u003c/em> article “A Rape on Campus” fits into that history.\u003c/p>\n\u003cp>There’s a risk in describing the stories in \u003cem>Trick Mirror\u003c/em> the way I’ve just done: turning them into clear and simple one-sentence summaries. In many ways, it’s the impossibility of tying together those neat narrative bows that Tolentino intentionally resists here. It’s also that ambiguity and lack of resolution that will, undoubtedly, create a roadblock for some readers. More often than not, the essays here end up concluding with a well-articulated shrug of the shoulders. If you’re expecting feminist praxis, or ways of repairing the many broken and flawed systems being critiqued in \u003cem>Trick Mirror, \u003c/em>you won’t find much of either here.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But there’s an undeniable catharsis in seeing such a great writer lucidly communicate the conditions of our most absurd forms of misery. I can’t stop thinking about the way Tolentino describes the shame of turning off her social-media blockers and reveling in the pleasures of the internet like some unhinged degenerate. “I’ll sit there like a rat pressing the lever, like a woman repeatedly hitting myself on the forehead with a hammer, masturbating through the nightmare until I finally catch the gasoline whiff of a good meme,” she writes. It’s a line that made me genuinely laugh—until I thought more about the nightmare.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Trick+Mirror%27+Finds+Hope+That+Little+Truths+Will+Emerge+Amid+Absurdities+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "There's an undeniable catharsis in seeing such a great writer—The New Yorker's Jia Tolentino—lucidly communicate the conditions of our most ludicrous forms of misery in her essay collection.",
"status": "publish",
"parent": 0,
"modified": 1726766492,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 11,
"wordCount": 993
},
"headData": {
"title": "'Trick Mirror' Finds Hope That Little Truths Will Emerge Amid Absurdities | KQED",
"description": "There's an undeniable catharsis in seeing such a great writer—The New Yorker's Jia Tolentino—lucidly communicate the conditions of our most ludicrous forms of misery in her essay collection.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Trick Mirror' Finds Hope That Little Truths Will Emerge Amid Absurdities",
"datePublished": "2019-08-06T12:45:14-07:00",
"dateModified": "2024-09-19T10:21:32-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Vincent Acovino",
"path": "/arts/13863147/trick-mirror-finds-hope-that-little-truths-will-emerge-amid-absurdities",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What’s worth writing about at a time in history where both everything and nothing seems worthy of our attention? Anything, argues Jia Tolentino.\u003c/p>\n\u003cp>Tolentino is the author of the phenomenal essay collection \u003cem>Trick Mirror. \u003c/em>She rose to prominence as the deputy editor of \u003cem>Jezebel, \u003c/em>a place where she helped redefine what feminist discourse looks like on the internet. \u003cem>Jezebel\u003c/em> was then owned by the media group \u003cem>Gawker,\u003c/em> known for a kind of gonzo journalism that, since its closure, we’ve seen less of as the idea of monetizing anything subversive on the internet feels increasingly impossible. In this special corner of the web, Tolentino’s writing made the argument that both political transgressions and dumb memes were ripe for thoughtful—and often very fun—feminist criticism. That might mean a \u003ca href=\"https://jezebel.com/she-told-me-i-was-beautiful-a-chat-with-the-horse-from-1732849308\">semi-fictional interview \u003c/a>with the horse from a Taylor Swift music video, but it also might mean a\u003ca href=\"https://jezebel.com/all-the-greedy-young-abigail-fishers-and-me-1782508801\"> longform work of reportage\u003c/a> implicating herself in a story of generational class privilege.\u003c/p>\n\u003cp>Tolentino, at only 30 years old, is now a staff writer at \u003cem>The New Yorker\u003c/em>, where she’s carried over her trademark brand of freewheeling wit and intelligence. That same energy is found all over \u003cem>Trick Mirror: Reflections on Self-Delusion, \u003c/em>a collection that feels somehow riskier than her usual output, unburdened by the demands and constraints of a big, mainstream publication.\u003c/p>\n\u003cp>\u003cem>Trick Mirror \u003c/em>was written between the spring of 2017 and the fall of 2018, and finds Tolentino making her way through a time in American history that often communicates in the language of absurdity. It’s a period that, writes Tolentino\u003cstrong>, \u003c/strong>taught her\u003cstrong> “\u003c/strong>to suspend … desire for a conclusion, to assume that nothing is static and renegotiation is perpetual, to hope primarily that little truths will keep emerging in time.” Tolentino finds these little truths in just about every corner of American cultural life. Her best pieces read like viral Twitter threads written by the Frankfurt School, seamlessly blending cynical humor with academic rigor.\u003c/p>\n\u003cp>The collection opens with “The I In The Internet,” which might be the only thing you read this year that mentions both Bari Weiss and Geocities in the same space. Here, Tolentino talks about how the internet demands, reflects, and distorts our public selves in a way it didn’t always do. She reminisces about the simpler days of the internet—when expressing our digital selves could almost be considered wholesome—by walking us through her Angelfire page adorned with \u003cem>Dawson’s Creek \u003c/em>references and Smash Mouth lyrics. That long-defunct version of the internet, she argues, has been replaced by one that thrives off our faux-outrage cycles, considers our support and dissent for others on Twitter as central to our self hood, and that feeds us news designed to “make us feel self-righteous and also mad.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Stories about the toxicity of the internet are not new, but what’s interesting here is how our writer is so uniquely implicated in her subject. As somebody who could be considered \u003cem>very online\u003c/em> even during the early days of the internet, and who is now dependent on the internet for her livelihood, there are few forced to navigate it’s machinery the way she is. “I don’t know what to do with the fact that I myself continue to benefit from all this: that my career is possible in large part because of the way the Internet collapses identity, opinion and action,” she writes. It’s this kind of constant self-awareness and inward inquiry that give \u003cem>Trick Mirror \u003c/em>its most chewable moments.\u003c/p>\n\u003cp>In “Always Be Optimizing,” Tolentino critiques establishment feminism while offering up a new definition for the contemporary female ideal, one that “looks like Instagram.” This is an optimized woman: one that invests in Sweetgreen, Barre and Lululemon in order to keep up with a “hyper-accelerated capitalist life.” In “Ecstasy”—the collection’s most elliptical and daring essay—Tolentino draws a loose comparison between the rapture she feels taking MDMA to the feelings of religious fervor she saw in her childhood. In “We Came from Old Virginia,” she writes about the ugly history of sexual assault at University of Virginia, and attempts to understand how and where the infamous \u003cem>Rolling Stone\u003c/em> article “A Rape on Campus” fits into that history.\u003c/p>\n\u003cp>There’s a risk in describing the stories in \u003cem>Trick Mirror\u003c/em> the way I’ve just done: turning them into clear and simple one-sentence summaries. In many ways, it’s the impossibility of tying together those neat narrative bows that Tolentino intentionally resists here. It’s also that ambiguity and lack of resolution that will, undoubtedly, create a roadblock for some readers. More often than not, the essays here end up concluding with a well-articulated shrug of the shoulders. If you’re expecting feminist praxis, or ways of repairing the many broken and flawed systems being critiqued in \u003cem>Trick Mirror, \u003c/em>you won’t find much of either here.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But there’s an undeniable catharsis in seeing such a great writer lucidly communicate the conditions of our most absurd forms of misery. I can’t stop thinking about the way Tolentino describes the shame of turning off her social-media blockers and reveling in the pleasures of the internet like some unhinged degenerate. “I’ll sit there like a rat pressing the lever, like a woman repeatedly hitting myself on the forehead with a hammer, masturbating through the nightmare until I finally catch the gasoline whiff of a good meme,” she writes. It’s a line that made me genuinely laugh—until I thought more about the nightmare.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Trick+Mirror%27+Finds+Hope+That+Little+Truths+Will+Emerge+Amid+Absurdities+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13863147/trick-mirror-finds-hope-that-little-truths-will-emerge-amid-absurdities",
"authors": [
"byline_arts_13863147"
],
"categories": [
"arts_73"
],
"tags": [
"arts_7970"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13863158",
"label": "arts_137"
},
"arts_13863056": {
"type": "posts",
"id": "arts_13863056",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13863056",
"score": null,
"sort": [
1565048650000
]
},
"guestAuthors": [],
"slug": "obama-urges-americans-to-reject-language-that-feeds-a-climate-of-fear",
"title": "Obama Urges Americans To Reject Language That 'Feeds A Climate Of Fear'",
"publishDate": 1565048650,
"format": "standard",
"headTitle": "Obama Urges Americans To Reject Language That ‘Feeds A Climate Of Fear’ | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>Former President Barack Obama weighed in on the mass shootings this past weekend in El Paso, Texas, and Dayton, Ohio, saying on Monday that Americans “should soundly reject language coming out of the mouths of any of our leaders that feeds a climate of fear and hatred or normalizes racist sentiments.”\u003c/p>\n\u003cp>In a statement \u003ca href=\"https://twitter.com/BarackObama/status/1158453079035002881\">released on Twitter\u003c/a>, Obama did not mention President Trump by name, but his reference seemed clear.\u003c/p>\n\u003cp>Obama denounced language from “leaders who demonize those who don’t look like us, or suggest that other people, including immigrants, threaten our way of life, or refer to other people as sub-human, or imply that America belongs to just one certain type of people.”\u003c/p>\n\u003cp>Such language, Obama said, “has no place in our politics and our public life.”\u003c/p>\n\u003cp>He added that “it’s time for the overwhelming majority of Americans of goodwill, of every race and faith and political party, to say as much — clearly and unequivocally.”\u003c/p>\n\u003cp>https://twitter.com/BarackObama/status/1158453079035002881\u003c/p>\n\u003cp>Obama’s statement Monday was a rare occasion when the former president, who has generally avoided commenting on politics since leaving office, spoke out.\u003c/p>\n\u003cp>From the time Trump announced his candidacy in June 2015, he has been accused of making racist and anti-immigrant remarks. He accused Mexico of sending “their worst people” to the U.S., people he said who were “bringing drugs. They’re bringing crime. They’re rapists.”\u003c/p>\n\u003cp>More recently he was \u003ca href=\"https://www.npr.org/2019/07/16/742236610/condemnation-of-president-delayed-by-debate-can-lawmakers-call-trump-tweets-raci\">condemned by the House of Representatives\u003c/a> for his remarks about four Democratic members of Congress, all women of color, who he said should “go back” to where they came from. He also launched an attack on House Oversight Committee Chairman Elijah Cummings, D-Md., saying Cummings’ Baltimore-based district was “\u003ca href=\"https://www.npr.org/2019/07/28/746019426/leaders-in-baltimore-and-maryland-denounce-trump-tweets-attacking-elijah-cumming\">a disgusting, rat and rodent infested mess\u003c/a>.”\u003c/p>\n\u003cp>[aside tag='gilroy, gilroy shooting' label='More On Gilroy']\u003c/p>\n\u003cp>In his \u003ca href=\"https://www.npr.org/2019/08/05/748190808/trump-calls-for-strong-background-checks-following-el-paso-and-dayton-shootings\">remarks about the mass shootings\u003c/a> on Monday, Trump said that “hate has no place in our country.”\u003c/p>\n\u003cp>“In one voice,” Trump said, “our nation must condemn racism, bigotry and white supremacy.”\u003c/p>\n\u003cp>At least 31 people were killed in El Paso and Dayton. Texas authorities said they were close to linking the El Paso suspect to an anti-immigrant screed that was posted online shortly before the attack.\u003c/p>\n\u003cp>Trump called for perpetrators of mass shootings to be eligible for the death penalty and for increased attention to mental health. Trump did not repeat calls he tweeted earlier in the day to strengthen background checks for guns.\u003c/p>\n\u003cp>Obama’s statement, released after Trump’s remarks, said no other nation “tolerates the levels of gun violence that we do.”\u003c/p>\n\u003cp>Calling for tighter gun controls, Obama said, “We are not helpless here. And until all of us stand up and insist on holding public officials accountable for changing our gun laws, these tragedies will keep happening.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
"blocks": [],
"excerpt": "In a rare political post-presidency statement, former President Barack Obama called for tighter gun laws after the mass shootings in El Paso and Dayton. \"We are not helpless here,\" he said.",
"status": "publish",
"parent": 0,
"modified": 1726766518,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 18,
"wordCount": 510
},
"headData": {
"title": "Obama Urges Americans To Reject Language That 'Feeds A Climate Of Fear' | KQED",
"description": "In a rare political post-presidency statement, former President Barack Obama called for tighter gun laws after the mass shootings in El Paso and Dayton. "We are not helpless here," he said.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Obama Urges Americans To Reject Language That 'Feeds A Climate Of Fear'",
"datePublished": "2019-08-05T16:44:10-07:00",
"dateModified": "2024-09-19T10:21:58-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprImageCredit": "Jörg Carstensen",
"nprByline": "Brian Naylor",
"nprImageAgency": "Picture Alliance via Getty Image",
"nprStoryId": "748366896",
"nprApiLink": "http://api.npr.org/query?id=748366896&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "https://www.npr.org/2019/08/05/748366896/obama-urges-americans-to-reject-language-that-feeds-a-climate-of-fear?ft=nprml&f=748366896",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 05 Aug 2019 18:27:00 -0400",
"nprStoryDate": "Mon, 05 Aug 2019 17:28:00 -0400",
"nprLastModifiedDate": "Mon, 05 Aug 2019 18:27:56 -0400",
"path": "/arts/13863056/obama-urges-americans-to-reject-language-that-feeds-a-climate-of-fear",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Former President Barack Obama weighed in on the mass shootings this past weekend in El Paso, Texas, and Dayton, Ohio, saying on Monday that Americans “should soundly reject language coming out of the mouths of any of our leaders that feeds a climate of fear and hatred or normalizes racist sentiments.”\u003c/p>\n\u003cp>In a statement \u003ca href=\"https://twitter.com/BarackObama/status/1158453079035002881\">released on Twitter\u003c/a>, Obama did not mention President Trump by name, but his reference seemed clear.\u003c/p>\n\u003cp>Obama denounced language from “leaders who demonize those who don’t look like us, or suggest that other people, including immigrants, threaten our way of life, or refer to other people as sub-human, or imply that America belongs to just one certain type of people.”\u003c/p>\n\u003cp>Such language, Obama said, “has no place in our politics and our public life.”\u003c/p>\n\u003cp>He added that “it’s time for the overwhelming majority of Americans of goodwill, of every race and faith and political party, to say as much — clearly and unequivocally.”\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "1158453079035002881"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Obama’s statement Monday was a rare occasion when the former president, who has generally avoided commenting on politics since leaving office, spoke out.\u003c/p>\n\u003cp>From the time Trump announced his candidacy in June 2015, he has been accused of making racist and anti-immigrant remarks. He accused Mexico of sending “their worst people” to the U.S., people he said who were “bringing drugs. They’re bringing crime. They’re rapists.”\u003c/p>\n\u003cp>More recently he was \u003ca href=\"https://www.npr.org/2019/07/16/742236610/condemnation-of-president-delayed-by-debate-can-lawmakers-call-trump-tweets-raci\">condemned by the House of Representatives\u003c/a> for his remarks about four Democratic members of Congress, all women of color, who he said should “go back” to where they came from. He also launched an attack on House Oversight Committee Chairman Elijah Cummings, D-Md., saying Cummings’ Baltimore-based district was “\u003ca href=\"https://www.npr.org/2019/07/28/746019426/leaders-in-baltimore-and-maryland-denounce-trump-tweets-attacking-elijah-cumming\">a disgusting, rat and rodent infested mess\u003c/a>.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"tag": "gilroy, gilroy shooting",
"label": "More On Gilroy "
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In his \u003ca href=\"https://www.npr.org/2019/08/05/748190808/trump-calls-for-strong-background-checks-following-el-paso-and-dayton-shootings\">remarks about the mass shootings\u003c/a> on Monday, Trump said that “hate has no place in our country.”\u003c/p>\n\u003cp>“In one voice,” Trump said, “our nation must condemn racism, bigotry and white supremacy.”\u003c/p>\n\u003cp>At least 31 people were killed in El Paso and Dayton. Texas authorities said they were close to linking the El Paso suspect to an anti-immigrant screed that was posted online shortly before the attack.\u003c/p>\n\u003cp>Trump called for perpetrators of mass shootings to be eligible for the death penalty and for increased attention to mental health. Trump did not repeat calls he tweeted earlier in the day to strengthen background checks for guns.\u003c/p>\n\u003cp>Obama’s statement, released after Trump’s remarks, said no other nation “tolerates the levels of gun violence that we do.”\u003c/p>\n\u003cp>Calling for tighter gun controls, Obama said, “We are not helpless here. And until all of us stand up and insist on holding public officials accountable for changing our gun laws, these tragedies will keep happening.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13863056/obama-urges-americans-to-reject-language-that-feeds-a-climate-of-fear",
"authors": [
"byline_arts_13863056"
],
"categories": [
"arts_235"
],
"tags": [
"arts_3675",
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13863062",
"label": "arts_137"
},
"arts_13862941": {
"type": "posts",
"id": "arts_13862941",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13862941",
"score": null,
"sort": [
1565017229000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1565017229,
"format": "standard",
"title": "'Hands Up, Don't Shoot' Examines What Led to Ferguson and Baltimore Protests",
"headTitle": "‘Hands Up, Don’t Shoot’ Examines What Led to Ferguson and Baltimore Protests | KQED",
"content": "\u003cp>If the past five or so years have taught America anything about policing, it’s that a lack of trust between police and communities of color is an ongoing problem. But why?\u003c/p>\n\u003cp>In her tightly focused and morally important book, \u003cem>Hands Up, Don’t Shoot\u003c/em>, Jennifer E. Cobbina, associate professor in the School of Criminal Justice at Michigan State University, analyzes how the deaths of \u003ca href=\"https://www.npr.org/sections/thetwo-way/2014/11/24/366370100/grand-jury-reaches-decision-in-michael-brown-case\">Michael Brown\u003c/a> and \u003ca href=\"https://www.npr.org/sections/thetwo-way/2016/07/18/486460729/most-senior-police-officer-in-freddie-gray-case-is-found-not-guilty-of-manslaugh\">Freddie Gray\u003c/a> at the hands of police resulted in sustained protests in Ferguson, Mo., and in Baltimore — and how we got there.\u003c/p>\n\u003cfigure id=\"attachment_13862943\" class=\"wp-caption alignright\" style=\"max-width: 259px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13862943\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/hands-up-dont-shoot.jpg\" alt=\"'Hands Up Don't Shoot,' Jennifer E. Cobbina. \" width=\"259\" height=\"389\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/hands-up-dont-shoot.jpg 259w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/hands-up-dont-shoot-160x240.jpg 160w\" sizes=\"(max-width: 259px) 100vw, 259px\">\u003cfigcaption class=\"wp-caption-text\">‘Hands Up Don’t Shoot,’ Jennifer E. Cobbina.\u003c/figcaption>\u003c/figure>\n\u003cp>What recommends the book in part is that, unlike many academic books, it doesn’t presume prior knowledge on the part of the reader. To her credit, Cobbina is careful to establish historical and cultural context for the deep-seated distrust so many African Americans feel toward law enforcement in a way that makes the book accessible to a wide readership (a paperback version is available for a significantly lower price than the hardcover).\u003c/p>\n\u003cp>She begins with the historically unjust, power-imbalanced relationship African Americans have had with the police, writing that the “relationship between Blacks and law enforcement has been contentious throughout American history … Faced with the threat of slave insurrection and the chronic problem of slaves fleeing captivity, many state legislatures in the South in the 1700s passed restrictive laws controlling and regulating the movement of slaves through what was known as ‘slave patrol.'”\u003c/p>\n\u003cp>She goes on to note that after slavery, during Reconstruction, numerous Southern states moved to pass what were known as “Black Codes,” which were “criminal laws that created new offenses, such as ‘loitering’ and ‘vagrancy,’ punishable by fines, imprisonment, and forced labor for up to one year … Black Codes opened up a market for convict leasing, in which people in prison were contracted out as laborers to the highest private bidder for state profit.” Chillingly, she concludes that “while Black people were rarely imprisoned during the era of slavery, criminalization had become the resolution for dealing with freed Blacks.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Fast-forward from Reconstruction to our era of mass incarceration today — and problems of policing and justice pertaining to race persist. Cobbina chooses to focus on Ferguson and Baltimore as representative cases for good reason: Both are African American-majority cities with high poverty and histories of racial disparity, and both experienced high-profile deaths of African Americans involving police that catalyzed large-scale protests. And protesters had a lot to protest about. In reports from \u003ca href=\"https://www.justice.gov/sites/default/files/opa/press-releases/attachments/2015/03/04/ferguson_police_department_report.pdf\">2015 \u003c/a>and \u003ca href=\"https://www.justice.gov/crt/file/883296/download\">2016\u003c/a> respectively, the Department of Justice found significant evidence of racial bias in policing in Ferguson and, in Baltimore, policing that stood in violation of federal anti-discrimination law and the Constitution. [aside postid='arts_13852433']\u003c/p>\n\u003cp>Given all of this injustice, Cobbina does something else that sets her book apart: She gives a voice to people directly affected by law enforcement practices by allowing them to speak for themselves.\u003c/p>\n\u003cp>For instance, Justin, a black resident of Baltimore, recounts how he was walking with a friend who was carrying a crushed empty beer can in a bag he was going to throw away across the street when a police officer arrived and said “get on the ground” more than once. Justin was confused by the seemingly disproportionate command, and confused, he couldn’t square the officer’s tone with the still nebulous offense. Then, according to Justin, the officer said, “If I tell you to get on the ground again, I’m going to shoot you in the back.”\u003c/p>\n\u003cp>Then there are outright claims of violence, such as this one from Darryl, a black resident of Ferguson:\u003c/p>\n\u003cblockquote class=\"edTag\">\n\u003cdiv>\n\u003cp>“I mean, I got locked [up] by them before where they beat me up, man, when I had a seizure … When they released me to the hospital I still had active warrants … [When] I came back to file a complaint they locked me up again … and I got assaulted again … I had knots on my head when I got out of there.”\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cp>When Michael Brown in Ferguson and Freddie Gray in Baltimore died at the hands of the police, each community decided it was time to act. Tremaine, a black Baltimore protester, put it simply: “It is our duty. This is our duty, I believe that if someone — if you, for instance, committed a crime, and I saw it and did nothing I am worse than you.”\u003c/p>\n\u003cp>Some eyewitnesses to Brown’s death say he had his hands up before he was shot repeatedly. Cobbina writes that in Ferguson, the “initial shock of Brown’s violent death turned into disbelief and seething rage. Not only did many perceive that a deep sense of injustice had taken place but … they also found themselves the recipients of unjustifiable police contact.” According to Cobbina’s research (for the book, she drew from interviews of nearly 200 residents of Ferguson and Baltimore within two months of the deaths of Michael Brown and Freddie Gray), among Ferguson protesters “63 percent reported personal and 76 percent reported vicarious experiences with police that were negative in nature prior to Brown’s death.” [aside postid='arts_13862605']\u003c/p>\n\u003cp>In Baltimore, many residents and protesters were angered by what they saw as the inhumane treatment that led to Gray’s death. And, like in Ferguson, prior negative experience with police led protesters out into the streets there, too. In Baltimore, like in Ferguson, the protests served a dual purpose. They were expressions of outrage at the specific deaths of African Americans at the hands of the police, yes. But they were also about reforming (or abolishing) a system of policing and criminal justice that is historically and therefore structurally in no small measure set against the interests and the well-being of African Americans.\u003c/p>\n\u003cp>After police violence in Ferguson and Baltimore, communities protested in anger and defiance. And that anger was just the beginning; the end will only come when black lives are consistently treated as equal in value to white lives in the eyes of the law. There’s a lot of history to face before America gets there, but the protests in Ferguson and Baltimore set the country further on the way.\u003c/p>\n\u003cp>Cobbina aptly quotes Maya Angelou, who wrote that “history, despite its wrenching pain, cannot be unlived, but if faced with courage, need not be lived again.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12935470\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Spine-1-800x42.jpg\" alt=\"\" width=\"800\" height=\"42\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-160x8.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-768x40.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-240x13.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-375x20.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-520x27.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Copyright 2019 \u003ca href=\"http://npr.org\">NPR\u003c/a>.\u003c/p>\n\u003cdiv id=\"storytext\" class=\"storytext storylocation linkLocation\">\n\u003cp>\u003cem>Nicholas Cannariato is a writer and editor based in Chicago.\u003c/em>\u003c/p>\n\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1134,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 20
},
"modified": 1705022407,
"excerpt": "Criminal justice professor Jennifer E. Cobbina breaks down the fraught, racist history of American policing. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Criminal justice professor Jennifer E. Cobbina breaks down the fraught, racist history of American policing. ",
"title": "'Hands Up, Don't Shoot' Examines What Led to Ferguson and Baltimore Protests | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Hands Up, Don't Shoot' Examines What Led to Ferguson and Baltimore Protests",
"datePublished": "2019-08-05T08:00:29-07:00",
"dateModified": "2024-01-11T17:20:07-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "hands-up-dont-shoot-examines-what-led-to-ferguson-and-baltimore-protests",
"status": "publish",
"templateType": "standard",
"nprByline": "Nicholas Cannariato",
"featuredImageType": "standard",
"sticky": false,
"path": "/arts/13862941/hands-up-dont-shoot-examines-what-led-to-ferguson-and-baltimore-protests",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If the past five or so years have taught America anything about policing, it’s that a lack of trust between police and communities of color is an ongoing problem. But why?\u003c/p>\n\u003cp>In her tightly focused and morally important book, \u003cem>Hands Up, Don’t Shoot\u003c/em>, Jennifer E. Cobbina, associate professor in the School of Criminal Justice at Michigan State University, analyzes how the deaths of \u003ca href=\"https://www.npr.org/sections/thetwo-way/2014/11/24/366370100/grand-jury-reaches-decision-in-michael-brown-case\">Michael Brown\u003c/a> and \u003ca href=\"https://www.npr.org/sections/thetwo-way/2016/07/18/486460729/most-senior-police-officer-in-freddie-gray-case-is-found-not-guilty-of-manslaugh\">Freddie Gray\u003c/a> at the hands of police resulted in sustained protests in Ferguson, Mo., and in Baltimore — and how we got there.\u003c/p>\n\u003cfigure id=\"attachment_13862943\" class=\"wp-caption alignright\" style=\"max-width: 259px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13862943\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/hands-up-dont-shoot.jpg\" alt=\"'Hands Up Don't Shoot,' Jennifer E. Cobbina. \" width=\"259\" height=\"389\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/hands-up-dont-shoot.jpg 259w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/hands-up-dont-shoot-160x240.jpg 160w\" sizes=\"(max-width: 259px) 100vw, 259px\">\u003cfigcaption class=\"wp-caption-text\">‘Hands Up Don’t Shoot,’ Jennifer E. Cobbina.\u003c/figcaption>\u003c/figure>\n\u003cp>What recommends the book in part is that, unlike many academic books, it doesn’t presume prior knowledge on the part of the reader. To her credit, Cobbina is careful to establish historical and cultural context for the deep-seated distrust so many African Americans feel toward law enforcement in a way that makes the book accessible to a wide readership (a paperback version is available for a significantly lower price than the hardcover).\u003c/p>\n\u003cp>She begins with the historically unjust, power-imbalanced relationship African Americans have had with the police, writing that the “relationship between Blacks and law enforcement has been contentious throughout American history … Faced with the threat of slave insurrection and the chronic problem of slaves fleeing captivity, many state legislatures in the South in the 1700s passed restrictive laws controlling and regulating the movement of slaves through what was known as ‘slave patrol.'”\u003c/p>\n\u003cp>She goes on to note that after slavery, during Reconstruction, numerous Southern states moved to pass what were known as “Black Codes,” which were “criminal laws that created new offenses, such as ‘loitering’ and ‘vagrancy,’ punishable by fines, imprisonment, and forced labor for up to one year … Black Codes opened up a market for convict leasing, in which people in prison were contracted out as laborers to the highest private bidder for state profit.” Chillingly, she concludes that “while Black people were rarely imprisoned during the era of slavery, criminalization had become the resolution for dealing with freed Blacks.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Fast-forward from Reconstruction to our era of mass incarceration today — and problems of policing and justice pertaining to race persist. Cobbina chooses to focus on Ferguson and Baltimore as representative cases for good reason: Both are African American-majority cities with high poverty and histories of racial disparity, and both experienced high-profile deaths of African Americans involving police that catalyzed large-scale protests. And protesters had a lot to protest about. In reports from \u003ca href=\"https://www.justice.gov/sites/default/files/opa/press-releases/attachments/2015/03/04/ferguson_police_department_report.pdf\">2015 \u003c/a>and \u003ca href=\"https://www.justice.gov/crt/file/883296/download\">2016\u003c/a> respectively, the Department of Justice found significant evidence of racial bias in policing in Ferguson and, in Baltimore, policing that stood in violation of federal anti-discrimination law and the Constitution. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13852433",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Given all of this injustice, Cobbina does something else that sets her book apart: She gives a voice to people directly affected by law enforcement practices by allowing them to speak for themselves.\u003c/p>\n\u003cp>For instance, Justin, a black resident of Baltimore, recounts how he was walking with a friend who was carrying a crushed empty beer can in a bag he was going to throw away across the street when a police officer arrived and said “get on the ground” more than once. Justin was confused by the seemingly disproportionate command, and confused, he couldn’t square the officer’s tone with the still nebulous offense. Then, according to Justin, the officer said, “If I tell you to get on the ground again, I’m going to shoot you in the back.”\u003c/p>\n\u003cp>Then there are outright claims of violence, such as this one from Darryl, a black resident of Ferguson:\u003c/p>\n\u003cblockquote class=\"edTag\">\n\u003cdiv>\n\u003cp>“I mean, I got locked [up] by them before where they beat me up, man, when I had a seizure … When they released me to the hospital I still had active warrants … [When] I came back to file a complaint they locked me up again … and I got assaulted again … I had knots on my head when I got out of there.”\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cp>When Michael Brown in Ferguson and Freddie Gray in Baltimore died at the hands of the police, each community decided it was time to act. Tremaine, a black Baltimore protester, put it simply: “It is our duty. This is our duty, I believe that if someone — if you, for instance, committed a crime, and I saw it and did nothing I am worse than you.”\u003c/p>\n\u003cp>Some eyewitnesses to Brown’s death say he had his hands up before he was shot repeatedly. Cobbina writes that in Ferguson, the “initial shock of Brown’s violent death turned into disbelief and seething rage. Not only did many perceive that a deep sense of injustice had taken place but … they also found themselves the recipients of unjustifiable police contact.” According to Cobbina’s research (for the book, she drew from interviews of nearly 200 residents of Ferguson and Baltimore within two months of the deaths of Michael Brown and Freddie Gray), among Ferguson protesters “63 percent reported personal and 76 percent reported vicarious experiences with police that were negative in nature prior to Brown’s death.” \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13862605",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In Baltimore, many residents and protesters were angered by what they saw as the inhumane treatment that led to Gray’s death. And, like in Ferguson, prior negative experience with police led protesters out into the streets there, too. In Baltimore, like in Ferguson, the protests served a dual purpose. They were expressions of outrage at the specific deaths of African Americans at the hands of the police, yes. But they were also about reforming (or abolishing) a system of policing and criminal justice that is historically and therefore structurally in no small measure set against the interests and the well-being of African Americans.\u003c/p>\n\u003cp>After police violence in Ferguson and Baltimore, communities protested in anger and defiance. And that anger was just the beginning; the end will only come when black lives are consistently treated as equal in value to white lives in the eyes of the law. There’s a lot of history to face before America gets there, but the protests in Ferguson and Baltimore set the country further on the way.\u003c/p>\n\u003cp>Cobbina aptly quotes Maya Angelou, who wrote that “history, despite its wrenching pain, cannot be unlived, but if faced with courage, need not be lived again.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12935470\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Spine-1-800x42.jpg\" alt=\"\" width=\"800\" height=\"42\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-160x8.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-768x40.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-240x13.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-375x20.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-520x27.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Copyright 2019 \u003ca href=\"http://npr.org\">NPR\u003c/a>.\u003c/p>\n\u003cdiv id=\"storytext\" class=\"storytext storylocation linkLocation\">\n\u003cp>\u003cem>Nicholas Cannariato is a writer and editor based in Chicago.\u003c/em>\u003c/p>\n\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13862941/hands-up-dont-shoot-examines-what-led-to-ferguson-and-baltimore-protests",
"authors": [
"byline_arts_13862941"
],
"categories": [
"arts_73"
],
"tags": [
"arts_1118"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_10189955",
"label": "arts_137"
},
"arts_13862986": {
"type": "posts",
"id": "arts_13862986",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13862986",
"score": null,
"sort": [
1564986111000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1564986111,
"format": "standard",
"title": "Hulu's 'Four Weddings and a Funeral' Can't Live Up to the Classic Romcom",
"headTitle": "Hulu’s ‘Four Weddings and a Funeral’ Can’t Live Up to the Classic Romcom | KQED",
"content": "\u003cp>The idea of an anthology TV series inspired by \u003cem>Four Weddings and a Funeral\u003c/em>, the 1994 film that established Flopsy-Haired Hugh Grant as a romantic comedy staple, is a solid one. I wish I were here with better news about how it turned out. I hung in with it as long as I could; there are ten episodes, and I watched all seven that they’ve made available to critics. I really wanted to like it.\u003c/p>\n\u003cp>Hulu’s \u003cem>Four Weddings and a Funeral \u003c/em>was created by Mindy Kaling and Matt Warburton, both of \u003cem>The Mindy Project—\u003c/em>so far, so good. While \u003cem>Mindy \u003c/em>was inconsistent, it did some smart things with romantic comedy tropes. Its star is Nathalie Emmanuel, who recently wrapped up her run as Missandei on \u003cem>Game of Thrones\u003c/em>, and she’s entirely up to the challenge of playing Maya, a charming young American working for a politician she’s also having an affair with. When the affair goes bad, she heads to London to get away and to attend the first of the weddings, between her best friend Ainsley (Rebecca Rittenhouse) and the charming but flaky Kash (Nikesh Patel). Once that wedding is over, she decides to stay. Thus does the real story begin.\u003c/p>\n\u003cp>Also in London are more of Maya’s friends: Craig (Brandon Mychal Smith), who’s keeping a secret from his girlfriend Zara (Sophia La Porta); Duffy (John Reynolds), who’s been secretly pining for Maya for years in the way people used to think was cute; and Ainsley’s British bestie, Gemma (Zoe Boyle), who isn’t happy about Maya showing up to nudge her aside in Ainsley’s life.\u003c/p>\n\u003cp>The good news comes from the natural charms of Emmanuel, as well as from some very pretty settings and shots. There’s also a woman named Fatima (Rakhee Thakrar) who appears after a few episodes, and who brings a sparkle to her story. The bad news is the writing—just about all of the writing.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=604JeF9RNu8\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If you’re going to write romantic comedy, it’s important to understand what things are romantic. Duffy’s charmless, sad-sack act in the early going, which presumes but does not establish some rooting interest in Maya’s one day returning his feelings, is not romantic. (If I may throw in a reference: It’s harder to do what Mary Stuart Masterson does in \u003cem>Some Kind Of Wonderful \u003c/em>than it looks.) There’s a moment when it seems like Duffy’s arc is getting better, then it gets worse again.\u003c/p>\n\u003cp>Craig’s story with Zara begins as a reasonably grounded tale about the effects of secrets on couples, but it turns into an absolutely bizarre reality-show plot that is never once welcome when it shows up in a scene. It never earns a moment of the screen time it receives, and it’s not as funny as a send-up of such shows as I think the writers who created it meant for it to be.\u003c/p>\n\u003cp>Ainsley is stranded in a bunch of strange anecdotes about the store she owns, and despite efforts to zazz her up a little by adding a short appearance by Andie MacDowell as her mother and even romcom VIP Dermot Mulroney as a rich guy who drops in late in the proceedings, she’s never interesting. Never. And it’s not the actress’ fault. It’s the writing. There’s just not enough reason to care about her.\u003c/p>\n\u003cp>The most promising romantic chemistry in the series is between Maya and Kash, who meet by chance early on when she’s on the way to his wedding—without, of course, each of them knowing who the other is. But they spend very little time in each other’s company for several episodes after that, which saps the show of the energy of the connection. To stretch an individual story of two people over 10 episodes of TV is really hard, and there are two ways to try to do it: You write a story between them that’s 10 episodes long, or you tease it once and then take a long break. The first one is better; the second is easier. This show does it the second way. And without spoiling things too much, by the time they get back to it, it’s not as appealing a direction as it once was.\u003c/p>\n\u003cp>There are things here that work nicely—Kash’s interactions with his dad and his little brother are charming and sweet. An unexpected lunch Maya has with her ex’s wife provides some surprising wisdom. But on the whole, these stories aren’t comedic or romantic, particularly. Some of the pieces are there, but the satisfaction of seeing them click into place is missing. Characters meant to seem charming seem creepy, and decisions meant to seem whimsical seem destructive.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Presumably by the end, there actually will have been four weddings and one funeral. But that’s regrettably just about the only way the show lives up to the billing.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Four+Weddings+And+A+Funeral%27+On+TV+Can%27t+Live+Up+To+A+Classic+Romcom&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 894,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 12
},
"modified": 1705022408,
"excerpt": "If you're going to write romantic comedy, it's important to understand what things are romantic. 'Four Weddings and a Funeral,' co-created by Mindy Kaling, does not understand what things are romantic.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "If you're going to write romantic comedy, it's important to understand what things are romantic. 'Four Weddings and a Funeral,' co-created by Mindy Kaling, does not understand what things are romantic.",
"title": "Hulu's 'Four Weddings and a Funeral' Can't Live Up to the Classic Romcom | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Hulu's 'Four Weddings and a Funeral' Can't Live Up to the Classic Romcom",
"datePublished": "2019-08-04T23:21:51-07:00",
"dateModified": "2024-01-11T17:20:08-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "hulus-four-weddings-and-a-funeral-cant-live-up-to-the-classic-romcom",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=747574379&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Linda Holmes",
"nprStoryDate": "Sat, 03 Aug 2019 07:00:17 -0400",
"nprLastModifiedDate": "Sat, 03 Aug 2019 07:45:00 -0400",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/2019/08/03/747574379/four-weddings-and-a-funeral-on-tv-can-t-live-up-to-a-classic-romcom?ft=nprml&f=747574379",
"nprImageAgency": "Hulu",
"nprImageCredit": "Jay Maidment",
"nprStoryId": "747574379",
"nprRetrievedStory": "1",
"nprPubDate": "Sat, 03 Aug 2019 07:44:00 -0400",
"path": "/arts/13862986/hulus-four-weddings-and-a-funeral-cant-live-up-to-the-classic-romcom",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The idea of an anthology TV series inspired by \u003cem>Four Weddings and a Funeral\u003c/em>, the 1994 film that established Flopsy-Haired Hugh Grant as a romantic comedy staple, is a solid one. I wish I were here with better news about how it turned out. I hung in with it as long as I could; there are ten episodes, and I watched all seven that they’ve made available to critics. I really wanted to like it.\u003c/p>\n\u003cp>Hulu’s \u003cem>Four Weddings and a Funeral \u003c/em>was created by Mindy Kaling and Matt Warburton, both of \u003cem>The Mindy Project—\u003c/em>so far, so good. While \u003cem>Mindy \u003c/em>was inconsistent, it did some smart things with romantic comedy tropes. Its star is Nathalie Emmanuel, who recently wrapped up her run as Missandei on \u003cem>Game of Thrones\u003c/em>, and she’s entirely up to the challenge of playing Maya, a charming young American working for a politician she’s also having an affair with. When the affair goes bad, she heads to London to get away and to attend the first of the weddings, between her best friend Ainsley (Rebecca Rittenhouse) and the charming but flaky Kash (Nikesh Patel). Once that wedding is over, she decides to stay. Thus does the real story begin.\u003c/p>\n\u003cp>Also in London are more of Maya’s friends: Craig (Brandon Mychal Smith), who’s keeping a secret from his girlfriend Zara (Sophia La Porta); Duffy (John Reynolds), who’s been secretly pining for Maya for years in the way people used to think was cute; and Ainsley’s British bestie, Gemma (Zoe Boyle), who isn’t happy about Maya showing up to nudge her aside in Ainsley’s life.\u003c/p>\n\u003cp>The good news comes from the natural charms of Emmanuel, as well as from some very pretty settings and shots. There’s also a woman named Fatima (Rakhee Thakrar) who appears after a few episodes, and who brings a sparkle to her story. The bad news is the writing—just about all of the writing.\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/604JeF9RNu8'\n title='//www.youtube.com/embed/604JeF9RNu8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If you’re going to write romantic comedy, it’s important to understand what things are romantic. Duffy’s charmless, sad-sack act in the early going, which presumes but does not establish some rooting interest in Maya’s one day returning his feelings, is not romantic. (If I may throw in a reference: It’s harder to do what Mary Stuart Masterson does in \u003cem>Some Kind Of Wonderful \u003c/em>than it looks.) There’s a moment when it seems like Duffy’s arc is getting better, then it gets worse again.\u003c/p>\n\u003cp>Craig’s story with Zara begins as a reasonably grounded tale about the effects of secrets on couples, but it turns into an absolutely bizarre reality-show plot that is never once welcome when it shows up in a scene. It never earns a moment of the screen time it receives, and it’s not as funny as a send-up of such shows as I think the writers who created it meant for it to be.\u003c/p>\n\u003cp>Ainsley is stranded in a bunch of strange anecdotes about the store she owns, and despite efforts to zazz her up a little by adding a short appearance by Andie MacDowell as her mother and even romcom VIP Dermot Mulroney as a rich guy who drops in late in the proceedings, she’s never interesting. Never. And it’s not the actress’ fault. It’s the writing. There’s just not enough reason to care about her.\u003c/p>\n\u003cp>The most promising romantic chemistry in the series is between Maya and Kash, who meet by chance early on when she’s on the way to his wedding—without, of course, each of them knowing who the other is. But they spend very little time in each other’s company for several episodes after that, which saps the show of the energy of the connection. To stretch an individual story of two people over 10 episodes of TV is really hard, and there are two ways to try to do it: You write a story between them that’s 10 episodes long, or you tease it once and then take a long break. The first one is better; the second is easier. This show does it the second way. And without spoiling things too much, by the time they get back to it, it’s not as appealing a direction as it once was.\u003c/p>\n\u003cp>There are things here that work nicely—Kash’s interactions with his dad and his little brother are charming and sweet. An unexpected lunch Maya has with her ex’s wife provides some surprising wisdom. But on the whole, these stories aren’t comedic or romantic, particularly. Some of the pieces are there, but the satisfaction of seeing them click into place is missing. Characters meant to seem charming seem creepy, and decisions meant to seem whimsical seem destructive.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Presumably by the end, there actually will have been four weddings and one funeral. But that’s regrettably just about the only way the show lives up to the billing.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Four+Weddings+And+A+Funeral%27+On+TV+Can%27t+Live+Up+To+A+Classic+Romcom&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13862986/hulus-four-weddings-and-a-funeral-cant-live-up-to-the-classic-romcom",
"authors": [
"byline_arts_13862986"
],
"categories": [
"arts_990"
],
"tags": [
"arts_5234",
"arts_5422"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13862987",
"label": "arts_137"
},
"arts_13862917": {
"type": "posts",
"id": "arts_13862917",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13862917",
"score": null,
"sort": [
1564822815000
]
},
"guestAuthors": [],
"slug": "wanda-sykes-loves-stand-up-thats-where-i-can-be-free-she-says",
"title": "Wanda Sykes Loves Stand-Up: That's Where 'I Can Be Free,' She Says",
"publishDate": 1564822815,
"format": "standard",
"headTitle": "Wanda Sykes Loves Stand-Up: That’s Where ‘I Can Be Free,’ She Says | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>Before Wanda Sykes became a comic, she worked as a procurement officer for the National Security Agency and had top security clearance. But she always loved telling jokes, and when a local radio station sponsored a talent show that included a comedy category, she decided to audition.\u003c/p>\n\u003cp>“They put me on the show … [and] I fell in love with it,” she says. “I love doing stand-up. … That’s where I feel like I can be free.”\u003c/p>\n\u003cp>Sykes quit the NSA and began focusing on comedy. She told political jokes throughout the Clinton, Bush and Obama administrations. In 2009, she became the first African American woman to \u003ca href=\"https://www.youtube.com/watch?v=zmyRog2w4DI\">host the White House Correspondents’ Association dinner\u003c/a>.\u003c/p>\n\u003cp>Now she takes on President Trump in the Emmy-nominated Netflix special \u003ca href=\"https://www.netflix.com/title/81011598\">Not Normal\u003c/a>. Sykes insists the jokes don’t come easily under the current administration.\u003c/p>\n\u003cp>“You would think, ‘Oh boy, there’s so much to make fun of,’ but really I can’t write anything funnier or more ridiculous than what Trump actually says,” Sykes says. “It’s like doing a parody of a parody.”\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On getting booed at a charity event in Boston within a week of Trump’s election for criticizing him\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That was my fault, because it wasn’t my show. When I say “fault,” I don’t mean that … I take responsibility for being booed. I take responsibility [for] being a comic and not reading the room. I’m in Boston and it was a benefit for the \u003ca href=\"https://camneelyfoundation.org/\">Cam Neely Foundation\u003c/a>, and my friend \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=102962938\">Denis Leary \u003c/a>asked me to do it, and I’ve performed there before and it’s a great charity and it’s usually a fun night … but this was right after the election.\u003c/p>\n\u003cp>So Denis goes up and he does some Trump jokes and people laugh. And then another comic goes up and he does a couple jokes, whatever, some Trump stuff, and people laugh — another white guy.\u003c/p>\n\u003caside class=\"pullquote alignright\">\n‘They weren’t ready to see a black woman who happens to be a lesbian also making fun of the president.’ \u003ccite>Wanda Sykes\u003c/cite> \u003c/aside>\n\u003cp>And so then I go up, and [with] the first joke I get some laughs — it was a Trump joke — and then the second joke [I said,] “Hey, this isn’t the first time we’ve had a president who’s racist, homophobic, sexist, but this is just the first one that we can confirm.” And the crowd just turned then. …\u003c/p>\n\u003cp>Then I got it. I was like, “Oh, shoot. That’s right. I forgot. I’m a black, lesbian female, and they aren’t ready for this yet.” It’s like, white guys, sure, go ahead. Come on out … because we see it every night on late-night TV: white guys making fun of the president. … But they weren’t ready to see a black woman who happens to be a lesbian also making fun of the president.\u003c/p>\n\u003cp>\u003cstrong>On coming out publicly at a 2008 LGBTQ rally in Las Vegas \u003c/strong>\u003c/p>\n\u003cp>I didn’t even know that I was going to do it. It wasn’t planned at all. I was in Vegas performing … and there [was an LGBTQ equality] protest in Vegas. … So it’s like, Hey … let’s go out and support and protest. So I get there, and it’s a large crowd and the head of the [LGBTQ] center, she’s speaking and she said, “We have someone out here who’s an ally, and she’s a strong voice for the community. And I’m just going to put her on the spot and see if she will come up and say a few words.”\u003c/p>\n\u003cp>Now, I’m looking around in the audience thinking, “Is Drew Barrymore here? Is Pink here? What’s going on?” I’m looking around for the ally, and then she says, “Wanda Sykes.” I’m like, “Oh, no. I’m part of the family. I’m not the ally.” So I go up and it just happened and \u003ca href=\"https://www.youtube.com/watch?v=S6UdoCIYvIw\">I made the speech\u003c/a>. … When I got back to the hotel room, I’m looking at CNN and now I’m on the crawl, and I was like, “Oh boy.”\u003c/p>\n\u003cp>\u003cstrong>On having a white wife and white children and joking that she feels like a minority in her own house \u003c/strong>\u003c/p>\n\u003cp>It feels weird when I think about it, but [when] it’s just the four of us, then I don’t think I think of it then, but when her family is there or we have a bunch of friends over, I do kind of look around and I go, “Man, there’s a lot of white people in my house right now.” And it’s not like I don’t like it or it makes me uncomfortable. It’s just I noticed it. … Sometimes I’ll call a friend like, “Hey man, what you doing? Want to come over?” And he goes, “What? You got too many white people in your house?” I’m like, “Yeah.”\u003c/p>\n\u003cp>\u003cstrong>On what she likes about motherhood \u003c/strong>\u003c/p>\n\u003cp>It takes you out of yourself. Just to be able to love something so much and want to be there and take care of them and not worry about yourself. It’s just good to know that I have that capability. … I thought I was so self-absorbed, but wow, look at me! Look at me parenting and being caring about something else other than myself! It’s just beautiful. I’ve learned a lot about myself. So I guess that is kind of like about me again. Damn it! I thought I had this.\u003c/p>\n\u003cp>\u003cstrong>On being diagnosed with early stage breast cancer and electing to do a double mastectomy \u003c/strong>\u003c/p>\n\u003cp>I have an incredibly strong history of cancer on my mom’s side. … I’ve lost aunts to breast cancer, ovarian cancer. My uncles, all the boys on her side, they’ve had prostate cancer. … We just had kids. The kids were maybe 2. So I was like, Look, I just wanted this taken care of — and my doctors, they also advised the same thing. … It was tough, but I feel great and I got some perky boobs out of it!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Lauren Krenzel and Seth Kelley produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Wanda+Sykes+Loves+Stand-Up%3A+That%27s+Where+%27I+Can+Be+Free%2C%27+She+Says&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "Before Sykes became a comic, she worked at the National Security Agency, where she had top security clearance. Now she takes on the president in her Emmy-nominated Netflix special\u003cem> Not Normal.\u003c/em>",
"status": "publish",
"parent": 0,
"modified": 1726766526,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 23,
"wordCount": 1176
},
"headData": {
"title": "Wanda Sykes Loves Stand-Up: That's Where 'I Can Be Free,' She Says | KQED",
"description": "Before Sykes became a comic, she worked at the National Security Agency, where she had top security clearance. Now she takes on the president in her Emmy-nominated Netflix special Not Normal.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Wanda Sykes Loves Stand-Up: That's Where 'I Can Be Free,' She Says",
"datePublished": "2019-08-03T02:00:15-07:00",
"dateModified": "2024-09-19T10:22:06-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprImageCredit": "Atsushi Nishijima",
"nprByline": "Terry Gross",
"nprImageAgency": "Netflix",
"nprStoryId": "747103750",
"nprApiLink": "http://api.npr.org/query?id=747103750&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "https://www.npr.org/2019/08/01/747103750/wanda-sykes-loves-stand-up-that-s-where-i-can-be-free-she-says?ft=nprml&f=747103750",
"nprRetrievedStory": "1",
"nprPubDate": "Fri, 02 Aug 2019 11:37:00 -0400",
"nprStoryDate": "Thu, 01 Aug 2019 12:53:17 -0400",
"nprLastModifiedDate": "Thu, 01 Aug 2019 23:26:51 -0400",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/fa/2019/08/20190801_fa_01.mp3?orgId=427869011&topicId=1138&d=2664&p=13&story=747103750&ft=nprml&f=747103750",
"nprAudioM3u": "http://api.npr.org/m3u/1747306081-43728e.m3u?orgId=427869011&topicId=1138&d=2664&p=13&story=747103750&ft=nprml&f=747103750",
"audioTrackLength": 2664,
"path": "/arts/13862917/wanda-sykes-loves-stand-up-thats-where-i-can-be-free-she-says",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/fa/2019/08/20190801_fa_01.mp3?orgId=427869011&topicId=1138&d=2664&p=13&story=747103750&ft=nprml&f=747103750",
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Before Wanda Sykes became a comic, she worked as a procurement officer for the National Security Agency and had top security clearance. But she always loved telling jokes, and when a local radio station sponsored a talent show that included a comedy category, she decided to audition.\u003c/p>\n\u003cp>“They put me on the show … [and] I fell in love with it,” she says. “I love doing stand-up. … That’s where I feel like I can be free.”\u003c/p>\n\u003cp>Sykes quit the NSA and began focusing on comedy. She told political jokes throughout the Clinton, Bush and Obama administrations. In 2009, she became the first African American woman to \u003ca href=\"https://www.youtube.com/watch?v=zmyRog2w4DI\">host the White House Correspondents’ Association dinner\u003c/a>.\u003c/p>\n\u003cp>Now she takes on President Trump in the Emmy-nominated Netflix special \u003ca href=\"https://www.netflix.com/title/81011598\">Not Normal\u003c/a>. Sykes insists the jokes don’t come easily under the current administration.\u003c/p>\n\u003cp>“You would think, ‘Oh boy, there’s so much to make fun of,’ but really I can’t write anything funnier or more ridiculous than what Trump actually says,” Sykes says. “It’s like doing a parody of a parody.”\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On getting booed at a charity event in Boston within a week of Trump’s election for criticizing him\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That was my fault, because it wasn’t my show. When I say “fault,” I don’t mean that … I take responsibility for being booed. I take responsibility [for] being a comic and not reading the room. I’m in Boston and it was a benefit for the \u003ca href=\"https://camneelyfoundation.org/\">Cam Neely Foundation\u003c/a>, and my friend \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=102962938\">Denis Leary \u003c/a>asked me to do it, and I’ve performed there before and it’s a great charity and it’s usually a fun night … but this was right after the election.\u003c/p>\n\u003cp>So Denis goes up and he does some Trump jokes and people laugh. And then another comic goes up and he does a couple jokes, whatever, some Trump stuff, and people laugh — another white guy.\u003c/p>\n\u003caside class=\"pullquote alignright\">\n‘They weren’t ready to see a black woman who happens to be a lesbian also making fun of the president.’ \u003ccite>Wanda Sykes\u003c/cite> \u003c/aside>\n\u003cp>And so then I go up, and [with] the first joke I get some laughs — it was a Trump joke — and then the second joke [I said,] “Hey, this isn’t the first time we’ve had a president who’s racist, homophobic, sexist, but this is just the first one that we can confirm.” And the crowd just turned then. …\u003c/p>\n\u003cp>Then I got it. I was like, “Oh, shoot. That’s right. I forgot. I’m a black, lesbian female, and they aren’t ready for this yet.” It’s like, white guys, sure, go ahead. Come on out … because we see it every night on late-night TV: white guys making fun of the president. … But they weren’t ready to see a black woman who happens to be a lesbian also making fun of the president.\u003c/p>\n\u003cp>\u003cstrong>On coming out publicly at a 2008 LGBTQ rally in Las Vegas \u003c/strong>\u003c/p>\n\u003cp>I didn’t even know that I was going to do it. It wasn’t planned at all. I was in Vegas performing … and there [was an LGBTQ equality] protest in Vegas. … So it’s like, Hey … let’s go out and support and protest. So I get there, and it’s a large crowd and the head of the [LGBTQ] center, she’s speaking and she said, “We have someone out here who’s an ally, and she’s a strong voice for the community. And I’m just going to put her on the spot and see if she will come up and say a few words.”\u003c/p>\n\u003cp>Now, I’m looking around in the audience thinking, “Is Drew Barrymore here? Is Pink here? What’s going on?” I’m looking around for the ally, and then she says, “Wanda Sykes.” I’m like, “Oh, no. I’m part of the family. I’m not the ally.” So I go up and it just happened and \u003ca href=\"https://www.youtube.com/watch?v=S6UdoCIYvIw\">I made the speech\u003c/a>. … When I got back to the hotel room, I’m looking at CNN and now I’m on the crawl, and I was like, “Oh boy.”\u003c/p>\n\u003cp>\u003cstrong>On having a white wife and white children and joking that she feels like a minority in her own house \u003c/strong>\u003c/p>\n\u003cp>It feels weird when I think about it, but [when] it’s just the four of us, then I don’t think I think of it then, but when her family is there or we have a bunch of friends over, I do kind of look around and I go, “Man, there’s a lot of white people in my house right now.” And it’s not like I don’t like it or it makes me uncomfortable. It’s just I noticed it. … Sometimes I’ll call a friend like, “Hey man, what you doing? Want to come over?” And he goes, “What? You got too many white people in your house?” I’m like, “Yeah.”\u003c/p>\n\u003cp>\u003cstrong>On what she likes about motherhood \u003c/strong>\u003c/p>\n\u003cp>It takes you out of yourself. Just to be able to love something so much and want to be there and take care of them and not worry about yourself. It’s just good to know that I have that capability. … I thought I was so self-absorbed, but wow, look at me! Look at me parenting and being caring about something else other than myself! It’s just beautiful. I’ve learned a lot about myself. So I guess that is kind of like about me again. Damn it! I thought I had this.\u003c/p>\n\u003cp>\u003cstrong>On being diagnosed with early stage breast cancer and electing to do a double mastectomy \u003c/strong>\u003c/p>\n\u003cp>I have an incredibly strong history of cancer on my mom’s side. … I’ve lost aunts to breast cancer, ovarian cancer. My uncles, all the boys on her side, they’ve had prostate cancer. … We just had kids. The kids were maybe 2. So I was like, Look, I just wanted this taken care of — and my doctors, they also advised the same thing. … It was tough, but I feel great and I got some perky boobs out of it!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Lauren Krenzel and Seth Kelley produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Wanda+Sykes+Loves+Stand-Up%3A+That%27s+Where+%27I+Can+Be+Free%2C%27+She+Says&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13862917/wanda-sykes-loves-stand-up-thats-where-i-can-be-free-she-says",
"authors": [
"byline_arts_13862917"
],
"categories": [
"arts_968",
"arts_75",
"arts_990"
],
"tags": [
"arts_549",
"arts_1118",
"arts_596",
"arts_5612",
"arts_5235",
"arts_8104"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13862918",
"label": "arts_137"
},
"arts_13862786": {
"type": "posts",
"id": "arts_13862786",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13862786",
"score": null,
"sort": [
1564750804000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1564750804,
"format": "standard",
"title": "Better Stunts & Actors, Just As Derivative: 'Fast & Furious Presents: Hobbs & Shaw'",
"headTitle": "Better Stunts & Actors, Just As Derivative: ‘Fast & Furious Presents: Hobbs & Shaw’ | KQED",
"content": "\u003cp>While we were all arguing whether Idris Elba should be the new 007, he opted to become the next T-800 instead. \u003c/p>\n\u003cp>In \u003cem>Fast & Furious Presents: Hobbs & Shaw\u003c/em>, the most agreeable of the innumerable \u003cem>Fast & Furious\u003c/em> presentations, \u003cem>The Wire\u003c/em>‘s Stringer Bell plays a straight-up Terminator, with stainless steel innards, glowing orange eyeballs, and a Google-glass-like POV datastream that gives him helpful notifications such as ATTACK IMMINENT whenever bickering-buddy good guys Dwayne Johnson (aka Hobbs) or Jason Statham (aka Shaw) cock a fist in his direction.\u003c/p>\n\u003cp>That’s an observation top-billed Johnson makes himself while fleeing (!) the cybernetically-enhanced super-soldier, though Elba’s character—he’s called Brixton, like in the old Clash song “Guns of…”—prefers the sobriquet “Black Superman.”\u003c/p>\n\u003cp>But he has \u003cem>also\u003c/em> got more than a little Darth Vader in him, in that he’s shown to be doing the bidding of a unseen superior with a digitally scrambled voice who scolds Brixton for his failures while his more-machine-now-than-man-body is welded back together, post-battle. The disembodied voice of Supreme Leader Snoke or whatever even orders Brixton to attempt to turn Hobbs & Shaw to the Dark Side instead of simply rubbing them out! There’s petty larceny, there’s grand theft auto.\u003c/p>\n\u003cp>All of which is to say: This sidebar presentation is still a genuine \u003cem>Fast & Furious\u003c/em> movie, in the sense that almost everything in it has been shamelessly chop-shopped from the work of more innovative filmmakers and squished into a less memorable, more quickly digestible form, and calibrated to flatter its stars to the maximum extent possible. It breaks ground only in the area of punctuation, as its title contains two ampersands and a colon, a sequence of keystrokes seldom seen even in this late (?) hour of the Franchise Age.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=b736ZM_KfEk\u003c/p>\n\u003cp>This one comes to us from director David Leitch, who collaborated with his old stunt-team partner Chad Stahelski on \u003cem>John Wick\u003c/em> before striking out on his own to direct, in short order, \u003cem>Atomic Blonde, Deadpool 2\u003c/em> and now this. Given his deep background staging fights and stunts and chases in-camera, it’s not surprising that the set pieces are generally crisper and more dimensional here than in the mainline \u003cem>Fast & Furious\u003c/em> films. Johnson and Statham are both considerably more athletic (and charismatic) performers than original-recipe \u003cem>F&F\u003c/em> star/producer Vin Diesel, who must not be upstaged, so getting rid of that clumsy tomato can allows them to cut loose, humor-wise and fisticuffs-wise. \u003c/p>\n\u003cp>The one sprinkling of novelty comes in the final 15 minutes, when Hobbs leads his allies back to his ancestral home in Samoa (as played by the Hawaiian island of Kauai) for a last stand (like 007 did in \u003cem>Skyfall\u003c/em>) after figuring out how to turn off their enemies’ electronically-locked firearms (like the one 007 had in, um, \u003cem>Skyfall\u003c/em>).\u003c/p>\n\u003cp>The binding aesthetic of the mayhem is still a bit sterile—it just doesn’t have the element of (seemingly) genuine danger that has made the \u003cem>Johns Wick\u003c/em>s, the last three \u003cem>Missions: Impossible\u003c/em> and \u003ca href=\"https://www.npr.org/2015/05/14/406009465/a-visceral-inventive-blockbuster-roars-to-life-in-mad-max-fury-road\" target=\"_blank\" rel=\"noopener\">Mad Max: Fury Road\u003c/a> all standouts of this genre.\u003c/p>\n\u003cp>But there are still some imaginative bits, like when several members of the Hobbs family daisy-chain their monster trucks to the front of a tow truck that’s attempting to pull Brixton’s helicopter out of the sky like a multi-ton barrel of monkeys. But all the other set pieces have a weird dearth of extras in them—the seeming absence of any bystanders is what makes a high-speed chase through London, for example, feel so low-stakes.\u003c/p>\n\u003cp>The plot this time is so far-out that it’s wasted, frankly, on a film that just wants to use it as the scaffolding between nitrous-oxide buggy chases and extended stand-up routines from surprise comic guest stars. Brixton is part of some trans-humanist techno cult called Eteon that wants to thin the herd (like Thanos!) using “a programmable virus” (like the one in \u003cem>Mission: Impossible II\u003c/em>!) and electronically upgrade the survivors to usher in the next phase of human evolution—or something like that.\u003c/p>\n\u003cp>One scene reveals that this group has minions who sit at rows of computer terminals surrounded by clouds—seriously, it looks like the way Powell and Pressburger depicted Heaven in \u003cem>A Matter of Life and Death\u003c/em>, 70 years ago. Through these terminals, these goons can exert \u003cem>total control over the global media\u003c/em>, which is how it takes exactly one line of dialogue for Brixton to publicly frame Hobbs, Shaw and new-player Vanessa Kirby (she’s Shaw’s MI6-agent sister, Hattie) as traitors (like Steve Rogers and, on more than one occasion, Ethan Hunt). \u003c/p>\n\u003cp>That media coup doesn’t really explain why our trio of heroes is being sought by multiple law-enforcement agencies. In fact, the film provides zero evidence they’re the subjects of a global manhunt; Hobbs simply announces it at one point. Maybe it’s the kind of thing he needs to say to psych himself up for combat. The movie never bothers to demonstrate the effects of its MacGuffin supervirus either, which might give this genial flexfest some sense of urgency. Many scenes begin with this sort of exposition-as-dialogue, as though the actors are trying to remind themselves what they’re supposed to be doing on this particular shooting day. Anyway, the three of them are forced to lam it, and Shaw (that’s Statham, remember, the short one) makes sure his frenemy Hobbs’ fake I.D. gives him the pseudonym “Mike Oxmall.”\u003c/p>\n\u003cp>Say it out loud. That’s the level this series operates on. Whether you find that funny or you don’t, you’re entirely correct. When it wants to up the sophistication, it points the camera at a Mini Cooper like the one Statham drove in the 2003 remake of \u003cem>The Italian Job\u003c/em> (the 1969 original is one from which the \u003cem>Fast\u003c/em> series has pilfered several big scenes) and has him say, “I used that for a \u003cem>job\u003c/em>… in Italy.” Wink! \u003c/p>\n\u003cp>The general sloppiness is the hallmark of a Chris Morgan Productions production. Morgan is the man whom \u003cem>H&S\u003c/em>‘s press notes identify as the “narrative architect” of the \u003cem>Fast\u003c/em> series. That’s not be confused with the “saga visionary,” which is the honorific Diesel has chosen for \u003ca href=\"https://urldefense.proofpoint.com/v2/url?u=https-3A__feature.variety.com_vin-2Ddiesel-2Da-2Dfurious-2Dmind_&d=DwMFaQ&c=E2nBno7hEddFhl23N5nD1Q&r=KZTZ4YO4JbNxwe-axLXEmQ&m=jzI-IPDMpSjqfNUdmzf2GktWKkvDQmu4FjNxrPepnHA&s=aSlOoTvJVkh6YJKG61M7dO_LNQ6ZqXM1niOW4vnkGgs&e=\" target=\"_blank\" rel=\"noopener\">himself\u003c/a>.\u003c/p>\n\u003cp>In any case, Morgan now shares screenplay credit with Drew Pearce, who helped out writer-director Shane Black on \u003cem>Iron Man 3\u003c/em> and writer-director Chris McQuarrie on \u003cem>\u003ca href=\"https://www.npr.org/2015/07/31/426883093/rogue-nation-fulfills-the-mission-of-a-reliable-blockbuster-series\" target=\"_blank\" rel=\"noopener\">Mission: Impossible — Rogue Nation\u003c/a>\u003c/em>, and who made \u003cem>Hotel Artemis\u003c/em>. In other words, there’s an actual writer on the show this time, which explains why \u003cem>Hobbs & Shaw\u003c/em> has something else that’s new to this series: real jokes, “Mike Oxmall” notwithstanding. (Statham has \u003ca href=\"https://urldefense.proofpoint.com/v2/url?u=https-3A__sports.yahoo.com_jason-2Dstatham-2Dcredits-2Dunsung-2Dhero-2Ddrew-2Dpearce-2Dfor-2Dsaving-2Dhobbs-2Dshaw-2Dscript-2Dexclusive-2D101320358.html&d=DwMFaQ&c=E2nBno7hEddFhl23N5nD1Q&r=KZTZ4YO4JbNxwe-axLXEmQ&m=jzI-IPDMpSjqfNUdmzf2GktWKkvDQmu4FjNxrPepnHA&s=H2yeXbHuSGydy7zcW587dp9brkxSQ7_IONZpGF-UqFU&e=\" target=\"_blank\" rel=\"noopener\">called Pearce\u003c/a> the “unsung hero” of the film for improving substantially upon Morgan’s draft. Imagine the contribution Pearce must have made for a lowly screenwriter to be praised on a press junket by name.) \u003c/p>\n\u003cp>\u003cem>Hobbs & Shaw\u003c/em> sets up as many sequels as its stars will show up for, but in the meantime, this is another entry that has forgotten that Statham’s character murdered Han, the charming racer played by Sung Kang, several movies ago, before someone decided to retcon Shaw into a good guy. Hey, this series only has one self-identified architect and one self-proclaimed visionary. It can’t be expected to sweat the small stuff. But it could use more sweat overall. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Copyright 2019 \u003ca href=\"https://www.npr.org\" rel=\"noopener\" target=\"_blank\">NPR\u003c/a>.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1336,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 19
},
"modified": 1705022414,
"excerpt": "The \"genial flexfest\" of a spinoff is the \"most agreeable\" of the franchise, which once again slickly repackages set pieces from other, better, more innovative action films. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The "genial flexfest" of a spinoff is the "most agreeable" of the franchise, which once again slickly repackages set pieces from other, better, more innovative action films. ",
"title": "Better Stunts & Actors, Just As Derivative: 'Fast & Furious Presents: Hobbs & Shaw' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Better Stunts & Actors, Just As Derivative: 'Fast & Furious Presents: Hobbs & Shaw'",
"datePublished": "2019-08-02T06:00:04-07:00",
"dateModified": "2024-01-11T17:20:14-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "better-stunts-actors-just-as-derivative-fast-furious-presents-hobbs-shaw",
"status": "publish",
"templateType": "standard",
"nprByline": "Chris Klimek",
"featuredImageType": "standard",
"sticky": false,
"path": "/arts/13862786/better-stunts-actors-just-as-derivative-fast-furious-presents-hobbs-shaw",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>While we were all arguing whether Idris Elba should be the new 007, he opted to become the next T-800 instead. \u003c/p>\n\u003cp>In \u003cem>Fast & Furious Presents: Hobbs & Shaw\u003c/em>, the most agreeable of the innumerable \u003cem>Fast & Furious\u003c/em> presentations, \u003cem>The Wire\u003c/em>‘s Stringer Bell plays a straight-up Terminator, with stainless steel innards, glowing orange eyeballs, and a Google-glass-like POV datastream that gives him helpful notifications such as ATTACK IMMINENT whenever bickering-buddy good guys Dwayne Johnson (aka Hobbs) or Jason Statham (aka Shaw) cock a fist in his direction.\u003c/p>\n\u003cp>That’s an observation top-billed Johnson makes himself while fleeing (!) the cybernetically-enhanced super-soldier, though Elba’s character—he’s called Brixton, like in the old Clash song “Guns of…”—prefers the sobriquet “Black Superman.”\u003c/p>\n\u003cp>But he has \u003cem>also\u003c/em> got more than a little Darth Vader in him, in that he’s shown to be doing the bidding of a unseen superior with a digitally scrambled voice who scolds Brixton for his failures while his more-machine-now-than-man-body is welded back together, post-battle. The disembodied voice of Supreme Leader Snoke or whatever even orders Brixton to attempt to turn Hobbs & Shaw to the Dark Side instead of simply rubbing them out! There’s petty larceny, there’s grand theft auto.\u003c/p>\n\u003cp>All of which is to say: This sidebar presentation is still a genuine \u003cem>Fast & Furious\u003c/em> movie, in the sense that almost everything in it has been shamelessly chop-shopped from the work of more innovative filmmakers and squished into a less memorable, more quickly digestible form, and calibrated to flatter its stars to the maximum extent possible. It breaks ground only in the area of punctuation, as its title contains two ampersands and a colon, a sequence of keystrokes seldom seen even in this late (?) hour of the Franchise Age.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\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/b736ZM_KfEk'\n title='//www.youtube.com/embed/b736ZM_KfEk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This one comes to us from director David Leitch, who collaborated with his old stunt-team partner Chad Stahelski on \u003cem>John Wick\u003c/em> before striking out on his own to direct, in short order, \u003cem>Atomic Blonde, Deadpool 2\u003c/em> and now this. Given his deep background staging fights and stunts and chases in-camera, it’s not surprising that the set pieces are generally crisper and more dimensional here than in the mainline \u003cem>Fast & Furious\u003c/em> films. Johnson and Statham are both considerably more athletic (and charismatic) performers than original-recipe \u003cem>F&F\u003c/em> star/producer Vin Diesel, who must not be upstaged, so getting rid of that clumsy tomato can allows them to cut loose, humor-wise and fisticuffs-wise. \u003c/p>\n\u003cp>The one sprinkling of novelty comes in the final 15 minutes, when Hobbs leads his allies back to his ancestral home in Samoa (as played by the Hawaiian island of Kauai) for a last stand (like 007 did in \u003cem>Skyfall\u003c/em>) after figuring out how to turn off their enemies’ electronically-locked firearms (like the one 007 had in, um, \u003cem>Skyfall\u003c/em>).\u003c/p>\n\u003cp>The binding aesthetic of the mayhem is still a bit sterile—it just doesn’t have the element of (seemingly) genuine danger that has made the \u003cem>Johns Wick\u003c/em>s, the last three \u003cem>Missions: Impossible\u003c/em> and \u003ca href=\"https://www.npr.org/2015/05/14/406009465/a-visceral-inventive-blockbuster-roars-to-life-in-mad-max-fury-road\" target=\"_blank\" rel=\"noopener\">Mad Max: Fury Road\u003c/a> all standouts of this genre.\u003c/p>\n\u003cp>But there are still some imaginative bits, like when several members of the Hobbs family daisy-chain their monster trucks to the front of a tow truck that’s attempting to pull Brixton’s helicopter out of the sky like a multi-ton barrel of monkeys. But all the other set pieces have a weird dearth of extras in them—the seeming absence of any bystanders is what makes a high-speed chase through London, for example, feel so low-stakes.\u003c/p>\n\u003cp>The plot this time is so far-out that it’s wasted, frankly, on a film that just wants to use it as the scaffolding between nitrous-oxide buggy chases and extended stand-up routines from surprise comic guest stars. Brixton is part of some trans-humanist techno cult called Eteon that wants to thin the herd (like Thanos!) using “a programmable virus” (like the one in \u003cem>Mission: Impossible II\u003c/em>!) and electronically upgrade the survivors to usher in the next phase of human evolution—or something like that.\u003c/p>\n\u003cp>One scene reveals that this group has minions who sit at rows of computer terminals surrounded by clouds—seriously, it looks like the way Powell and Pressburger depicted Heaven in \u003cem>A Matter of Life and Death\u003c/em>, 70 years ago. Through these terminals, these goons can exert \u003cem>total control over the global media\u003c/em>, which is how it takes exactly one line of dialogue for Brixton to publicly frame Hobbs, Shaw and new-player Vanessa Kirby (she’s Shaw’s MI6-agent sister, Hattie) as traitors (like Steve Rogers and, on more than one occasion, Ethan Hunt). \u003c/p>\n\u003cp>That media coup doesn’t really explain why our trio of heroes is being sought by multiple law-enforcement agencies. In fact, the film provides zero evidence they’re the subjects of a global manhunt; Hobbs simply announces it at one point. Maybe it’s the kind of thing he needs to say to psych himself up for combat. The movie never bothers to demonstrate the effects of its MacGuffin supervirus either, which might give this genial flexfest some sense of urgency. Many scenes begin with this sort of exposition-as-dialogue, as though the actors are trying to remind themselves what they’re supposed to be doing on this particular shooting day. Anyway, the three of them are forced to lam it, and Shaw (that’s Statham, remember, the short one) makes sure his frenemy Hobbs’ fake I.D. gives him the pseudonym “Mike Oxmall.”\u003c/p>\n\u003cp>Say it out loud. That’s the level this series operates on. Whether you find that funny or you don’t, you’re entirely correct. When it wants to up the sophistication, it points the camera at a Mini Cooper like the one Statham drove in the 2003 remake of \u003cem>The Italian Job\u003c/em> (the 1969 original is one from which the \u003cem>Fast\u003c/em> series has pilfered several big scenes) and has him say, “I used that for a \u003cem>job\u003c/em>… in Italy.” Wink! \u003c/p>\n\u003cp>The general sloppiness is the hallmark of a Chris Morgan Productions production. Morgan is the man whom \u003cem>H&S\u003c/em>‘s press notes identify as the “narrative architect” of the \u003cem>Fast\u003c/em> series. That’s not be confused with the “saga visionary,” which is the honorific Diesel has chosen for \u003ca href=\"https://urldefense.proofpoint.com/v2/url?u=https-3A__feature.variety.com_vin-2Ddiesel-2Da-2Dfurious-2Dmind_&d=DwMFaQ&c=E2nBno7hEddFhl23N5nD1Q&r=KZTZ4YO4JbNxwe-axLXEmQ&m=jzI-IPDMpSjqfNUdmzf2GktWKkvDQmu4FjNxrPepnHA&s=aSlOoTvJVkh6YJKG61M7dO_LNQ6ZqXM1niOW4vnkGgs&e=\" target=\"_blank\" rel=\"noopener\">himself\u003c/a>.\u003c/p>\n\u003cp>In any case, Morgan now shares screenplay credit with Drew Pearce, who helped out writer-director Shane Black on \u003cem>Iron Man 3\u003c/em> and writer-director Chris McQuarrie on \u003cem>\u003ca href=\"https://www.npr.org/2015/07/31/426883093/rogue-nation-fulfills-the-mission-of-a-reliable-blockbuster-series\" target=\"_blank\" rel=\"noopener\">Mission: Impossible — Rogue Nation\u003c/a>\u003c/em>, and who made \u003cem>Hotel Artemis\u003c/em>. In other words, there’s an actual writer on the show this time, which explains why \u003cem>Hobbs & Shaw\u003c/em> has something else that’s new to this series: real jokes, “Mike Oxmall” notwithstanding. (Statham has \u003ca href=\"https://urldefense.proofpoint.com/v2/url?u=https-3A__sports.yahoo.com_jason-2Dstatham-2Dcredits-2Dunsung-2Dhero-2Ddrew-2Dpearce-2Dfor-2Dsaving-2Dhobbs-2Dshaw-2Dscript-2Dexclusive-2D101320358.html&d=DwMFaQ&c=E2nBno7hEddFhl23N5nD1Q&r=KZTZ4YO4JbNxwe-axLXEmQ&m=jzI-IPDMpSjqfNUdmzf2GktWKkvDQmu4FjNxrPepnHA&s=H2yeXbHuSGydy7zcW587dp9brkxSQ7_IONZpGF-UqFU&e=\" target=\"_blank\" rel=\"noopener\">called Pearce\u003c/a> the “unsung hero” of the film for improving substantially upon Morgan’s draft. Imagine the contribution Pearce must have made for a lowly screenwriter to be praised on a press junket by name.) \u003c/p>\n\u003cp>\u003cem>Hobbs & Shaw\u003c/em> sets up as many sequels as its stars will show up for, but in the meantime, this is another entry that has forgotten that Statham’s character murdered Han, the charming racer played by Sung Kang, several movies ago, before someone decided to retcon Shaw into a good guy. Hey, this series only has one self-identified architect and one self-proclaimed visionary. It can’t be expected to sweat the small stuff. But it could use more sweat overall. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2019 \u003ca href=\"https://www.npr.org\" rel=\"noopener\" target=\"_blank\">NPR\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13862786/better-stunts-actors-just-as-derivative-fast-furious-presents-hobbs-shaw",
"authors": [
"byline_arts_13862786"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_977",
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13862794",
"label": "arts_137"
},
"arts_13862797": {
"type": "posts",
"id": "arts_13862797",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13862797",
"score": null,
"sort": [
1564689327000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1564689327,
"format": "standard",
"title": "'Jane The Virgin' Ends on a High Note",
"headTitle": "‘Jane The Virgin’ Ends on a High Note | KQED",
"content": "\u003cp>Ah, friends.\u003c/p>\n\u003cp>We should have known \u003cem>Jane The Virgin \u003c/em>would know how to execute a beautiful finale, but what a relief to actually see it.\u003c/p>\n\u003cp>\u003cem>Jane \u003c/em>has been a delight since it premiered in 2014. Loosely based on a Venezuelan telenovela, it carries some expected markers of an actual telenovela (fake deaths! evil twins!) while also working as a satirical take on the form. It employs formal playfulness like typing words onto the screen like captions so you can be reminded who people are, since nobody could be expected to remember everything. And it has a narrator, voiced by Anthony Mendez, who gasps and frets, then comforts us when sad events plague Jane and her family. And that sexy narrator begins his last introduction, his last “let me sum up” segment with, yes, the phrase, “Ah, friends.”\u003c/p>\n\u003cp>Ending \u003cem>Jane \u003c/em>is not like ending almost any other show on TV. As the writers acknowledge within the final episode, a telenovela must end with a bang, with wishes that come true, with tears and reconciliation.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9gIwn5llbTM\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>To step back a moment, \u003cem>Jane \u003c/em>had a tremendous number of threads to tie up. The narrator’s montage after “Ah, friends” could only scratch the surface as it took us all the way back to the very beginning. We remembered Jane’s initial accidental insemination with Rafael’s sperm in season 1, which disrupted her relationship with her boyfriend Michael, who eventually became her fiance and then her husband, despite the fact that she also had feelings for Rafael, with whom she now shared a child. Meanwhile, Rafael’s initially awful wife Petra, who became his awful \u003cem>ex\u003c/em>-wife Petra, was Jane’s nemesis at first. Petra also managed to inseminate herself and wind up having Rafael’s twins (long story), then, over time, she came out as bisexual, started and then lost a loving relationship with a woman named JR, defeated some evil family members, grew as a person, and emerged as Jane’s dear friend. Michael, meanwhile, got shot, recovered somewhat, died anyway, and came back from the dead after Jane had spent years grieving and was back with Rafael. But by the time Michael came back, he and Jane had been apart for years and had changed too much, and while it was nobody’s fault, they said goodbye again, and Michael went off to live in Montana where he’s happy. Jane got engaged to Rafael, sold her second book, saw her father Rogelio marry her mother Xiomara, and saw her grandmother Alba marry her love Jorge, too.\u003c/p>\n\u003cp>Take a deep breath here. You can see why they needed a narrator.\u003c/p>\n\u003cp>The hardest part of ending this show—what was always going to be the hardest point of ending this show—was dealing with Jane’s very real love stories with both Michael and Rafael. Since the decision was to conclude with Rafael and Jane married, it was a very smart choice to settle the last piece of the Michael story last week. Fans saw enough of Michael to know that he is happy, living in Montana with a new relationship and a baby on the way. But keeping him present during an episode that focused on Jane and Raf’s wedding would have seemed like a tease, and would have made it seem like Jane was still primarily defined as a woman caught between two men, and the show is no longer that.\u003c/p>\n\u003cp>Instead, the finale had room to breathe as exactly what it was: the conclusion of Rafael and Jane’s love story as told on \u003cem>Jane The Virgin \u003c/em>and, as Raf and Jane discussed, the beginning of the rest of their lives. That doesn’t mean all the other stories didn’t matter or were abandoned—it was still a whirlwind of activity. Rafael’s birth parents were found and revealed to be deceased, and he was sad, but realized he had family nevertheless. Jane’s friend Lina who had wanted Jane to donate an egg so she could get pregnant showed up pregnant with a different donor egg! Petra and JR were reunited just as the wedding was about to start! Xo and Rogelio were moving to New York, then Xo got cold feet, then her feet warmed up again! (This was a really lovely inversion of the usual dynamic in which the child moves away from the parent and has to deal with striking out on her own.)\u003c/p>\n\u003cp>Obviously, Rita Moreno returned as Rogelio’s mother. Nobody would deny you that. And the narrator threw in a little factoid about himself that some fans, but not all, had predicted.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=m-UKG1gCJnE\u003c/p>\n\u003cp>There was, of course, time for an outbreak of wacky hijinks on the morning of the wedding: Rafael rushed Jane’s last-minute changes to the printer before the galley copies of her book were to be printed (THIS IS NOT HOW THIS WORKS!), but he wound up being thrown in jail. That sent Jane on a journey across town, which ultimately led her through a crowd of marathoners, onto a bus, figuring out how to pick up her groom and get her whole family to the wedding. There, Alba married Jane and Raf in Spanish. They both had trouble getting through their vows because they were crying, so they simply exchanged the papers they’d written on. It’s a beautiful ending.\u003c/p>\n\u003cp>The elephant in the room, of course, is that there are “Jane belongs with Michael” people, and some will never forgive the show for ending this way. Some will tell you flat-out that no ending where Jane was with Rafael would do. Others will tell you that if she wasn’t going to end up with Michael, he should never have come back from the dead in the first place—they could have lived with Jane being forced to settle for someone besides Michael, but cannot accept she ever would have \u003cem>chosen \u003c/em>someone else. They feel they were teased. Still others find the ending unfair to Michael: Why should Rafael get to be happy and Michael doesn’t?\u003c/p>\n\u003cp>These are very natural responses to this ending, I think. I was always a Rafael person, to the point where I didn’t understand the concept of Michael people for a good while into the show. I assumed everyone distrusted Michael in the same way I did; I assumed Jane getting past her guilt-tripping, kind of possessive boyfriend was what the show was about. And there came a time in the third season when I felt like the deck was overwhelmingly becoming stacked—Michael was suddenly perfect, everything he did was right, all his flaws had vanished, he and Jane were a perfect couple, they got married, and it seemed very boring to me. But then when he died, I felt like I understood what the writers had been doing, particularly as the third and fourth seasons tackled Jane’s grief.\u003c/p>\n\u003cp>So when he came back this season, I thought, “Oh, \u003cem>no\u003c/em>.” Even though Michael seemed to have recovered from his early Nice Guy Syndrome (not the problem of being a nice guy, but the problem of seeming embittered by not getting everything he wanted from the woman he wanted simply because he’s such a nice guy), I still didn’t want that ending. Just as other people won’t want this one.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But I did. I really, really did. I wanted the little tidbits, and the kids reading from the book about love, and Xo having her own growing-up moment, and Rogelio wanting Rafael to call him “Dad” (after years of being a Michael guy himself, Rogelio learned to love Raf). I wanted the bus and the passengers and Jane getting dressed in the back with her mother and her grandmother. It was satisfying and moving and I cried, and as a critic, it means so much to see a show land the creative plane this successfully. \u003cem>Jane \u003c/em>has been a balm, and as much as it will be missed, what a beautiful sendoff.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Jane+The+Virgin%27+Ends+On+A+High+Note&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1413,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 16
},
"modified": 1705022416,
"excerpt": "It's hard to end a show as beloved as 'Jane The Virgin,' but the Wednesday night finale was funny, sad, silly and ultimately hopeful. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "It's hard to end a show as beloved as 'Jane The Virgin,' but the Wednesday night finale was funny, sad, silly and ultimately hopeful. ",
"title": "'Jane The Virgin' Ends on a High Note | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Jane The Virgin' Ends on a High Note",
"datePublished": "2019-08-01T12:55:27-07:00",
"dateModified": "2024-01-11T17:20:16-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "jane-the-virgin-ends-on-a-high-note",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=746916199&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Linda Holmes",
"nprStoryDate": "Wed, 31 Jul 2019 22:02:21 -0400",
"nprLastModifiedDate": "Thu, 01 Aug 2019 11:14:45 -0400",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/2019/07/31/746916199/jane-the-virgin-ends-on-a-high-note?ft=nprml&f=746916199",
"nprImageAgency": "The CW",
"nprImageCredit": "Kevin Estrada",
"nprStoryId": "746916199",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 01 Aug 2019 11:14:00 -0400",
"path": "/arts/13862797/jane-the-virgin-ends-on-a-high-note",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ah, friends.\u003c/p>\n\u003cp>We should have known \u003cem>Jane The Virgin \u003c/em>would know how to execute a beautiful finale, but what a relief to actually see it.\u003c/p>\n\u003cp>\u003cem>Jane \u003c/em>has been a delight since it premiered in 2014. Loosely based on a Venezuelan telenovela, it carries some expected markers of an actual telenovela (fake deaths! evil twins!) while also working as a satirical take on the form. It employs formal playfulness like typing words onto the screen like captions so you can be reminded who people are, since nobody could be expected to remember everything. And it has a narrator, voiced by Anthony Mendez, who gasps and frets, then comforts us when sad events plague Jane and her family. And that sexy narrator begins his last introduction, his last “let me sum up” segment with, yes, the phrase, “Ah, friends.”\u003c/p>\n\u003cp>Ending \u003cem>Jane \u003c/em>is not like ending almost any other show on TV. As the writers acknowledge within the final episode, a telenovela must end with a bang, with wishes that come true, with tears and reconciliation.\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/9gIwn5llbTM'\n title='//www.youtube.com/embed/9gIwn5llbTM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To step back a moment, \u003cem>Jane \u003c/em>had a tremendous number of threads to tie up. The narrator’s montage after “Ah, friends” could only scratch the surface as it took us all the way back to the very beginning. We remembered Jane’s initial accidental insemination with Rafael’s sperm in season 1, which disrupted her relationship with her boyfriend Michael, who eventually became her fiance and then her husband, despite the fact that she also had feelings for Rafael, with whom she now shared a child. Meanwhile, Rafael’s initially awful wife Petra, who became his awful \u003cem>ex\u003c/em>-wife Petra, was Jane’s nemesis at first. Petra also managed to inseminate herself and wind up having Rafael’s twins (long story), then, over time, she came out as bisexual, started and then lost a loving relationship with a woman named JR, defeated some evil family members, grew as a person, and emerged as Jane’s dear friend. Michael, meanwhile, got shot, recovered somewhat, died anyway, and came back from the dead after Jane had spent years grieving and was back with Rafael. But by the time Michael came back, he and Jane had been apart for years and had changed too much, and while it was nobody’s fault, they said goodbye again, and Michael went off to live in Montana where he’s happy. Jane got engaged to Rafael, sold her second book, saw her father Rogelio marry her mother Xiomara, and saw her grandmother Alba marry her love Jorge, too.\u003c/p>\n\u003cp>Take a deep breath here. You can see why they needed a narrator.\u003c/p>\n\u003cp>The hardest part of ending this show—what was always going to be the hardest point of ending this show—was dealing with Jane’s very real love stories with both Michael and Rafael. Since the decision was to conclude with Rafael and Jane married, it was a very smart choice to settle the last piece of the Michael story last week. Fans saw enough of Michael to know that he is happy, living in Montana with a new relationship and a baby on the way. But keeping him present during an episode that focused on Jane and Raf’s wedding would have seemed like a tease, and would have made it seem like Jane was still primarily defined as a woman caught between two men, and the show is no longer that.\u003c/p>\n\u003cp>Instead, the finale had room to breathe as exactly what it was: the conclusion of Rafael and Jane’s love story as told on \u003cem>Jane The Virgin \u003c/em>and, as Raf and Jane discussed, the beginning of the rest of their lives. That doesn’t mean all the other stories didn’t matter or were abandoned—it was still a whirlwind of activity. Rafael’s birth parents were found and revealed to be deceased, and he was sad, but realized he had family nevertheless. Jane’s friend Lina who had wanted Jane to donate an egg so she could get pregnant showed up pregnant with a different donor egg! Petra and JR were reunited just as the wedding was about to start! Xo and Rogelio were moving to New York, then Xo got cold feet, then her feet warmed up again! (This was a really lovely inversion of the usual dynamic in which the child moves away from the parent and has to deal with striking out on her own.)\u003c/p>\n\u003cp>Obviously, Rita Moreno returned as Rogelio’s mother. Nobody would deny you that. And the narrator threw in a little factoid about himself that some fans, but not all, had predicted.\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/m-UKG1gCJnE'\n title='//www.youtube.com/embed/m-UKG1gCJnE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There was, of course, time for an outbreak of wacky hijinks on the morning of the wedding: Rafael rushed Jane’s last-minute changes to the printer before the galley copies of her book were to be printed (THIS IS NOT HOW THIS WORKS!), but he wound up being thrown in jail. That sent Jane on a journey across town, which ultimately led her through a crowd of marathoners, onto a bus, figuring out how to pick up her groom and get her whole family to the wedding. There, Alba married Jane and Raf in Spanish. They both had trouble getting through their vows because they were crying, so they simply exchanged the papers they’d written on. It’s a beautiful ending.\u003c/p>\n\u003cp>The elephant in the room, of course, is that there are “Jane belongs with Michael” people, and some will never forgive the show for ending this way. Some will tell you flat-out that no ending where Jane was with Rafael would do. Others will tell you that if she wasn’t going to end up with Michael, he should never have come back from the dead in the first place—they could have lived with Jane being forced to settle for someone besides Michael, but cannot accept she ever would have \u003cem>chosen \u003c/em>someone else. They feel they were teased. Still others find the ending unfair to Michael: Why should Rafael get to be happy and Michael doesn’t?\u003c/p>\n\u003cp>These are very natural responses to this ending, I think. I was always a Rafael person, to the point where I didn’t understand the concept of Michael people for a good while into the show. I assumed everyone distrusted Michael in the same way I did; I assumed Jane getting past her guilt-tripping, kind of possessive boyfriend was what the show was about. And there came a time in the third season when I felt like the deck was overwhelmingly becoming stacked—Michael was suddenly perfect, everything he did was right, all his flaws had vanished, he and Jane were a perfect couple, they got married, and it seemed very boring to me. But then when he died, I felt like I understood what the writers had been doing, particularly as the third and fourth seasons tackled Jane’s grief.\u003c/p>\n\u003cp>So when he came back this season, I thought, “Oh, \u003cem>no\u003c/em>.” Even though Michael seemed to have recovered from his early Nice Guy Syndrome (not the problem of being a nice guy, but the problem of seeming embittered by not getting everything he wanted from the woman he wanted simply because he’s such a nice guy), I still didn’t want that ending. Just as other people won’t want this one.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But I did. I really, really did. I wanted the little tidbits, and the kids reading from the book about love, and Xo having her own growing-up moment, and Rogelio wanting Rafael to call him “Dad” (after years of being a Michael guy himself, Rogelio learned to love Raf). I wanted the bus and the passengers and Jane getting dressed in the back with her mother and her grandmother. It was satisfying and moving and I cried, and as a critic, it means so much to see a show land the creative plane this successfully. \u003cem>Jane \u003c/em>has been a balm, and as much as it will be missed, what a beautiful sendoff.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Jane+The+Virgin%27+Ends+On+A+High+Note&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13862797/jane-the-virgin-ends-on-a-high-note",
"authors": [
"byline_arts_13862797"
],
"categories": [
"arts_990"
],
"tags": [
"arts_5422"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13862798",
"label": "arts_137"
},
"arts_13862789": {
"type": "posts",
"id": "arts_13862789",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13862789",
"score": null,
"sort": [
1564688190000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1564688190,
"format": "standard",
"title": "Queue Up Your Preschool Playlist, 'Peppa Pig' Has Just Dropped 'My First Album'",
"headTitle": "Queue Up Your Preschool Playlist, ‘Peppa Pig’ Has Just Dropped ‘My First Album’ | KQED",
"content": "\u003cp>Fun fact: The 17-year-old voice actor who plays the beloved cartoon character Peppa Pig actually lives on a farm \u003cem>and\u003c/em> has her own pigs who are (of course) named Peppa and George. “They’re very cheeky,” says Harley Bird. “There was one time when I went in to feed them in the morning and they started eating my Wellies whilst I was still wearing them.”\u003c/p>\n\u003cp>Bird and her family live in Tring, a village about 40 miles northeast of London. She travels to the city to record the award-winning British cartoon, then returns home to feed the chickens.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qCrWdQb00rQ\u003c/p>\n\u003cp>In the show, the 4-year-old pig shares sweet adventures with her little brother George, Mommy Pig, Daddy Pig and her animal friends. \u003cem>Peppa Pig \u003c/em>airs in more than 180 countries—she’s starred in movies and stage shows, and has her own \u003ca href=\"https://www.youtube.com/channel/UCAOtE1V7Ots4DjM8JLlrYgg\">YouTube channel\u003c/a>. There are Peppa Pig games and toys, and even a theme park in England. And now, Peppa has dropped her first album, titled simply: \u003cem>\u003ca href=\"https://eone.ffm.to/myfirstalbum\">My First Album.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=11&v=vJj3Ch79tNs\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bird, who has voiced Peppa for nearly 13 years, is visiting the U.S. with her mom, and her younger siblings Olivia and Rosco. They’re on vacation, but she’s also promoting Peppa’s album, in which she sings about friendship, balloon rides and her favorite pastime—jumping in muddy puddles (wearing her boots, of course). The album includes songs such as \u003ca href=\"https://www.youtube.com/watch?v=vJj3Ch79tNs\">“Bing Bong Zoo,”\u003c/a> \u003ca href=\"https://www.youtube.com/watch?v=fogpMbJLouo\">“The Class of Madame Gazelle”\u003c/a> and “Peppa’s Party Time.”\u003c/p>\n\u003cp>\u003cem>Peppa Pig\u003c/em> debuted in the U.K. and Australia in 2004, and has been on Nick Jr. in the U.S. for the past eight years. The cartoon was voiced by two other actors before the producers found Harley Bird (that’s her stage name).\u003c/p>\n\u003cfigure id=\"attachment_13862791\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13862791\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/peppa3_custom-8339eb1715bd5bacaa4afb957014b8ef0769a7ba.jpg\" alt=\"Harley Bird, now 17, landed the role of Peppa Pig at her first ever audition, when she was 5 years old.\" width=\"200\" height=\"264\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/peppa3_custom-8339eb1715bd5bacaa4afb957014b8ef0769a7ba.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/peppa3_custom-8339eb1715bd5bacaa4afb957014b8ef0769a7ba-160x211.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Harley Bird, now 17, landed the role of Peppa Pig at her first ever audition, when she was 5 years old. \u003ccite>(Mandalit del Barco/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gill Riley, Bird’s mom, realized her daughter had a dramatic flair, so she found an agent for her. “She was just a little quirky, little bit different and she definitely had something about her,” Riley explains.\u003c/p>\n\u003cp>Bird was just 5 when she landed the role in her first-ever audition. “I just sounded like a pig—that’s it,” says Bird. “I couldn’t really read at all—I mean, I was five.”\u003c/p>\n\u003cp>Along the way, she learned to read … and to snort like a piggy. (\u003ca href=\"https://twitter.com/Radioactive22/status/1156566381246083072\">Click here to see her switch into her Peppa voice.\u003c/a>) More than a decade later, she now has to change her voice to sound younger, higher and more kid-like. She says it’s getting to be more of a struggle, and at some point she probably won’t be able to keep it up. “My voice still is changing,” she says. “There probably will be a point when I’m going to have to pass the pig.”\u003c/p>\n\u003cp>In addition to playing Peppa, Bird has some other notable entries on her resume: She has a black belt in kickboxing, she works at the village pub and Prince William once waved to her. She’s studying for her A levels to get into university, and would like to become a casting director. Bird acted in the 2013 movie \u003cem>How I Live Now,\u003c/em> had a small part on TV’s \u003cem>Doctor Who\u003c/em> and starred in the Disney series \u003cem>So Sammy.\u003c/em> As Peppa, she won a prestigious BAFTA Award when she was just 9.\u003c/p>\n\u003cp>She seems surprised to learn that some critics \u003ca href=\"https://www.huffpost.com/entry/is-peppa-pig-fat-shaming_n_586d158ce4b0d9a5945d505c\">call out the show for fat-shaming Daddy Pig\u003c/a>. And she’s only heard bits and bobs about the news that Peppa Pig is \u003ca href=\"https://www.nytimes.com/2018/05/01/world/asia/peppa-pig-china-censors.html\">considered a subversive symbol in China\u003c/a>.\u003c/p>\n\u003cp>“I don’t really have anything to say about it,” says Bird, adding that Peppa is “such an innocent thing, that for it to be made into anything more is a tiny bit ridiculous.”\u003c/p>\n\u003cp>Bird doesn’t take her singing too seriously either, and jokes about performing at Coachella as Peppa Pig. She’s super excited about \u003ca href=\"https://twitter.com/LilNasX/status/1153377578725625856\">a shoutout she got\u003c/a> from rapper Little Nas X. “He was tweeting something about doing a collab,” she gushes. “I am so in with that. Definitely. I mean, I’m in America. Find me. Let’s collab!”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Peppa Pig’s album dropped the same day as Iggy Azalea’s, \u003ca href=\"https://twitter.com/IGGYAZALEA/status/1151060798929821696\">prompting the rapper to tweet\u003c/a> “It’s over for me now.” Peppa \u003ca href=\"https://twitter.com/peppapig/status/1151175779876790272\">tweeted back\u003c/a>: “Peppa’s so fancy, you already know.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Queue+Up+Your+Preschool+Playlist%2C+%27Peppa+Pig%27+Has+Just+Dropped+%27My+First+Album%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 832,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 15
},
"modified": 1705022417,
"excerpt": "Peppa is a 4-year-old, cartoon pig whose award-winning TV show airs in more than 180 countries. For the last 13 years she's been played by Harley Bird, who got the part when she was only 5 years old.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Peppa is a 4-year-old, cartoon pig whose award-winning TV show airs in more than 180 countries. For the last 13 years she's been played by Harley Bird, who got the part when she was only 5 years old.",
"title": "Queue Up Your Preschool Playlist, 'Peppa Pig' Has Just Dropped 'My First Album' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Queue Up Your Preschool Playlist, 'Peppa Pig' Has Just Dropped 'My First Album'",
"datePublished": "2019-08-01T12:36:30-07:00",
"dateModified": "2024-01-11T17:20:17-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "queue-up-your-preschool-playlist-peppa-pig-has-just-dropped-my-first-album",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=746977217&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprStoryDate": "Wed, 31 Jul 2019 16:24:00 -0400",
"nprLastModifiedDate": "Thu, 01 Aug 2019 09:42:27 -0400",
"nprHtmlLink": "https://www.npr.org/2019/07/31/746977217/queue-up-your-preschool-playlist-peppa-pig-has-just-dropped-my-first-album?ft=nprml&f=746977217",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2019/07/20190731_atc_queue_up_your_preschool_playlist_peppa_pig_has_just_dropped_my_first_album.mp3?orgId=1&topicId=1138&d=235&p=2&story=746977217&ft=nprml&f=746977217",
"nprImageAgency": "ABD Ltd/Ent. One UK Ltd 2003",
"nprAudioM3u": "http://api.npr.org/m3u/1747041570-d36e11.m3u?orgId=1&topicId=1138&d=235&p=2&story=746977217&ft=nprml&f=746977217",
"nprStoryId": "746977217",
"nprByline": "Mandalit del Barco",
"sticky": false,
"audioTrackLength": 236,
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 01 Aug 2019 09:42:00 -0400",
"path": "/arts/13862789/queue-up-your-preschool-playlist-peppa-pig-has-just-dropped-my-first-album",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2019/07/20190731_atc_queue_up_your_preschool_playlist_peppa_pig_has_just_dropped_my_first_album.mp3?orgId=1&topicId=1138&d=235&p=2&story=746977217&ft=nprml&f=746977217",
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fun fact: The 17-year-old voice actor who plays the beloved cartoon character Peppa Pig actually lives on a farm \u003cem>and\u003c/em> has her own pigs who are (of course) named Peppa and George. “They’re very cheeky,” says Harley Bird. “There was one time when I went in to feed them in the morning and they started eating my Wellies whilst I was still wearing them.”\u003c/p>\n\u003cp>Bird and her family live in Tring, a village about 40 miles northeast of London. She travels to the city to record the award-winning British cartoon, then returns home to feed the chickens.\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/qCrWdQb00rQ'\n title='//www.youtube.com/embed/qCrWdQb00rQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the show, the 4-year-old pig shares sweet adventures with her little brother George, Mommy Pig, Daddy Pig and her animal friends. \u003cem>Peppa Pig \u003c/em>airs in more than 180 countries—she’s starred in movies and stage shows, and has her own \u003ca href=\"https://www.youtube.com/channel/UCAOtE1V7Ots4DjM8JLlrYgg\">YouTube channel\u003c/a>. There are Peppa Pig games and toys, and even a theme park in England. And now, Peppa has dropped her first album, titled simply: \u003cem>\u003ca href=\"https://eone.ffm.to/myfirstalbum\">My First Album.\u003c/a>\u003c/em>\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/vJj3Ch79tNs'\n title='//www.youtube.com/embed/vJj3Ch79tNs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bird, who has voiced Peppa for nearly 13 years, is visiting the U.S. with her mom, and her younger siblings Olivia and Rosco. They’re on vacation, but she’s also promoting Peppa’s album, in which she sings about friendship, balloon rides and her favorite pastime—jumping in muddy puddles (wearing her boots, of course). The album includes songs such as \u003ca href=\"https://www.youtube.com/watch?v=vJj3Ch79tNs\">“Bing Bong Zoo,”\u003c/a> \u003ca href=\"https://www.youtube.com/watch?v=fogpMbJLouo\">“The Class of Madame Gazelle”\u003c/a> and “Peppa’s Party Time.”\u003c/p>\n\u003cp>\u003cem>Peppa Pig\u003c/em> debuted in the U.K. and Australia in 2004, and has been on Nick Jr. in the U.S. for the past eight years. The cartoon was voiced by two other actors before the producers found Harley Bird (that’s her stage name).\u003c/p>\n\u003cfigure id=\"attachment_13862791\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13862791\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/peppa3_custom-8339eb1715bd5bacaa4afb957014b8ef0769a7ba.jpg\" alt=\"Harley Bird, now 17, landed the role of Peppa Pig at her first ever audition, when she was 5 years old.\" width=\"200\" height=\"264\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/peppa3_custom-8339eb1715bd5bacaa4afb957014b8ef0769a7ba.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/peppa3_custom-8339eb1715bd5bacaa4afb957014b8ef0769a7ba-160x211.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Harley Bird, now 17, landed the role of Peppa Pig at her first ever audition, when she was 5 years old. \u003ccite>(Mandalit del Barco/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gill Riley, Bird’s mom, realized her daughter had a dramatic flair, so she found an agent for her. “She was just a little quirky, little bit different and she definitely had something about her,” Riley explains.\u003c/p>\n\u003cp>Bird was just 5 when she landed the role in her first-ever audition. “I just sounded like a pig—that’s it,” says Bird. “I couldn’t really read at all—I mean, I was five.”\u003c/p>\n\u003cp>Along the way, she learned to read … and to snort like a piggy. (\u003ca href=\"https://twitter.com/Radioactive22/status/1156566381246083072\">Click here to see her switch into her Peppa voice.\u003c/a>) More than a decade later, she now has to change her voice to sound younger, higher and more kid-like. She says it’s getting to be more of a struggle, and at some point she probably won’t be able to keep it up. “My voice still is changing,” she says. “There probably will be a point when I’m going to have to pass the pig.”\u003c/p>\n\u003cp>In addition to playing Peppa, Bird has some other notable entries on her resume: She has a black belt in kickboxing, she works at the village pub and Prince William once waved to her. She’s studying for her A levels to get into university, and would like to become a casting director. Bird acted in the 2013 movie \u003cem>How I Live Now,\u003c/em> had a small part on TV’s \u003cem>Doctor Who\u003c/em> and starred in the Disney series \u003cem>So Sammy.\u003c/em> As Peppa, she won a prestigious BAFTA Award when she was just 9.\u003c/p>\n\u003cp>She seems surprised to learn that some critics \u003ca href=\"https://www.huffpost.com/entry/is-peppa-pig-fat-shaming_n_586d158ce4b0d9a5945d505c\">call out the show for fat-shaming Daddy Pig\u003c/a>. And she’s only heard bits and bobs about the news that Peppa Pig is \u003ca href=\"https://www.nytimes.com/2018/05/01/world/asia/peppa-pig-china-censors.html\">considered a subversive symbol in China\u003c/a>.\u003c/p>\n\u003cp>“I don’t really have anything to say about it,” says Bird, adding that Peppa is “such an innocent thing, that for it to be made into anything more is a tiny bit ridiculous.”\u003c/p>\n\u003cp>Bird doesn’t take her singing too seriously either, and jokes about performing at Coachella as Peppa Pig. She’s super excited about \u003ca href=\"https://twitter.com/LilNasX/status/1153377578725625856\">a shoutout she got\u003c/a> from rapper Little Nas X. “He was tweeting something about doing a collab,” she gushes. “I am so in with that. Definitely. I mean, I’m in America. Find me. Let’s collab!”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Peppa Pig’s album dropped the same day as Iggy Azalea’s, \u003ca href=\"https://twitter.com/IGGYAZALEA/status/1151060798929821696\">prompting the rapper to tweet\u003c/a> “It’s over for me now.” Peppa \u003ca href=\"https://twitter.com/peppapig/status/1151175779876790272\">tweeted back\u003c/a>: “Peppa’s so fancy, you already know.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Queue+Up+Your+Preschool+Playlist%2C+%27Peppa+Pig%27+Has+Just+Dropped+%27My+First+Album%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13862789/queue-up-your-preschool-playlist-peppa-pig-has-just-dropped-my-first-album",
"authors": [
"byline_arts_13862789"
],
"categories": [
"arts_69",
"arts_75",
"arts_990"
],
"tags": [
"arts_4262",
"arts_8084",
"arts_8086",
"arts_930"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13862790",
"label": "arts_137"
},
"arts_13862669": {
"type": "posts",
"id": "arts_13862669",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13862669",
"score": null,
"sort": [
1564607985000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1564607985,
"format": "standard",
"title": "'Double Indemnity' is 75, But Film Noir is Forever",
"headTitle": "‘Double Indemnity’ is 75, But Film Noir is Forever | KQED",
"content": "\u003cp>Let’s get right to the point. Walter Neff is a murderer: “Yes, I killed him. I killed him for money, and for a woman. I didn’t get the money and I didn’t get the woman.”\u003c/p>\n\u003cp>Fred MacMurray plays the hapless insurance salesman in the classic noir \u003cem>Double Indemnity\u003c/em>, which turns 75 this month—and helped launch a fraternity of films about wounded men in fedoras falling for sultry femmes fatales.\u003c/p>\n\u003cp>Walter’s confession comes at the start of the film—so I haven’t spoiled anything. The woman is Phyllis Dietrichson, played by Barbara Stanwyck. She’s a seductive housewife who would be much happier without her husband around. “The other night we drove home from a party, he was drunk again,” she says at one point. “When we drove into the garage, he just sat there with his head on the steering wheel with the motor still running. And I thought what it would be like if I didn’t switch it off. Just close the garage doors and left him there.”\u003c/p>\n\u003cp>Together, Phyllis and Walter hatch a scheme to kill her husband and make it look like an accident. But in \u003cem>Double Indemnity\u003c/em>, it’s also a given that the protagonists are doomed. “Suddenly it came over me that everything would go wrong. I couldn’t hear my own footsteps. It was the walk of a dead man,” Walter agonizes.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yKrrAa2o9Eg\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“There’s no doubt in my mind that it was not only the commercial, but the artistic success of this film is what triggered the film noir movement in Hollywood,” says Eddie Muller—the Czar of the Noir, as he likes to call himself. He’s the host of Turner Classic Movies’ Noir Alley. “And I think that what makes it so special is that the protagonists are the villains,” he adds.\u003c/p>\n\u003cp>75 years ago, that was a big deal. Hollywood was heavily policed by production codes, and it was bold for director Billy Wilder to take his popular stars and turn them into killers. “We’re both rotten,” Phyllis says at one point. “Only you’re a little more rotten,” Walter shoots back. “You got me to take care of your husband for you.”\u003c/p>\n\u003cp>Film noir: Stories that exposed the dark underbelly of the American dream. Rich black and white with heavy shadows, and witty double entendres that skirted the censors. And the smoking. SO much smoking. After all, they were as good as dead anyway.\u003c/p>\n\u003cp>Film noir came from the hard-boiled fiction of writers like Dashiell Hammett, James M. Cain and Raymond Chandler. It took off in Hollywood during and after World War II, when Eddie Muller says you couldn’t sell people just on happy-ever-after anymore, “and so finally, here were stories on the big screen at the movie house that reflected that pessimism.”\u003c/p>\n\u003cp>That strain of pessimism and the visual style have never gone away, though it’s mostly on TV now, from \u003cem>The Sopranos\u003c/em> to Walter White in \u003cem>Breaking Bad\u003c/em>, or \u003cem>Jessica Jones\u003c/em>, with its tortured female protagonist. “Jessica Jones is sort of in the role of the, what would typically be the male hero, you know, the Humphrey Bogart, Fred MacMurray, where she’s the anti-hero,” says \u003cem>Jessica Jones\u003c/em> creator and showrunner Melissa Rosenberg, who adds that she could draw a line between Jessica Jones and \u003cem>Double Indemnity\u003c/em>‘s femme fatale. “She’s driving the story, she’s the smart, ambitious one who does what she has to to get what she wants.”\u003c/p>\n\u003cp>Today’s audiences are no longer shocked by this kind of story. In fact, says Eddie Muller, people now watch old movies like \u003cem>Double Indemnity\u003c/em> because they’re a little like comfort food, “like wow, that’s great—look, here’s a murder story from a more innocent time.”\u003c/p>\n\u003cp>Just don’t go looking for innocence down the mean streets of \u003cem>Double Indemnity\u003c/em>. You won’t find any.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Ted Robbins, and adapted for the Web by Petra Mayer.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Double+Indemnity%27+Is+75%2C+But+Anklets+%28And+Film+Noir%29+Are+Forever&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 746,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 14
},
"modified": 1705022432,
"excerpt": "'Double Indemnity' is classic film noir: Men in fedoras walk mean streets shrouded in shadow and women are sometimes the sirens to beckon them to their doom. It's a film—and a genre—that endures.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "'Double Indemnity' is classic film noir: Men in fedoras walk mean streets shrouded in shadow and women are sometimes the sirens to beckon them to their doom. It's a film—and a genre—that endures.",
"title": "'Double Indemnity' is 75, But Film Noir is Forever | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Double Indemnity' is 75, But Film Noir is Forever",
"datePublished": "2019-07-31T14:19:45-07:00",
"dateModified": "2024-01-11T17:20:32-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "double-indemnity-is-75-but-anklets-and-film-noir-are-forever",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=746391982&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprStoryDate": "Wed, 31 Jul 2019 05:17:00 -0400",
"nprLastModifiedDate": "Wed, 31 Jul 2019 08:06:35 -0400",
"nprHtmlLink": "https://www.npr.org/2019/07/31/746391982/double-indemnity-is-75-but-anklets-and-film-noir-are-forever?ft=nprml&f=746391982",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/me/2019/07/20190731_me_double_indemnity_is_75_but_anklets_and_film_noir_are_forever.mp3?orgId=1&topicId=1045&d=246&p=3&story=746391982&ft=nprml&f=746391982",
"nprImageAgency": "Getty Images",
"nprAudioM3u": "http://api.npr.org/m3u/1746855387-d633c8.m3u?orgId=1&topicId=1045&d=246&p=3&story=746391982&ft=nprml&f=746391982",
"nprStoryId": "746391982",
"nprByline": "Marc Rivers",
"sticky": false,
"audioTrackLength": 246,
"nprImageCredit": "Donaldson Collection",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 31 Jul 2019 11:49:00 -0400",
"path": "/arts/13862669/double-indemnity-is-75-but-anklets-and-film-noir-are-forever",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/me/2019/07/20190731_me_double_indemnity_is_75_but_anklets_and_film_noir_are_forever.mp3?orgId=1&topicId=1045&d=246&p=3&story=746391982&ft=nprml&f=746391982",
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Let’s get right to the point. Walter Neff is a murderer: “Yes, I killed him. I killed him for money, and for a woman. I didn’t get the money and I didn’t get the woman.”\u003c/p>\n\u003cp>Fred MacMurray plays the hapless insurance salesman in the classic noir \u003cem>Double Indemnity\u003c/em>, which turns 75 this month—and helped launch a fraternity of films about wounded men in fedoras falling for sultry femmes fatales.\u003c/p>\n\u003cp>Walter’s confession comes at the start of the film—so I haven’t spoiled anything. The woman is Phyllis Dietrichson, played by Barbara Stanwyck. She’s a seductive housewife who would be much happier without her husband around. “The other night we drove home from a party, he was drunk again,” she says at one point. “When we drove into the garage, he just sat there with his head on the steering wheel with the motor still running. And I thought what it would be like if I didn’t switch it off. Just close the garage doors and left him there.”\u003c/p>\n\u003cp>Together, Phyllis and Walter hatch a scheme to kill her husband and make it look like an accident. But in \u003cem>Double Indemnity\u003c/em>, it’s also a given that the protagonists are doomed. “Suddenly it came over me that everything would go wrong. I couldn’t hear my own footsteps. It was the walk of a dead man,” Walter agonizes.\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/yKrrAa2o9Eg'\n title='//www.youtube.com/embed/yKrrAa2o9Eg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“There’s no doubt in my mind that it was not only the commercial, but the artistic success of this film is what triggered the film noir movement in Hollywood,” says Eddie Muller—the Czar of the Noir, as he likes to call himself. He’s the host of Turner Classic Movies’ Noir Alley. “And I think that what makes it so special is that the protagonists are the villains,” he adds.\u003c/p>\n\u003cp>75 years ago, that was a big deal. Hollywood was heavily policed by production codes, and it was bold for director Billy Wilder to take his popular stars and turn them into killers. “We’re both rotten,” Phyllis says at one point. “Only you’re a little more rotten,” Walter shoots back. “You got me to take care of your husband for you.”\u003c/p>\n\u003cp>Film noir: Stories that exposed the dark underbelly of the American dream. Rich black and white with heavy shadows, and witty double entendres that skirted the censors. And the smoking. SO much smoking. After all, they were as good as dead anyway.\u003c/p>\n\u003cp>Film noir came from the hard-boiled fiction of writers like Dashiell Hammett, James M. Cain and Raymond Chandler. It took off in Hollywood during and after World War II, when Eddie Muller says you couldn’t sell people just on happy-ever-after anymore, “and so finally, here were stories on the big screen at the movie house that reflected that pessimism.”\u003c/p>\n\u003cp>That strain of pessimism and the visual style have never gone away, though it’s mostly on TV now, from \u003cem>The Sopranos\u003c/em> to Walter White in \u003cem>Breaking Bad\u003c/em>, or \u003cem>Jessica Jones\u003c/em>, with its tortured female protagonist. “Jessica Jones is sort of in the role of the, what would typically be the male hero, you know, the Humphrey Bogart, Fred MacMurray, where she’s the anti-hero,” says \u003cem>Jessica Jones\u003c/em> creator and showrunner Melissa Rosenberg, who adds that she could draw a line between Jessica Jones and \u003cem>Double Indemnity\u003c/em>‘s femme fatale. “She’s driving the story, she’s the smart, ambitious one who does what she has to to get what she wants.”\u003c/p>\n\u003cp>Today’s audiences are no longer shocked by this kind of story. In fact, says Eddie Muller, people now watch old movies like \u003cem>Double Indemnity\u003c/em> because they’re a little like comfort food, “like wow, that’s great—look, here’s a murder story from a more innocent time.”\u003c/p>\n\u003cp>Just don’t go looking for innocence down the mean streets of \u003cem>Double Indemnity\u003c/em>. You won’t find any.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Ted Robbins, and adapted for the Web by Petra Mayer.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Double+Indemnity%27+Is+75%2C+But+Anklets+%28And+Film+Noir%29+Are+Forever&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13862669/double-indemnity-is-75-but-anklets-and-film-noir-are-forever",
"authors": [
"byline_arts_13862669"
],
"categories": [
"arts_74"
],
"tags": [
"arts_977",
"arts_5422"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13862670",
"label": "arts_137"
},
"arts_13862641": {
"type": "posts",
"id": "arts_13862641",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13862641",
"score": null,
"sort": [
1564601753000
]
},
"guestAuthors": [],
"slug": "hal-prince-transformational-broadway-producer-and-director-has-died",
"title": "Hal Prince, Transformational Broadway Producer And Director, Has Died",
"publishDate": 1564601753,
"format": "standard",
"headTitle": "Hal Prince, Transformational Broadway Producer And Director, Has Died | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>The musical theater director and producer Hal Prince, winner of an unprecedented 21 Tony Awards, has died in Iceland after a brief illness. He was 91.\u003c/p>\n\u003cp>Prince worked on such major shows as \u003cem>Cabaret\u003c/em>, \u003cem>Sweeney Todd\u003c/em> and \u003cem>The Phantom of the Opera. \u003c/em>But he was always looking forward to the next show, regardless of how the last one turned out.\u003c/p>\n\u003cp>In 1965, composer John Kander was working on a show that Prince produced called \u003cem>Flora, The Red Menace\u003c/em> — and it was not going well.\u003c/p>\n\u003cp>“A week before the show opened, Hal had said, ‘Whatever happens to \u003cem>Flora\u003c/em>, we’ll meet at my apartment and work on the next piece,'” Kander says. “And that’s exactly what happened. The show was not a success and we met at Hal’s apartment and started working on a piece which eventually became \u003cem>Cabaret\u003c/em>.”\u003c/p>\n\u003cp>Prince was born in New York in 1928 and fell in love with the theater as a kid. He said that as soon as he graduated from the University of Pennsylvania, he approached Broadway producer and director George Abbott to ask for a job.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I worked for nothing,” Prince said. “That was my proposal and he accepted it. And then he paid me after about six months. I went backstage on a show and I had a decent salary. And from then on, I’ve been living a comfortable life in those terms.”\u003c/p>\n\u003cp>Prince learned not only his work ethic from George Abbott — he became a producer himself. And in 1954 he produced \u003cem>The Pajama Game\u003c/em> and hired Abbott to direct it.\u003c/p>\n\u003cp>It was the beginning of a phenomenally successful career as a producer. Among Prince’s other shows were \u003cem>Damn Yankees\u003c/em>, \u003cem>West Side Story\u003c/em> and \u003cem>Fiddler on the Roof\u003c/em>.\u003c/p>\n\u003cp>But Prince had other ambitions.\u003c/p>\n\u003cp>“I wanted to be a playwright, which I couldn’t do,” he said. “And I wanted to be a director which I could do.”\u003c/p>\n\u003cp>So Prince hired himself to direct shows like \u003cem>Cabaret\u003c/em> and \u003cem>Zorba.\u003c/em> In 1970, he began a remarkable period of collaboration with composer/lyricist Stephen Sondheim. They worked together on six shows, which Prince both directed and produced.\u003c/p>\n\u003cp>“He always makes me want to go to the piano and write,” Sondheim says. “I always leave meetings with Hal just bursting with ideas. Hal’s as stimulating as anybody I’ve ever met.”\u003c/p>\n\u003cp>Among their shows were \u003cem>Company\u003c/em>, \u003cem>Follies\u003c/em> and \u003cem>Sweeney Todd\u003c/em>, which expanded and transformed musical theater. They were often referred to as “concept” musicals — serious works on serious topics, like contemporary marriage, disillusion of the American dream, the corrosive nature of the Industrial Revolution.\u003c/p>\n\u003cp>“I’m very issue-oriented and I like a good story in the theater, obviously,” Prince said. “But I have to have — in order to do decent work, me — I have to have some kind of metaphor or I can’t do it.”\u003c/p>\n\u003cp>Prince’s shows were always impeccably staged and designed, says another frequent collaborator, composer Andrew Lloyd Webber.\u003c/p>\n\u003cp>“He is so visual,” Webber says. “And when he gets something right, visually, I mean, nobody gets it more right than him.”\u003c/p>\n\u003cp>They worked together on \u003cem>Evita\u003c/em> and \u003cem>The\u003c/em> \u003cem>Phantom of the Opera\u003c/em>. The latter is by far the biggest hit Hal Prince ever directed. It’s the longest-running show on Broadway.\u003c/p>\n\u003cp>But Prince also had his share of flops. His wife Judy confronted him one day.\u003c/p>\n\u003cp>“She said, ‘I’m sick to death of you talking about hits and flops,'” he said. “‘Do you not acknowledge that some of your greatest successes were flops at the box office and some of your biggest hits were not such damn successes artistically?'”\u003c/p>\n\u003cp>So he kept on working. Still, Prince acknowledged it wasn’t enough to have talent or intellectual curiosity or an impeccable work ethic.\u003c/p>\n\u003cp>“There is not an artist in the world who achieves any success who hasn’t had a lot of luck,” Prince said. “You’re lucky to be born when you are, where you are.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And the American musical theater was lucky that Hal Prince helped to shape and define it.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n",
"blocks": [],
"excerpt": "The winner of an unprecedented 21 Tony Awards, Prince left a major impact on American musical theater. Among his shows: \u003cem>Cabaret\u003c/em>, \u003cem>Fiddler on the Roof\u003c/em> and \u003cem>The Phantom of the Opera\u003c/em>. He was 91.",
"status": "publish",
"parent": 0,
"modified": 1726704557,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 24,
"wordCount": 741
},
"headData": {
"title": "Hal Prince, Transformational Broadway Producer And Director, Has Died | KQED",
"description": "The winner of an unprecedented 21 Tony Awards, Prince left a major impact on American musical theater. Among his shows: Cabaret, Fiddler on the Roof and The Phantom of the Opera. He was 91.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Hal Prince, Transformational Broadway Producer And Director, Has Died",
"datePublished": "2019-07-31T12:35:53-07:00",
"dateModified": "2024-09-18T17:09:17-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Jeff Lunden",
"nprImageAgency": "Associated Press",
"nprStoryId": "574047835",
"nprApiLink": "http://api.npr.org/query?id=574047835&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "https://www.npr.org/2019/07/31/574047835/hal-prince-transformational-broadway-producer-and-director-has-died?ft=nprml&f=574047835",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 31 Jul 2019 12:08:00 -0400",
"nprStoryDate": "Wed, 31 Jul 2019 12:05:40 -0400",
"nprLastModifiedDate": "Wed, 31 Jul 2019 12:08:52 -0400",
"path": "/arts/13862641/hal-prince-transformational-broadway-producer-and-director-has-died",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The musical theater director and producer Hal Prince, winner of an unprecedented 21 Tony Awards, has died in Iceland after a brief illness. He was 91.\u003c/p>\n\u003cp>Prince worked on such major shows as \u003cem>Cabaret\u003c/em>, \u003cem>Sweeney Todd\u003c/em> and \u003cem>The Phantom of the Opera. \u003c/em>But he was always looking forward to the next show, regardless of how the last one turned out.\u003c/p>\n\u003cp>In 1965, composer John Kander was working on a show that Prince produced called \u003cem>Flora, The Red Menace\u003c/em> — and it was not going well.\u003c/p>\n\u003cp>“A week before the show opened, Hal had said, ‘Whatever happens to \u003cem>Flora\u003c/em>, we’ll meet at my apartment and work on the next piece,'” Kander says. “And that’s exactly what happened. The show was not a success and we met at Hal’s apartment and started working on a piece which eventually became \u003cem>Cabaret\u003c/em>.”\u003c/p>\n\u003cp>Prince was born in New York in 1928 and fell in love with the theater as a kid. He said that as soon as he graduated from the University of Pennsylvania, he approached Broadway producer and director George Abbott to ask for a job.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I worked for nothing,” Prince said. “That was my proposal and he accepted it. And then he paid me after about six months. I went backstage on a show and I had a decent salary. And from then on, I’ve been living a comfortable life in those terms.”\u003c/p>\n\u003cp>Prince learned not only his work ethic from George Abbott — he became a producer himself. And in 1954 he produced \u003cem>The Pajama Game\u003c/em> and hired Abbott to direct it.\u003c/p>\n\u003cp>It was the beginning of a phenomenally successful career as a producer. Among Prince’s other shows were \u003cem>Damn Yankees\u003c/em>, \u003cem>West Side Story\u003c/em> and \u003cem>Fiddler on the Roof\u003c/em>.\u003c/p>\n\u003cp>But Prince had other ambitions.\u003c/p>\n\u003cp>“I wanted to be a playwright, which I couldn’t do,” he said. “And I wanted to be a director which I could do.”\u003c/p>\n\u003cp>So Prince hired himself to direct shows like \u003cem>Cabaret\u003c/em> and \u003cem>Zorba.\u003c/em> In 1970, he began a remarkable period of collaboration with composer/lyricist Stephen Sondheim. They worked together on six shows, which Prince both directed and produced.\u003c/p>\n\u003cp>“He always makes me want to go to the piano and write,” Sondheim says. “I always leave meetings with Hal just bursting with ideas. Hal’s as stimulating as anybody I’ve ever met.”\u003c/p>\n\u003cp>Among their shows were \u003cem>Company\u003c/em>, \u003cem>Follies\u003c/em> and \u003cem>Sweeney Todd\u003c/em>, which expanded and transformed musical theater. They were often referred to as “concept” musicals — serious works on serious topics, like contemporary marriage, disillusion of the American dream, the corrosive nature of the Industrial Revolution.\u003c/p>\n\u003cp>“I’m very issue-oriented and I like a good story in the theater, obviously,” Prince said. “But I have to have — in order to do decent work, me — I have to have some kind of metaphor or I can’t do it.”\u003c/p>\n\u003cp>Prince’s shows were always impeccably staged and designed, says another frequent collaborator, composer Andrew Lloyd Webber.\u003c/p>\n\u003cp>“He is so visual,” Webber says. “And when he gets something right, visually, I mean, nobody gets it more right than him.”\u003c/p>\n\u003cp>They worked together on \u003cem>Evita\u003c/em> and \u003cem>The\u003c/em> \u003cem>Phantom of the Opera\u003c/em>. The latter is by far the biggest hit Hal Prince ever directed. It’s the longest-running show on Broadway.\u003c/p>\n\u003cp>But Prince also had his share of flops. His wife Judy confronted him one day.\u003c/p>\n\u003cp>“She said, ‘I’m sick to death of you talking about hits and flops,'” he said. “‘Do you not acknowledge that some of your greatest successes were flops at the box office and some of your biggest hits were not such damn successes artistically?'”\u003c/p>\n\u003cp>So he kept on working. Still, Prince acknowledged it wasn’t enough to have talent or intellectual curiosity or an impeccable work ethic.\u003c/p>\n\u003cp>“There is not an artist in the world who achieves any success who hasn’t had a lot of luck,” Prince said. “You’re lucky to be born when you are, where you are.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And the American musical theater was lucky that Hal Prince helped to shape and define it.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13862641/hal-prince-transformational-broadway-producer-and-director-has-died",
"authors": [
"byline_arts_13862641"
],
"categories": [
"arts_1564"
],
"tags": [
"arts_2347",
"arts_7525",
"arts_596",
"arts_5092"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13862642",
"label": "arts_137"
},
"arts_13862548": {
"type": "posts",
"id": "arts_13862548",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13862548",
"score": null,
"sort": [
1564523073000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1564523073,
"format": "standard",
"title": "Art Installation Along the U.S.-Mexico Border Creates Joyful 'Togetherness'",
"headTitle": "Art Installation Along the U.S.-Mexico Border Creates Joyful ‘Togetherness’ | KQED",
"content": "\u003cp>A stretch of the border wall between the U.S. and Mexico was adorned with a set of pink see-saws this week — allowing children (and grownups) to play together across the barrier. The event was “filled with joy, excitement, and togetherness,” says University of California, Berkeley professor and architect Ronald Rael, a leader of the project.\u003c/p>\n\u003cp>The seesaws were installed on Sunday, when their steel beams were eased through the slats of the tall fence that divides Sunland Park, N.M., from Colonia Anapra — a community on the western side of Ciudad Juárez in Mexico.\u003c/p>\n\u003cp>“Everyone was very happy and excited to engage the seesaws,” Rael says via email, describing the mood at Sunday’s event. And while he admits to being a little nervous about the completion of a project that had been brewing for 10 years, he says it went off without a hitch.\u003c/p>\n\u003cp>“It was peaceful and fun — a day at a park for the children and mothers of Anapra,” Rael says.\u003c/p>\n\u003cp>https://www.instagram.com/p/B0fY2R6hfKr/\u003c/p>\n\u003cp>The seesaws were created by Rael and fellow architect Virginia San Fratello; the two are partners in a design firm. By installing playground toys, they sought to tweak the meaning of a border fence.\u003c/p>\n\u003cp>“The wall became a literal fulcrum for U.S. – Mexico relations” once the seesaws were added, Rael said in \u003ca href=\"https://www.instagram.com/p/B0fY2R6hfKr/\">an Instagram post\u003c/a> about the project.\u003c/p>\n\u003cp>Rael added, “children and adults were connected in meaningful ways on both sides with the recognition that the actions that take place on one side have a direct consequence on the other side.”\u003c/p>\n\u003cp>In a statement to NPR, Rael and San Fratello say the installation was made to be temporary, adding that the seesaws — fabricated in Juarez — could be installed quickly.\u003c/p>\n\u003cp>As for why they turned an idea from 2009 into a reality in 2019, they say the project “is incredibly important at a time when relationships between people on both sides are being severed by the wall and the politics of the wall.”\u003c/p>\n\u003cp>[aside postID='arts_11806906' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2016/07/EmergingObjects01.jpg' target='_blank']\u003c/p>\n\u003cp>To help install the seesaws, Rael and San Fratello collaborated with Colectivo Chopeke, a Juarez-based artist collective. And when everything was finally in place, children from Anapra joined Rael in riding on the seats, bouncing up and down with their fellow riders on the U.S. side.\u003c/p>\n\u003cp>Of course, it’s unlikely that three seesaws could recast the tense and difficult discussions around U.S. immigration policies that have divided families from loved ones. Reflecting the high-profile attention the border has gotten, both Mexican soldiers and U.S. Border Patrol agents were present during Sunday’s event.\u003c/p>\n\u003cp>“U.S. Border Patrol did not have a problem with it, nor did soldiers from Mexico,” Rael says.\u003c/p>\n\u003cp>The bright pink teetertotters brought a new chance to see the border through the eyes of people who live along the divide — and for those people to see each other in a new light, even if their view was confined by tall steel slats.\u003c/p>\n\u003cp>“The joy that was shared this day on both sides is something that will stay with me forever,” \u003ca href=\"https://www.instagram.com/p/B0iALEOBMfP/\">Rael said\u003c/a> on Instagram Tuesday, in an update about the project. With that message, he posted a video of people playing on the pink seesaws, smiling at each other through the fence.\u003c/p>\n\u003cp>\u003ca href=\"https://scontent-lax3-1.xx.fbcdn.net/v/t1.0-9/68265005_10105051744161128_2517945880317788160_n.jpg?_nc_cat=101&_nc_oc=AQlZVXDlw8msGkUncCFEQtSRFuF9qP-ENBYRi96O_PS0fXEFtFkPKrpEscmnop1GeZg&_nc_ht=scontent-lax3-1.xx&oh=68be7d63b7708e41ba20fe4a319dd54e&oe=5DAA70B8\">https://scontent-lax3-1.xx.fbcdn.net/v/t1.0-9/68265005_10105051744161128_2517945880317788160_n.jpg?_nc_cat=101&_nc_oc=AQlZVXDlw8msGkUncCFEQtSRFuF9qP-ENBYRi96O_PS0fXEFtFkPKrpEscmnop1GeZg&_nc_ht=scontent-lax3-1.xx&oh=68be7d63b7708e41ba20fe4a319dd54e&oe=5DAA70B8\u003c/a>\u003c/p>\n\u003cp>Even before Sunday, the concept of putting seesaws on a border fence had already drawn acclaim for Rael and San Fratello. They note that their original drawings and models for a “Teeter-Totter Wall” are held by the Museum of Modern Art in New York and the San Francisco Museum of Modern Art.\u003c/p>\n\u003cp>While the original idea sprang forth as a way to contemplate trade and labor imbalances, the seesaws have taken on added meaning as President Trump has imposed strict policies along the border and vehemently spoken out against illegal immigration.\u003c/p>\n\u003cp>As Rael and San Fratello said via email, the seesaws are meant to tell the story of “how the actions on one side of the border have direct consequences on the other.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 756,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 20
},
"modified": 1705022442,
"excerpt": "A playdate recently broke out at the fence that separates the U.S. and Mexico in an event that was \"filled with joy, excitement, and togetherness.\"",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "A playdate recently broke out at the fence that separates the U.S. and Mexico in an event that was "filled with joy, excitement, and togetherness."",
"title": "Art Installation Along the U.S.-Mexico Border Creates Joyful 'Togetherness' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Art Installation Along the U.S.-Mexico Border Creates Joyful 'Togetherness'",
"datePublished": "2019-07-30T14:44:33-07:00",
"dateModified": "2024-01-11T17:20:42-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "art-installation-along-the-u-s-mexico-border-creates-joyful-togetherness",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=746612462&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Bill Chappell",
"nprStoryDate": "Tue, 30 Jul 2019 16:36:26 -0400",
"nprLastModifiedDate": "Tue, 30 Jul 2019 16:56:43 -0400",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/2019/07/30/746612462/see-saw-diplomacy-lets-people-play-together-along-u-s-border-wall?ft=nprml&f=746612462",
"nprImageAgency": "AP",
"nprImageCredit": "Christian Chavez",
"nprStoryId": "746612462",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 30 Jul 2019 16:56:00 -0400",
"path": "/arts/13862548/art-installation-along-the-u-s-mexico-border-creates-joyful-togetherness",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A stretch of the border wall between the U.S. and Mexico was adorned with a set of pink see-saws this week — allowing children (and grownups) to play together across the barrier. The event was “filled with joy, excitement, and togetherness,” says University of California, Berkeley professor and architect Ronald Rael, a leader of the project.\u003c/p>\n\u003cp>The seesaws were installed on Sunday, when their steel beams were eased through the slats of the tall fence that divides Sunland Park, N.M., from Colonia Anapra — a community on the western side of Ciudad Juárez in Mexico.\u003c/p>\n\u003cp>“Everyone was very happy and excited to engage the seesaws,” Rael says via email, describing the mood at Sunday’s event. And while he admits to being a little nervous about the completion of a project that had been brewing for 10 years, he says it went off without a hitch.\u003c/p>\n\u003cp>“It was peaceful and fun — a day at a park for the children and mothers of Anapra,” Rael says.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "instagramLink",
"attributes": {
"named": {
"instagramUrl": "https://www.instagram.com/p/B0fY2R6hfKr/"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The seesaws were created by Rael and fellow architect Virginia San Fratello; the two are partners in a design firm. By installing playground toys, they sought to tweak the meaning of a border fence.\u003c/p>\n\u003cp>“The wall became a literal fulcrum for U.S. – Mexico relations” once the seesaws were added, Rael said in \u003ca href=\"https://www.instagram.com/p/B0fY2R6hfKr/\">an Instagram post\u003c/a> about the project.\u003c/p>\n\u003cp>Rael added, “children and adults were connected in meaningful ways on both sides with the recognition that the actions that take place on one side have a direct consequence on the other side.”\u003c/p>\n\u003cp>In a statement to NPR, Rael and San Fratello say the installation was made to be temporary, adding that the seesaws — fabricated in Juarez — could be installed quickly.\u003c/p>\n\u003cp>As for why they turned an idea from 2009 into a reality in 2019, they say the project “is incredibly important at a time when relationships between people on both sides are being severed by the wall and the politics of the wall.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_11806906",
"hero": "https://ww2.kqed.org/wp-content/uploads/sites/2/2016/07/EmergingObjects01.jpg",
"target": "_blank",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To help install the seesaws, Rael and San Fratello collaborated with Colectivo Chopeke, a Juarez-based artist collective. And when everything was finally in place, children from Anapra joined Rael in riding on the seats, bouncing up and down with their fellow riders on the U.S. side.\u003c/p>\n\u003cp>Of course, it’s unlikely that three seesaws could recast the tense and difficult discussions around U.S. immigration policies that have divided families from loved ones. Reflecting the high-profile attention the border has gotten, both Mexican soldiers and U.S. Border Patrol agents were present during Sunday’s event.\u003c/p>\n\u003cp>“U.S. Border Patrol did not have a problem with it, nor did soldiers from Mexico,” Rael says.\u003c/p>\n\u003cp>The bright pink teetertotters brought a new chance to see the border through the eyes of people who live along the divide — and for those people to see each other in a new light, even if their view was confined by tall steel slats.\u003c/p>\n\u003cp>“The joy that was shared this day on both sides is something that will stay with me forever,” \u003ca href=\"https://www.instagram.com/p/B0iALEOBMfP/\">Rael said\u003c/a> on Instagram Tuesday, in an update about the project. With that message, he posted a video of people playing on the pink seesaws, smiling at each other through the fence.\u003c/p>\n\u003cp>\u003ca href=\"https://scontent-lax3-1.xx.fbcdn.net/v/t1.0-9/68265005_10105051744161128_2517945880317788160_n.jpg?_nc_cat=101&_nc_oc=AQlZVXDlw8msGkUncCFEQtSRFuF9qP-ENBYRi96O_PS0fXEFtFkPKrpEscmnop1GeZg&_nc_ht=scontent-lax3-1.xx&oh=68be7d63b7708e41ba20fe4a319dd54e&oe=5DAA70B8\">https://scontent-lax3-1.xx.fbcdn.net/v/t1.0-9/68265005_10105051744161128_2517945880317788160_n.jpg?_nc_cat=101&_nc_oc=AQlZVXDlw8msGkUncCFEQtSRFuF9qP-ENBYRi96O_PS0fXEFtFkPKrpEscmnop1GeZg&_nc_ht=scontent-lax3-1.xx&oh=68be7d63b7708e41ba20fe4a319dd54e&oe=5DAA70B8\u003c/a>\u003c/p>\n\u003cp>Even before Sunday, the concept of putting seesaws on a border fence had already drawn acclaim for Rael and San Fratello. They note that their original drawings and models for a “Teeter-Totter Wall” are held by the Museum of Modern Art in New York and the San Francisco Museum of Modern Art.\u003c/p>\n\u003cp>While the original idea sprang forth as a way to contemplate trade and labor imbalances, the seesaws have taken on added meaning as President Trump has imposed strict policies along the border and vehemently spoken out against illegal immigration.\u003c/p>\n\u003cp>As Rael and San Fratello said via email, the seesaws are meant to tell the story of “how the actions on one side of the border have direct consequences on the other.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13862548/art-installation-along-the-u-s-mexico-border-creates-joyful-togetherness",
"authors": [
"byline_arts_13862548"
],
"categories": [
"arts_1",
"arts_235",
"arts_70"
],
"tags": [
"arts_5180",
"arts_5573",
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13862549",
"label": "arts_137"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"radioSearchSegmentsReducer": {},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"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.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"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?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"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",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"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",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"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",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"racesGenElection2026PresidentialReducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?affiliate=npr": {
"isFetching": false,
"latestQuery": {
"from": 1440,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 2513,
"relation": "eq"
},
"items": [
"arts_13863220",
"arts_13863147",
"arts_13863056",
"arts_13862941",
"arts_13862986",
"arts_13862917",
"arts_13862786",
"arts_13862797",
"arts_13862789",
"arts_13862669",
"arts_13862641",
"arts_13862548"
],
"complete": true
}
},
"recallGuideReducer": {
"intros": {},
"policy": {},
"candidates": {}
},
"savedArticleReducer": {
"articles": [],
"status": {}
},
"newslettersReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"newsletters": {},
"isSubscribing": false,
"isUnsubscribing": false,
"subscribedNewsletters": {}
},
"termsReducer": {
"about": {
"name": "About",
"type": "terms",
"id": "about",
"slug": "about",
"link": "/about",
"taxonomy": "site"
},
"arts": {
"name": "Arts & Culture",
"grouping": [
"arts",
"pop",
"trulyca"
],
"description": "KQED Arts provides daily in-depth coverage of the Bay Area's music, art, film, performing arts, literature and arts news, as well as cultural commentary and criticism.",
"type": "terms",
"id": "arts",
"slug": "arts",
"link": "/arts",
"taxonomy": "site"
},
"artschool": {
"name": "Art School",
"parent": "arts",
"type": "terms",
"id": "artschool",
"slug": "artschool",
"link": "/artschool",
"taxonomy": "site"
},
"bayareabites": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "bayareabites",
"slug": "bayareabites",
"link": "/food",
"taxonomy": "site"
},
"bayareahiphop": {
"name": "Bay Area Hiphop",
"type": "terms",
"id": "bayareahiphop",
"slug": "bayareahiphop",
"link": "/bayareahiphop",
"taxonomy": "site"
},
"campaign21": {
"name": "Campaign 21",
"type": "terms",
"id": "campaign21",
"slug": "campaign21",
"link": "/campaign21",
"taxonomy": "site"
},
"careers": {
"name": "Careers",
"type": "terms",
"id": "careers",
"slug": "careers",
"link": "/careers",
"taxonomy": "site"
},
"checkplease": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "checkplease",
"slug": "checkplease",
"link": "/food",
"taxonomy": "site"
},
"education": {
"name": "Education",
"grouping": [
"education"
],
"type": "terms",
"id": "education",
"slug": "education",
"link": "/education",
"taxonomy": "site"
},
"elections": {
"name": "Elections",
"type": "terms",
"id": "elections",
"slug": "elections",
"link": "/elections",
"taxonomy": "site"
},
"events": {
"name": "Events",
"type": "terms",
"id": "events",
"slug": "events",
"link": "/events",
"taxonomy": "site"
},
"event": {
"name": "Event",
"alias": "events",
"type": "terms",
"id": "event",
"slug": "event",
"link": "/event",
"taxonomy": "site"
},
"filmschoolshorts": {
"name": "Film School Shorts",
"type": "terms",
"id": "filmschoolshorts",
"slug": "filmschoolshorts",
"link": "/filmschoolshorts",
"taxonomy": "site"
},
"food": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"type": "terms",
"id": "food",
"slug": "food",
"link": "/food",
"taxonomy": "site"
},
"forum": {
"name": "Forum",
"relatedContentQuery": "posts/forum?",
"parent": "news",
"type": "terms",
"id": "forum",
"slug": "forum",
"link": "/forum",
"taxonomy": "site"
},
"futureofyou": {
"name": "Future of You",
"grouping": [
"science",
"futureofyou"
],
"parent": "science",
"type": "terms",
"id": "futureofyou",
"slug": "futureofyou",
"link": "/futureofyou",
"taxonomy": "site"
},
"jpepinheart": {
"name": "KQED food",
"relatedContentQuery": "posts/food,bayareabites,checkplease",
"parent": "food",
"type": "terms",
"id": "jpepinheart",
"slug": "jpepinheart",
"link": "/food",
"taxonomy": "site"
},
"liveblog": {
"name": "Live Blog",
"type": "terms",
"id": "liveblog",
"slug": "liveblog",
"link": "/liveblog",
"taxonomy": "site"
},
"livetv": {
"name": "Live TV",
"parent": "tv",
"type": "terms",
"id": "livetv",
"slug": "livetv",
"link": "/livetv",
"taxonomy": "site"
},
"lowdown": {
"name": "The Lowdown",
"relatedContentQuery": "posts/lowdown?",
"parent": "news",
"type": "terms",
"id": "lowdown",
"slug": "lowdown",
"link": "/lowdown",
"taxonomy": "site"
},
"mindshift": {
"name": "Mindshift",
"parent": "news",
"description": "MindShift explores the future of education by highlighting the innovative – and sometimes counterintuitive – ways educators and parents are helping all children succeed.",
"type": "terms",
"id": "mindshift",
"slug": "mindshift",
"link": "/mindshift",
"taxonomy": "site"
},
"news": {
"name": "News",
"grouping": [
"news",
"forum"
],
"type": "terms",
"id": "news",
"slug": "news",
"link": "/news",
"taxonomy": "site"
},
"newsletters": {
"name": "newsletters",
"type": "terms",
"id": "newsletters",
"slug": "newsletters",
"link": "/newsletters",
"taxonomy": "site"
},
"perspectives": {
"name": "Perspectives",
"parent": "radio",
"type": "terms",
"id": "perspectives",
"slug": "perspectives",
"link": "/perspectives",
"taxonomy": "site"
},
"podcasts": {
"name": "Podcasts",
"type": "terms",
"id": "podcasts",
"slug": "podcasts",
"link": "/podcasts",
"taxonomy": "site"
},
"pop": {
"name": "Pop",
"parent": "arts",
"type": "terms",
"id": "pop",
"slug": "pop",
"link": "/pop",
"taxonomy": "site"
},
"pressroom": {
"name": "Pressroom",
"type": "terms",
"id": "pressroom",
"slug": "pressroom",
"link": "/pressroom",
"taxonomy": "site"
},
"quest": {
"name": "Quest",
"parent": "science",
"type": "terms",
"id": "quest",
"slug": "quest",
"link": "/quest",
"taxonomy": "site"
},
"radio": {
"name": "Radio",
"grouping": [
"forum",
"perspectives"
],
"description": "Listen to KQED Public Radio – home of Forum and The California Report – on 88.5 FM in San Francisco, 89.3 FM in Sacramento, 88.3 FM in Santa Rosa and 88.1 FM in Martinez.",
"type": "terms",
"id": "radio",
"slug": "radio",
"link": "/radio",
"taxonomy": "site"
},
"root": {
"name": "KQED",
"image": "https://ww2.kqed.org/app/uploads/2020/02/KQED-OG-Image@1x.png",
"imageWidth": 1200,
"imageHeight": 630,
"headData": {
"title": "KQED | News, Radio, Podcasts, TV | Public Media for Northern California",
"description": "KQED provides public radio, television, and independent reporting on issues that matter to the Bay Area. We’re the NPR and PBS member station for Northern California."
},
"type": "terms",
"id": "root",
"slug": "root",
"link": "/root",
"taxonomy": "site"
},
"science": {
"name": "Science",
"grouping": [
"science",
"futureofyou"
],
"description": "KQED Science brings you award-winning science and environment coverage from the Bay Area and beyond.",
"type": "terms",
"id": "science",
"slug": "science",
"link": "/science",
"taxonomy": "site"
},
"stateofhealth": {
"name": "State of Health",
"parent": "science",
"type": "terms",
"id": "stateofhealth",
"slug": "stateofhealth",
"link": "/stateofhealth",
"taxonomy": "site"
},
"support": {
"name": "Support",
"type": "terms",
"id": "support",
"slug": "support",
"link": "/support",
"taxonomy": "site"
},
"thedolist": {
"name": "The Do List",
"parent": "arts",
"type": "terms",
"id": "thedolist",
"slug": "thedolist",
"link": "/thedolist",
"taxonomy": "site"
},
"trulyca": {
"name": "Truly CA",
"grouping": [
"arts",
"pop",
"trulyca"
],
"parent": "arts",
"type": "terms",
"id": "trulyca",
"slug": "trulyca",
"link": "/trulyca",
"taxonomy": "site"
},
"tv": {
"name": "TV",
"type": "terms",
"id": "tv",
"slug": "tv",
"link": "/tv",
"taxonomy": "site"
},
"voterguide": {
"name": "Voter Guide",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "voterguide",
"slug": "voterguide",
"link": "/voterguide",
"taxonomy": "site"
},
"guiaelectoral": {
"name": "Guia Electoral",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "guiaelectoral",
"slug": "guiaelectoral",
"link": "/guiaelectoral",
"taxonomy": "site"
},
"arts_affiliate_npr": {
"isLoading": true
},
"arts_137": {
"type": "terms",
"id": "arts_137",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "137",
"found": true
},
"relationships": {},
"featImg": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/logo-npr-lg1.png",
"name": "NPR",
"description": null,
"taxonomy": "affiliate",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "NPR Archives | KQED Arts",
"ogDescription": null
},
"ttid": 138,
"slug": "npr",
"isLoading": false,
"link": "/arts/affiliate/npr"
},
"arts_235": {
"type": "terms",
"id": "arts_235",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "235",
"found": true
},
"relationships": {},
"featImg": null,
"name": "News",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "News Archives | KQED Arts",
"ogDescription": null
},
"ttid": 236,
"slug": "news",
"isLoading": false,
"link": "/arts/category/news"
},
"arts_8167": {
"type": "terms",
"id": "arts_8167",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8167",
"found": true
},
"relationships": {},
"featImg": null,
"name": "community",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "community Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8179,
"slug": "community",
"isLoading": false,
"link": "/arts/tag/community"
},
"arts_596": {
"type": "terms",
"id": "arts_596",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "596",
"found": true
},
"relationships": {},
"featImg": null,
"name": "ntv",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "ntv Archives | KQED Arts",
"ogDescription": null
},
"ttid": 602,
"slug": "ntv",
"isLoading": false,
"link": "/arts/tag/ntv"
},
"arts_73": {
"type": "terms",
"id": "arts_73",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "73",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Books",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Books Archives | KQED Arts",
"ogDescription": null
},
"ttid": 74,
"slug": "literature",
"isLoading": false,
"link": "/arts/category/literature"
},
"arts_7970": {
"type": "terms",
"id": "arts_7970",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7970",
"found": true
},
"relationships": {},
"featImg": null,
"name": "magazines",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "magazines Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7982,
"slug": "magazines",
"isLoading": false,
"link": "/arts/tag/magazines"
},
"arts_3675": {
"type": "terms",
"id": "arts_3675",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3675",
"found": true
},
"relationships": {},
"featImg": null,
"name": "barack obama",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "barack obama Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3687,
"slug": "barack-obama",
"isLoading": false,
"link": "/arts/tag/barack-obama"
},
"arts_1118": {
"type": "terms",
"id": "arts_1118",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1118",
"found": true
},
"relationships": {},
"featImg": null,
"name": "featured",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "featured Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1135,
"slug": "featured",
"isLoading": false,
"link": "/arts/tag/featured"
},
"arts_990": {
"type": "terms",
"id": "arts_990",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "990",
"found": true
},
"relationships": {},
"featImg": null,
"name": "TV",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "TV Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1008,
"slug": "tv",
"isLoading": false,
"link": "/arts/category/tv"
},
"arts_5234": {
"type": "terms",
"id": "arts_5234",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5234",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Hulu",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Hulu Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5246,
"slug": "hulu",
"isLoading": false,
"link": "/arts/tag/hulu"
},
"arts_5422": {
"type": "terms",
"id": "arts_5422",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5422",
"found": true
},
"relationships": {},
"featImg": null,
"name": "television",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "television Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5434,
"slug": "television",
"isLoading": false,
"link": "/arts/tag/television"
},
"arts_968": {
"type": "terms",
"id": "arts_968",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "968",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Comedy",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Comedy Archives | KQED Arts",
"ogDescription": null
},
"ttid": 986,
"slug": "comedy",
"isLoading": false,
"link": "/arts/category/comedy"
},
"arts_75": {
"type": "terms",
"id": "arts_75",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "75",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Pop Culture",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Pop Culture Archives | KQED Arts",
"ogDescription": null
},
"ttid": 76,
"slug": "popculture",
"isLoading": false,
"link": "/arts/category/popculture"
},
"arts_549": {
"type": "terms",
"id": "arts_549",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "549",
"found": true
},
"relationships": {},
"featImg": null,
"name": "comedy",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "comedy Archives | KQED Arts",
"ogDescription": null
},
"ttid": 550,
"slug": "comedy",
"isLoading": false,
"link": "/arts/tag/comedy"
},
"arts_5612": {
"type": "terms",
"id": "arts_5612",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5612",
"found": true
},
"relationships": {},
"featImg": null,
"name": "pop culture",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "pop culture Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5624,
"slug": "pop-culture",
"isLoading": false,
"link": "/arts/tag/pop-culture"
},
"arts_5235": {
"type": "terms",
"id": "arts_5235",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5235",
"found": true
},
"relationships": {},
"featImg": null,
"name": "president trump",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "president trump Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5247,
"slug": "president-trump",
"isLoading": false,
"link": "/arts/tag/president-trump"
},
"arts_8104": {
"type": "terms",
"id": "arts_8104",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8104",
"found": true
},
"relationships": {},
"featImg": null,
"name": "stand up",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "stand up Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8116,
"slug": "stand-up",
"isLoading": false,
"link": "/arts/tag/stand-up"
},
"arts_74": {
"type": "terms",
"id": "arts_74",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "74",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Movies",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Movies Archives | KQED Arts",
"ogDescription": null
},
"ttid": 75,
"slug": "movies",
"isLoading": false,
"link": "/arts/category/movies"
},
"arts_977": {
"type": "terms",
"id": "arts_977",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "977",
"found": true
},
"relationships": {},
"name": "Film",
"slug": "film",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "Film Archives | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 995,
"isLoading": false,
"link": "/arts/tag/film"
},
"arts_769": {
"type": "terms",
"id": "arts_769",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "769",
"found": true
},
"relationships": {},
"featImg": null,
"name": "review",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "review Archives | KQED Arts",
"ogDescription": null
},
"ttid": 787,
"slug": "review",
"isLoading": false,
"link": "/arts/tag/review"
},
"arts_69": {
"type": "terms",
"id": "arts_69",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "69",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Music",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 70,
"slug": "music",
"isLoading": false,
"link": "/arts/category/music"
},
"arts_4262": {
"type": "terms",
"id": "arts_4262",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4262",
"found": true
},
"relationships": {},
"featImg": null,
"name": "animation",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "animation Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4274,
"slug": "animation",
"isLoading": false,
"link": "/arts/tag/animation"
},
"arts_8084": {
"type": "terms",
"id": "arts_8084",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8084",
"found": true
},
"relationships": {},
"featImg": null,
"name": "BBC",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "BBC Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8096,
"slug": "bbc",
"isLoading": false,
"link": "/arts/tag/bbc"
},
"arts_8086": {
"type": "terms",
"id": "arts_8086",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8086",
"found": true
},
"relationships": {},
"featImg": null,
"name": "cartoons",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "cartoons Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8098,
"slug": "cartoons",
"isLoading": false,
"link": "/arts/tag/cartoons"
},
"arts_930": {
"type": "terms",
"id": "arts_930",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "930",
"found": true
},
"relationships": {},
"featImg": null,
"name": "kids",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "kids Archives | KQED Arts",
"ogDescription": null
},
"ttid": 948,
"slug": "kids",
"isLoading": false,
"link": "/arts/tag/kids"
},
"arts_1564": {
"type": "terms",
"id": "arts_1564",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1564",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Remembrance",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Remembrance Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1576,
"slug": "remembrance",
"isLoading": false,
"link": "/arts/category/remembrance"
},
"arts_2347": {
"type": "terms",
"id": "arts_2347",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2347",
"found": true
},
"relationships": {},
"featImg": null,
"name": "broadway",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "broadway Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2359,
"slug": "broadway",
"isLoading": false,
"link": "/arts/tag/broadway"
},
"arts_7525": {
"type": "terms",
"id": "arts_7525",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7525",
"found": true
},
"relationships": {},
"featImg": null,
"name": "in memoriam",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "in memoriam Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7537,
"slug": "in-memoriam",
"isLoading": false,
"link": "/arts/tag/in-memoriam"
},
"arts_5092": {
"type": "terms",
"id": "arts_5092",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5092",
"found": true
},
"relationships": {},
"featImg": null,
"name": "tony awards",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "tony awards Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5104,
"slug": "tony-awards",
"isLoading": false,
"link": "/arts/tag/tony-awards"
},
"arts_1": {
"type": "terms",
"id": "arts_1",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1,
"slug": "arts",
"isLoading": false,
"link": "/arts/category/arts"
},
"arts_70": {
"type": "terms",
"id": "arts_70",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "70",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Visual Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Visual Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 71,
"slug": "visualarts",
"isLoading": false,
"link": "/arts/category/visualarts"
},
"arts_5180": {
"type": "terms",
"id": "arts_5180",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5180",
"found": true
},
"relationships": {},
"featImg": null,
"name": "border",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "border Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5192,
"slug": "border",
"isLoading": false,
"link": "/arts/tag/border"
},
"arts_5573": {
"type": "terms",
"id": "arts_5573",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5573",
"found": true
},
"relationships": {},
"featImg": null,
"name": "mexico",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "mexico Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5585,
"slug": "mexico",
"isLoading": false,
"link": "/arts/tag/mexico"
}
},
"userPermissionsReducer": {
"wpLoggedIn": false
},
"eventsReducer": {},
"fssReducer": {},
"tvDailyScheduleReducer": {},
"tvWeeklyScheduleReducer": {},
"tvPrimetimeScheduleReducer": {},
"tvMonthlyScheduleReducer": {},
"userAccountReducer": {
"user": {
"email": null,
"emailStatus": "EMAIL_UNVALIDATED",
"loggedStatus": "LOGGED_OUT",
"loggingChecked": false,
"articles": [],
"firstName": null,
"lastName": null,
"phoneNumber": null,
"fetchingMembership": false,
"membershipError": false,
"memberships": [
{
"id": null,
"startDate": null,
"firstName": null,
"lastName": null,
"familyNumber": null,
"memberNumber": null,
"memberSince": null,
"expirationDate": null,
"pfsEligible": false,
"isSustaining": false,
"membershipLevel": "Prospect",
"membershipStatus": "Non Member",
"lastGiftDate": null,
"renewalDate": null,
"lastDonationAmount": null
}
]
},
"authModal": {
"isOpen": false,
"view": "LANDING_VIEW"
},
"error": null
},
"youthMediaReducer": {},
"checkPleaseReducer": {
"filterData": {
"region": {
"key": "Restaurant Region",
"filters": [
"Any Region"
]
},
"cuisine": {
"key": "Restaurant Cuisine",
"filters": [
"Any Cuisine"
]
}
},
"restaurantDataById": {},
"restaurantIdsSorted": [],
"error": null
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
},
"requestOutcomesReducer": {
"notFound": []
},
"navPromosReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": true,
"promos": {
"news": {
"name": "2026 Voter Guide",
"link": "/voterguide",
"imageURL": "https://cdn.kqed.org/wp-content/uploads/2026/10/Nav-News-Nov2026ElectionCoverage@2x-7bd4aad4.png",
"description": "Get informed in minutes with our Voter Guide for California’s November 3 election."
},
"podcasts-radio": {},
"video-tv": {},
"events": {},
"support": {}
}
}
}
