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_11412351": {
"type": "attachments",
"id": "arts_11412351",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11412351",
"found": true
},
"parent": 11412346,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/EyeSkyCover-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/EyeSkyCover-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/EyeSkyCover-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/EyeSkyCover-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/EyeSkyCover.jpg",
"width": 1152,
"height": 648
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/EyeSkyCover-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/EyeSkyCover-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/EyeSkyCover-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/EyeSkyCover-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/EyeSkyCover-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/EyeSkyCover-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/EyeSkyCover-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1458173642,
"modified": 1458173663,
"caption": "Helen Mirren stars as Col. Katherine Powell in Gavin Hood's 'Eye in the Sky.'",
"description": null,
"title": "eye-in-the-sky-eits_00534_r_rgb",
"credit": "Photo: Keith Bernstein/Bleecker Street",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11403574": {
"type": "attachments",
"id": "arts_11403574",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11403574",
"found": true
},
"parent": 11403573,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/ce-00792rsgrdzgd_wide-2e850bcaaf584398b7d232d41251966be3e2c4e4-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/ce-00792rsgrdzgd_wide-2e850bcaaf584398b7d232d41251966be3e2c4e4-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/ce-00792rsgrdzgd_wide-2e850bcaaf584398b7d232d41251966be3e2c4e4-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/ce-00792rsgrdzgd_wide-2e850bcaaf584398b7d232d41251966be3e2c4e4-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/ce-00792rsgrdzgd_wide-2e850bcaaf584398b7d232d41251966be3e2c4e4-e1457913650297.jpg",
"width": 1920,
"height": 1079
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/ce-00792rsgrdzgd_wide-2e850bcaaf584398b7d232d41251966be3e2c4e4-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/ce-00792rsgrdzgd_wide-2e850bcaaf584398b7d232d41251966be3e2c4e4-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/ce-00792rsgrdzgd_wide-2e850bcaaf584398b7d232d41251966be3e2c4e4-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/ce-00792rsgrdzgd_wide-2e850bcaaf584398b7d232d41251966be3e2c4e4-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/ce-00792rsgrdzgd_wide-2e850bcaaf584398b7d232d41251966be3e2c4e4-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/ce-00792rsgrdzgd_wide-2e850bcaaf584398b7d232d41251966be3e2c4e4-1920x1079.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1079
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/ce-00792rsgrdzgd_wide-2e850bcaaf584398b7d232d41251966be3e2c4e4-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/ce-00792rsgrdzgd_wide-2e850bcaaf584398b7d232d41251966be3e2c4e4-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/ce-00792rsgrdzgd_wide-2e850bcaaf584398b7d232d41251966be3e2c4e4-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/ce-00792rsgrdzgd_wide-2e850bcaaf584398b7d232d41251966be3e2c4e4-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1457913386,
"modified": 1457913679,
"caption": "John Goodman as Howard; Mary Elizabeth Winstead as Michelle in '10 Cloverfield Lane.'",
"description": null,
"title": "John Goodman as Howard; Mary Elizabeth Winstead as Michelle in 10 Cloverfield Lane.",
"credit": "Photo: Michele K. Short/Courtesy of Paramount Pictures",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11392001": {
"type": "attachments",
"id": "arts_11392001",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11392001",
"found": true
},
"parent": 11392000,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/jurnee-smollett-bell-as-rosalee-and-female-slaves-in-wgn-americas-underground_custom-21071afad54cea41db30aa4a586b957a1284c03f-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/jurnee-smollett-bell-as-rosalee-and-female-slaves-in-wgn-americas-underground_custom-21071afad54cea41db30aa4a586b957a1284c03f-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/jurnee-smollett-bell-as-rosalee-and-female-slaves-in-wgn-americas-underground_custom-21071afad54cea41db30aa4a586b957a1284c03f-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/jurnee-smollett-bell-as-rosalee-and-female-slaves-in-wgn-americas-underground_custom-21071afad54cea41db30aa4a586b957a1284c03f-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/jurnee-smollett-bell-as-rosalee-and-female-slaves-in-wgn-americas-underground_custom-21071afad54cea41db30aa4a586b957a1284c03f.jpg",
"width": 2000,
"height": 1125
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/jurnee-smollett-bell-as-rosalee-and-female-slaves-in-wgn-americas-underground_custom-21071afad54cea41db30aa4a586b957a1284c03f-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/jurnee-smollett-bell-as-rosalee-and-female-slaves-in-wgn-americas-underground_custom-21071afad54cea41db30aa4a586b957a1284c03f-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/jurnee-smollett-bell-as-rosalee-and-female-slaves-in-wgn-americas-underground_custom-21071afad54cea41db30aa4a586b957a1284c03f-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/jurnee-smollett-bell-as-rosalee-and-female-slaves-in-wgn-americas-underground_custom-21071afad54cea41db30aa4a586b957a1284c03f-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/jurnee-smollett-bell-as-rosalee-and-female-slaves-in-wgn-americas-underground_custom-21071afad54cea41db30aa4a586b957a1284c03f-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/jurnee-smollett-bell-as-rosalee-and-female-slaves-in-wgn-americas-underground_custom-21071afad54cea41db30aa4a586b957a1284c03f-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/jurnee-smollett-bell-as-rosalee-and-female-slaves-in-wgn-americas-underground_custom-21071afad54cea41db30aa4a586b957a1284c03f-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/jurnee-smollett-bell-as-rosalee-and-female-slaves-in-wgn-americas-underground_custom-21071afad54cea41db30aa4a586b957a1284c03f-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/jurnee-smollett-bell-as-rosalee-and-female-slaves-in-wgn-americas-underground_custom-21071afad54cea41db30aa4a586b957a1284c03f-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/jurnee-smollett-bell-as-rosalee-and-female-slaves-in-wgn-americas-underground_custom-21071afad54cea41db30aa4a586b957a1284c03f-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1457555846,
"modified": 1457556514,
"caption": "Actress Jurnee Smollett-Bell plays Rosalee, a housemaid who runs for freedom in the new WGN show 'Underground.' She says the drama unfolds like a spy thriller",
"description": "Actress Jurnee Smollett-Bell plays Rosalee, a housemaid who runs for freedom in the new WGN show 'Underground.' She says the drama unfolds like a spy thriller",
"title": "Actress Jurnee Smollett-Bell plays Rosalee, a housemaid who runs for freedom in the new WGN show Underground. She says the drama unfolds like a spy thriller.",
"credit": "Courtesy: Sony Pictures Television",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11389764": {
"type": "attachments",
"id": "arts_11389764",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11389764",
"found": true
},
"parent": 11389762,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/JK-Rowling-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/JK-Rowling-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/JK-Rowling-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/JK-Rowling-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/JK-Rowling.jpg",
"width": 1200,
"height": 675
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/JK-Rowling-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/JK-Rowling-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/JK-Rowling-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/JK-Rowling-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/JK-Rowling-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/JK-Rowling-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/JK-Rowling-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/JK-Rowling-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/JK-Rowling-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1457479665,
"modified": 1457479777,
"caption": "A new installment in J.K. Rowling's series titled 'History of Magic in North America' will be released every day for the next three days",
"description": "A new installment in J.K. Rowling's series titled 'History of Magic in North America' will be released every day for the next three days",
"title": "rowling",
"credit": "Photo: Evan Agostini/Invision",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11378350": {
"type": "attachments",
"id": "arts_11378350",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11378350",
"found": true
},
"parent": 11378345,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/RaceCover-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/RaceCover-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/RaceCover-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/RaceCover-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/RaceCover.jpg",
"width": 1920,
"height": 1079
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/RaceCover-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/RaceCover-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/RaceCover-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/RaceCover-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/RaceCover-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/RaceCover-1920x1079.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1079
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/RaceCover-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/RaceCover-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/RaceCover-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/RaceCover-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1457078721,
"modified": 1457078761,
"caption": "Stephan James (center) stars as Jesse Owens and Jason Sudeikis (right) stars as Larry Snyder in Stephen Hopkins' 'Race.'",
"description": null,
"title": "4090_d014_02588_r_crop1452900160",
"credit": "Thibault Grabherr/Courtesy of Focus Features",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11377502": {
"type": "attachments",
"id": "arts_11377502",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11377502",
"found": true
},
"parent": 11377501,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/gaelynn-lea-promo-pic-1_wide-35344961a0e6ddbfb7f66e0bd634be4ffd8c450e-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/gaelynn-lea-promo-pic-1_wide-35344961a0e6ddbfb7f66e0bd634be4ffd8c450e-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/gaelynn-lea-promo-pic-1_wide-35344961a0e6ddbfb7f66e0bd634be4ffd8c450e-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/gaelynn-lea-promo-pic-1_wide-35344961a0e6ddbfb7f66e0bd634be4ffd8c450e-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/gaelynn-lea-promo-pic-1_wide-35344961a0e6ddbfb7f66e0bd634be4ffd8c450e.jpg",
"width": 3198,
"height": 1798
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/gaelynn-lea-promo-pic-1_wide-35344961a0e6ddbfb7f66e0bd634be4ffd8c450e-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/gaelynn-lea-promo-pic-1_wide-35344961a0e6ddbfb7f66e0bd634be4ffd8c450e-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/gaelynn-lea-promo-pic-1_wide-35344961a0e6ddbfb7f66e0bd634be4ffd8c450e-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/gaelynn-lea-promo-pic-1_wide-35344961a0e6ddbfb7f66e0bd634be4ffd8c450e-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/gaelynn-lea-promo-pic-1_wide-35344961a0e6ddbfb7f66e0bd634be4ffd8c450e-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/gaelynn-lea-promo-pic-1_wide-35344961a0e6ddbfb7f66e0bd634be4ffd8c450e-1920x1079.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1079
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/gaelynn-lea-promo-pic-1_wide-35344961a0e6ddbfb7f66e0bd634be4ffd8c450e-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/gaelynn-lea-promo-pic-1_wide-35344961a0e6ddbfb7f66e0bd634be4ffd8c450e-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/gaelynn-lea-promo-pic-1_wide-35344961a0e6ddbfb7f66e0bd634be4ffd8c450e-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/gaelynn-lea-promo-pic-1_wide-35344961a0e6ddbfb7f66e0bd634be4ffd8c450e-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1457047495,
"modified": 1457047495,
"caption": null,
"description": "Congratulations to Gaelynn Lea, the winner of the 2016 Tiny Desk Contest!",
"title": "Congratulations to Gaelynn Lea, the winner of the 2016 Tiny Desk Contest!",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11359163": {
"type": "attachments",
"id": "arts_11359163",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11359163",
"found": true
},
"parent": 11359160,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/SerpentCover-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/SerpentCover-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/SerpentCover-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/SerpentCover-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/SerpentCover.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/SerpentCover-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/SerpentCover-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/SerpentCover-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/SerpentCover-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/SerpentCover-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/SerpentCover-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/SerpentCover-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/SerpentCover-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/SerpentCover-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/SerpentCover-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1456429335,
"modified": 1456429371,
"caption": "Two scientists and an Amazonian shaman work together over 40 years to find a sacred healing plant in 'Embrace the Serpent.'",
"description": null,
"title": "el_abrazo_de_la_serpiente_1-andr-s-c-rdoba",
"credit": "Photo: Andres Barrientos/Courtesy of Oscilloscope Laboratories",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11336210": {
"type": "attachments",
"id": "arts_11336210",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11336210",
"found": true
},
"parent": 11336204,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/AwarCover-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/AwarCover-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/AwarCover-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/AwarCover-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/AwarCover.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/AwarCover-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/AwarCover-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/AwarCover-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/AwarCover-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/AwarCover-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/AwarCover-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/AwarCover-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/AwarCover-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/AwarCover-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/AwarCover-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1455750155,
"modified": 1455750200,
"caption": "'A War' is freighted with moral quandaries, impossible choices and terrible consequences.",
"description": null,
"title": "a-war",
"credit": "Courtesy of Magnolia Pictures",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11338684": {
"type": "attachments",
"id": "arts_11338684",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11338684",
"found": true
},
"parent": 11338682,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/warren-richardson-hope-for-a-new-life_custom-bf4a5fa6204076ed4c0d042bcad199f985bc188f-e1455822186178-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/warren-richardson-hope-for-a-new-life_custom-bf4a5fa6204076ed4c0d042bcad199f985bc188f-e1455822186178-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/warren-richardson-hope-for-a-new-life_custom-bf4a5fa6204076ed4c0d042bcad199f985bc188f-e1455822186178-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/warren-richardson-hope-for-a-new-life_custom-bf4a5fa6204076ed4c0d042bcad199f985bc188f-e1455822186178-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/warren-richardson-hope-for-a-new-life_custom-bf4a5fa6204076ed4c0d042bcad199f985bc188f-e1455822186178.jpg",
"width": 3000,
"height": 1687
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/warren-richardson-hope-for-a-new-life_custom-bf4a5fa6204076ed4c0d042bcad199f985bc188f-e1455822186178-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/warren-richardson-hope-for-a-new-life_custom-bf4a5fa6204076ed4c0d042bcad199f985bc188f-e1455822186178-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/warren-richardson-hope-for-a-new-life_custom-bf4a5fa6204076ed4c0d042bcad199f985bc188f-e1455822186178-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/warren-richardson-hope-for-a-new-life_custom-bf4a5fa6204076ed4c0d042bcad199f985bc188f-e1455822186178-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/warren-richardson-hope-for-a-new-life_custom-bf4a5fa6204076ed4c0d042bcad199f985bc188f-e1455822186178-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/warren-richardson-hope-for-a-new-life_custom-bf4a5fa6204076ed4c0d042bcad199f985bc188f-e1455822186178-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/warren-richardson-hope-for-a-new-life_custom-bf4a5fa6204076ed4c0d042bcad199f985bc188f-e1455822186178-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/warren-richardson-hope-for-a-new-life_custom-bf4a5fa6204076ed4c0d042bcad199f985bc188f-e1455822186178-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/warren-richardson-hope-for-a-new-life_custom-bf4a5fa6204076ed4c0d042bcad199f985bc188f-e1455822186178-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/warren-richardson-hope-for-a-new-life_custom-bf4a5fa6204076ed4c0d042bcad199f985bc188f-e1455822186178-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1455821980,
"modified": 1455822155,
"caption": "A man passes a baby through a barbed wire fence at the Serbia/Hungary border in Röszke, Hungary, on Aug. 28, 2015.",
"description": "A man passes a baby through a barbed wire fence at the Serbia/Hungary border in Röszke, Hungary, on Aug. 28, 201",
"title": "A man passes a baby through a barbed wire fence at the Serbia/Hungary border in Röszke, Hungary, on Aug. 28, 2015.",
"credit": "Photo: Warren Richardson",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11316315": {
"type": "attachments",
"id": "arts_11316315",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11316315",
"found": true
},
"parent": 11316204,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/hail-caesar02-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/hail-caesar02-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/hail-caesar02-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/hail-caesar02-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/hail-caesar02.jpg",
"width": 1280,
"height": 720
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/hail-caesar02-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/hail-caesar02-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/hail-caesar02-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/hail-caesar02-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/hail-caesar02-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/hail-caesar02-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/hail-caesar02-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/hail-caesar02-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/hail-caesar02-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1455132284,
"modified": 1455132313,
"caption": "George Clooney as Baird Whitlock in 'Hail, Caesar!'",
"description": null,
"title": "hail-caesar02",
"credit": "Courtesy Working Title Films",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11316453": {
"type": "attachments",
"id": "arts_11316453",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11316453",
"found": true
},
"parent": 11316452,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/03b-kiss-me-kate-th-tre-du-ch-telet-c-vincent-pontet_custom-a539c38ae0bb157d32a68091f1999168c076392d-e1455137539638-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/03b-kiss-me-kate-th-tre-du-ch-telet-c-vincent-pontet_custom-a539c38ae0bb157d32a68091f1999168c076392d-e1455137539638-400x204.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 204
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/03b-kiss-me-kate-th-tre-du-ch-telet-c-vincent-pontet_custom-a539c38ae0bb157d32a68091f1999168c076392d-e1455137539638-960x490.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 490
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/03b-kiss-me-kate-th-tre-du-ch-telet-c-vincent-pontet_custom-a539c38ae0bb157d32a68091f1999168c076392d-e1455137539638-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/03b-kiss-me-kate-th-tre-du-ch-telet-c-vincent-pontet_custom-a539c38ae0bb157d32a68091f1999168c076392d-e1455137539638.jpg",
"width": 3200,
"height": 1632
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/03b-kiss-me-kate-th-tre-du-ch-telet-c-vincent-pontet_custom-a539c38ae0bb157d32a68091f1999168c076392d-e1455137539638-1180x602.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 602
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/03b-kiss-me-kate-th-tre-du-ch-telet-c-vincent-pontet_custom-a539c38ae0bb157d32a68091f1999168c076392d-e1455137539638-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/03b-kiss-me-kate-th-tre-du-ch-telet-c-vincent-pontet_custom-a539c38ae0bb157d32a68091f1999168c076392d-e1455137539638-800x408.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 408
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/03b-kiss-me-kate-th-tre-du-ch-telet-c-vincent-pontet_custom-a539c38ae0bb157d32a68091f1999168c076392d-e1455137539638-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/03b-kiss-me-kate-th-tre-du-ch-telet-c-vincent-pontet_custom-a539c38ae0bb157d32a68091f1999168c076392d-e1455137539638-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/03b-kiss-me-kate-th-tre-du-ch-telet-c-vincent-pontet_custom-a539c38ae0bb157d32a68091f1999168c076392d-e1455137539638-1920x979.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 979
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/03b-kiss-me-kate-th-tre-du-ch-telet-c-vincent-pontet_custom-a539c38ae0bb157d32a68091f1999168c076392d-e1455137539638-1180x602.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 602
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/03b-kiss-me-kate-th-tre-du-ch-telet-c-vincent-pontet_custom-a539c38ae0bb157d32a68091f1999168c076392d-e1455137539638-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/03b-kiss-me-kate-th-tre-du-ch-telet-c-vincent-pontet_custom-a539c38ae0bb157d32a68091f1999168c076392d-e1455137539638-768x392.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 392
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/03b-kiss-me-kate-th-tre-du-ch-telet-c-vincent-pontet_custom-a539c38ae0bb157d32a68091f1999168c076392d-e1455137539638-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1455137269,
"modified": 1455137581,
"caption": "'Kiss Me, Kate' is the latest in a series of American musicals to be performed at the Theatre du Chatelet in Paris. \"It is such a glorious theater to perform in,\" says director Lee Blakeley.",
"description": "'Kiss Me, Kate' is the latest in a series of American musicals to be performed at the Theatre du Chatelet in Paris. \"It is such a glorious theater to perform in,\" says director Lee Blakeley.",
"title": "Kiss Me, Kate is the latest in a series of American musicals to be performed at the Theatre du Chatelet in Paris. \"It is such a glorious theater to perform in,\" says director Lee Blakeley.",
"credit": "Photo: Vincent Pontent/Courtesy of Théâtre du Châtelet",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11314057": {
"type": "attachments",
"id": "arts_11314057",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11314057",
"found": true
},
"parent": 11314053,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/meretoppenheim-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/meretoppenheim-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/meretoppenheim.jpg",
"width": 800,
"height": 450
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/meretoppenheim-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/meretoppenheim-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/meretoppenheim-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/meretoppenheim-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/meretoppenheim-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/meretoppenheim-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/meretoppenheim-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1455057903,
"modified": 1455057954,
"caption": "Object (or Luncheon in Fur), by Meret Oppenheim. In 1936, Oppenheim wrapped a teacup, saucer and spoon in fur. In the age of Freud, a gastro-sexual interpretation was inescapable. Even today, the work triggers intense reactions",
"description": "Object (or Luncheon in Fur), by Meret Oppenheim. In 1936, Oppenheim wrapped a teacup, saucer and spoon in fur. In the age of Freud, a gastro-sexual interpretation was inescapable. Even today, the work triggers intense reactions",
"title": "meretoppenheim",
"credit": "Photo: \u003ca href=\"https://www.flickr.com/photos/flaviab/586572146/in/photolist-9Rp3iR-Bn2dy4-9wgScv-dq6Jyt-TQksS-dCUjVE\">Flavia Brandi/Flickr\u003c/a>",
"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_11412346": {
"type": "authors",
"id": "byline_arts_11412346",
"meta": {
"override": true
},
"slug": "byline_arts_11412346",
"name": "Mark Jenkins",
"isLoading": false
},
"byline_arts_11403573": {
"type": "authors",
"id": "byline_arts_11403573",
"meta": {
"override": true
},
"slug": "byline_arts_11403573",
"name": "Scott Tobias",
"isLoading": false
},
"byline_arts_11392000": {
"type": "authors",
"id": "byline_arts_11392000",
"meta": {
"override": true
},
"slug": "byline_arts_11392000",
"name": "Neda Ulaby",
"isLoading": false
},
"byline_arts_11389762": {
"type": "authors",
"id": "byline_arts_11389762",
"meta": {
"override": true
},
"slug": "byline_arts_11389762",
"name": "Laura Wagner",
"isLoading": false
},
"byline_arts_11378345": {
"type": "authors",
"id": "byline_arts_11378345",
"meta": {
"override": true
},
"slug": "byline_arts_11378345",
"name": "Ella Taylor",
"isLoading": false
},
"byline_arts_11377501": {
"type": "authors",
"id": "byline_arts_11377501",
"meta": {
"override": true
},
"slug": "byline_arts_11377501",
"name": "Bob Boilen",
"isLoading": false
},
"byline_arts_11359160": {
"type": "authors",
"id": "byline_arts_11359160",
"meta": {
"override": true
},
"slug": "byline_arts_11359160",
"name": "Mark Jenkins",
"isLoading": false
},
"byline_arts_11336204": {
"type": "authors",
"id": "byline_arts_11336204",
"meta": {
"override": true
},
"slug": "byline_arts_11336204",
"name": "Bob Mondello",
"isLoading": false
},
"byline_arts_11338682": {
"type": "authors",
"id": "byline_arts_11338682",
"meta": {
"override": true
},
"slug": "byline_arts_11338682",
"name": "Merrit Kennedy",
"isLoading": false
},
"byline_arts_11316204": {
"type": "authors",
"id": "byline_arts_11316204",
"meta": {
"override": true
},
"slug": "byline_arts_11316204",
"name": "Chris Klimek",
"isLoading": false
},
"byline_arts_11316452": {
"type": "authors",
"id": "byline_arts_11316452",
"meta": {
"override": true
},
"slug": "byline_arts_11316452",
"name": "Eleanor Beardsley",
"isLoading": false
},
"byline_arts_11314053": {
"type": "authors",
"id": "byline_arts_11314053",
"meta": {
"override": true
},
"slug": "byline_arts_11314053",
"name": "Nina Martyris",
"isLoading": false
}
},
"pagesReducer": {
"arts_affiliate_npr": {
"type": "terms",
"id": "arts_137",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "137",
"score": 14.262148
},
"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": 181
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?affiliate=npr",
"seeMore": false,
"paginated": true,
"page": 181
}
},
{
"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_11412346": {
"type": "posts",
"id": "arts_11412346",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11412346",
"score": null,
"sort": [
1458309656000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1458309656,
"format": "standard",
"title": "A War Seen In Unnerving Close-Up from 'Eye in the Sky'",
"headTitle": "A War Seen In Unnerving Close-Up from ‘Eye in the Sky’ | KQED",
"content": "\u003cp>In \u003cem>A War\u003c/em>, a Danish commander whose troops are under attack by the Taliban calls in an air strike, and later has to answer for it in a courtroom. \u003cem>Eye in the Sky\u003c/em> mashes those two narratives together. While a drone pilot in Nevada prepares to hit al-Shabaab terrorists in Nairobi, the morality of this potential action is debated by politicos in London.\u003c/p>\n\u003cp>The movie is both provocative and fairly gripping, if not altogether convincing. As directed by Gavin Hood, a South African whose \u003cem>Rendition\u003c/em> took a broader and more melodramatic look at Western responses to extremist violence, \u003cem>Eye in the Sky\u003c/em> neatly contrasts urgency and hesitation, and pits near-certainty against reasonable doubt.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zoBk3e9fFPU\u003c/p>\n\u003cp>This is the structure provided by writer Guy Hibbert, whose script essentially interlaces a thriller with a courtroom drama. The story begins with a Muslim family in Kenya and a military officer in Britain. Col. Powell (Helen Mirren) has long tracked a U.K.-born woman who married a Somali man suspected of terrorism and converted to his brand of Islam. The family’s young daughter, Alia (Aisha Tashow), is about to get in the colonel’s way.\u003c/p>\n\u003cp>Powell and her small crew of technicians, no-nonsense except for their unnecessary camouflage uniforms, can’t do the job alone. The American drone operator (Aaron Paul) and other U.S. military personnel are in the electronic loop. Their cooperation becomes essential after the colonel peeks inside a house via bird- and insect-mimicking drones that may be a bit cuter than their real-life equivalents. Powell determines that her targets are about to undertake a suicide bombing, so she wants to kill them first. Only the Yanks have the means to do that.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The process quickly gets lawyered up. There’s an attorney to offer cautions at the base where Powell works, and British Lt. Gen. Benson (the late Alan Rickman) heads to a cabinet briefing room to consult with legalistic politicians. Soon, they’ve got the foreign secretary on the video-phone from Singapore. The stalling irritates Powell and Benson (and Rickman was a master of exasperation).\u003c/p>\n\u003cp>The talking heads are physically detached from the situation, but the British have a man on the ground in Kenya, Jama (Somalia-born Barkhad Abdi, who played the pirate leader in \u003cem>Captain Phillips\u003c/em>). He’s assigned to move Alia, who’s selling loaves of bread, away from the house the British want to bomb. That turns out to be tricky, and so chubby-cheeked Alia becomes the human face of possible collateral damage.\u003c/p>\n\u003cp>All the live video provides an intimacy new to missile attacks. The Britons have seen in closeup the innocent girl they might slay. Still, they devote an implausible amount of time to discussing the quandary, and some moments of American reluctance seem even more unlikely. These scenes of ethical and political consideration work more as a filmed theater piece than as realistic cinema.\u003c/p>\n\u003cp>But as its engine the movie has the action in Kenya, where there’s little talk, and all of it is pragmatic. People haggle over bread, unaware of the larger bargain being negotiated across three other continents.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Eye in the Sky\u003c/em> — like Hood’s previous film, \u003cem>Ender’s Game\u003c/em> — has lots of CGI and green-screen work. But this time the director employs special effects only to show things that could happen, and technology that really exists, in places that haven’t quite caught up to the deadly implications. Those places would include, well, everywhere on Earth.\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 607,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 11
},
"modified": 1705044826,
"excerpt": "Drone warfare forms the backbone of 'Eye In The Sky,' starring Helen Mirren as a British military officer arguing over the messy ethics of collateral damage.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Drone warfare forms the backbone of 'Eye In The Sky,' starring Helen Mirren as a British military officer arguing over the messy ethics of collateral damage.",
"title": "A War Seen In Unnerving Close-Up from 'Eye in the Sky' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "A War Seen In Unnerving Close-Up from 'Eye in the Sky'",
"datePublished": "2016-03-18T07:00:56-07:00",
"dateModified": "2024-01-11T23:33:46-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "a-war-seen-in-unnerving-close-up-from-eye-in-the-sky",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=469647984&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Mark Jenkins",
"nprStoryDate": "Thu, 10 Mar 2016 17:00:00 -0500",
"nprLastModifiedDate": "Thu, 10 Mar 2016 17:42:13 -0500",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/2016/03/10/469647984/a-war-seen-in-unnerving-close-up?ft=nprml&f=469647984",
"nprImageAgency": "Bleecker Street",
"nprImageCredit": "Keith Bernstein",
"nprStoryId": "469647984",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 10 Mar 2016 17:42:00 -0500",
"path": "/arts/11412346/a-war-seen-in-unnerving-close-up-from-eye-in-the-sky",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In \u003cem>A War\u003c/em>, a Danish commander whose troops are under attack by the Taliban calls in an air strike, and later has to answer for it in a courtroom. \u003cem>Eye in the Sky\u003c/em> mashes those two narratives together. While a drone pilot in Nevada prepares to hit al-Shabaab terrorists in Nairobi, the morality of this potential action is debated by politicos in London.\u003c/p>\n\u003cp>The movie is both provocative and fairly gripping, if not altogether convincing. As directed by Gavin Hood, a South African whose \u003cem>Rendition\u003c/em> took a broader and more melodramatic look at Western responses to extremist violence, \u003cem>Eye in the Sky\u003c/em> neatly contrasts urgency and hesitation, and pits near-certainty against reasonable doubt.\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/zoBk3e9fFPU'\n title='//www.youtube.com/embed/zoBk3e9fFPU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This is the structure provided by writer Guy Hibbert, whose script essentially interlaces a thriller with a courtroom drama. The story begins with a Muslim family in Kenya and a military officer in Britain. Col. Powell (Helen Mirren) has long tracked a U.K.-born woman who married a Somali man suspected of terrorism and converted to his brand of Islam. The family’s young daughter, Alia (Aisha Tashow), is about to get in the colonel’s way.\u003c/p>\n\u003cp>Powell and her small crew of technicians, no-nonsense except for their unnecessary camouflage uniforms, can’t do the job alone. The American drone operator (Aaron Paul) and other U.S. military personnel are in the electronic loop. Their cooperation becomes essential after the colonel peeks inside a house via bird- and insect-mimicking drones that may be a bit cuter than their real-life equivalents. Powell determines that her targets are about to undertake a suicide bombing, so she wants to kill them first. Only the Yanks have the means to do that.\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>The process quickly gets lawyered up. There’s an attorney to offer cautions at the base where Powell works, and British Lt. Gen. Benson (the late Alan Rickman) heads to a cabinet briefing room to consult with legalistic politicians. Soon, they’ve got the foreign secretary on the video-phone from Singapore. The stalling irritates Powell and Benson (and Rickman was a master of exasperation).\u003c/p>\n\u003cp>The talking heads are physically detached from the situation, but the British have a man on the ground in Kenya, Jama (Somalia-born Barkhad Abdi, who played the pirate leader in \u003cem>Captain Phillips\u003c/em>). He’s assigned to move Alia, who’s selling loaves of bread, away from the house the British want to bomb. That turns out to be tricky, and so chubby-cheeked Alia becomes the human face of possible collateral damage.\u003c/p>\n\u003cp>All the live video provides an intimacy new to missile attacks. The Britons have seen in closeup the innocent girl they might slay. Still, they devote an implausible amount of time to discussing the quandary, and some moments of American reluctance seem even more unlikely. These scenes of ethical and political consideration work more as a filmed theater piece than as realistic cinema.\u003c/p>\n\u003cp>But as its engine the movie has the action in Kenya, where there’s little talk, and all of it is pragmatic. People haggle over bread, unaware of the larger bargain being negotiated across three other continents.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Eye in the Sky\u003c/em> — like Hood’s previous film, \u003cem>Ender’s Game\u003c/em> — has lots of CGI and green-screen work. But this time the director employs special effects only to show things that could happen, and technology that really exists, in places that haven’t quite caught up to the deadly implications. Those places would include, well, everywhere on Earth.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11412346/a-war-seen-in-unnerving-close-up-from-eye-in-the-sky",
"authors": [
"byline_arts_11412346"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11412351",
"label": "arts_137"
},
"arts_11403573": {
"type": "posts",
"id": "arts_11403573",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11403573",
"score": null,
"sort": [
1457982030000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1457982030,
"format": "standard",
"title": "It's Not Really 'Cloverfield,' But It's A Lot Of Fun",
"headTitle": "It’s Not Really ‘Cloverfield,’ But It’s A Lot Of Fun | KQED",
"content": "\u003cp>[\u003cem>This is a film it’s very hard to talk about at all without spoiling at least the premise and the basic setup, but this review does its level best not to go beyond that point.\u003c/em>]\u003c/p>\n\u003cp>“What does this have to do with \u003cem>Cloverfield\u003c/em>?”\u003c/p>\n\u003cp>Putting that question out of your mind during \u003cem>10 Cloverfield Lane\u003c/em> is ignoring the elephant in the room, but everything about the film, from its out-of-the-blue viral campaign to its thrilling commitment to misdirection, makes it possible. Some connections eventually emerge, as might be expected from one of producer J.J. Abrams’ puzzlebox narratives, but \u003cem>10 Cloverfield Lane\u003c/em> is not another found-footage \u003cem>War of the Worlds\u003c/em> scenario. And it doesn’t take place in the wide-open spaces of a city under siege, either. For the longest time, it appears that the \u003cem>Cloverfield\u003c/em> franchise is united mainly by the aesthetic principle of offscreen space — not the catchiest hook, but an enormously effective one.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yQy-ANhnUpE\u003c/p>\n\u003cp>The obvious reason the two films connect so thinly is that \u003cem>10 Cloverfield Lane\u003c/em> wasn’t originally conceived as a sort-of sequel, but retrofitted like the chainsaw Bruce Campbell attaches to his arm in \u003cem>Evil Dead II\u003c/em>. In sharp contrast to the shaky-cam of Cloverfield, first-time director Dan Trachtenberg gives the opening scenes a classic Hitchcockian quality, nodding specifically to Janet Leigh’s dash out of town in \u003cem>Psycho\u003c/em> and laying on a muscular score (by Bear McCreary) in homage to Bernard Herrmann. Also like Hitchcock, the story takes a decisive turn once a car peels off the road.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That car belongs to Michelle (Mary Elizabeth Winstead), a Louisiana woman who’s first shown hastily packing her things in a suitcase and a box, and rushing out of her apartment, leaving her wedding ring behind. Shortly after an evening pitstop for fuel, Michelle gets in a car accident that sends her careening down an embankment. When she awakens, she finds herself hooked to an IV drip in an unadorned cement bunker with her leg handcuffed to a pipe. Before she can improvise her way out of trouble, her captor comes thundering through the door. His name is Howard (John Goodman), he explains, and contrary to appearances, he saved Michelle from the wreck and is currently protecting her from threats unknown.\u003c/p>\n\u003cp>There’s reason to believe he’s right. Howard claims that after the accident, there was a chemical attack that rendered the air unbreathable, and being the cheerful paranoiac he is, he’d built an underground shelter for just such an occasion. Along with a third resident named Emmett (John Gallagher Jr.), the two of them have enough supplies to wait out the apocalypse for a year or two, when the toxicity has presumably passed. Howard is a disturbing guy who lords over Michelle and Emmett like a belligerent father, but any attempt to escape risks the likelihood of instant death the moment they peek their heads above ground.\u003c/p>\n\u003cp>All this may sound like the set-up to an M. Night Shyamalan twist, and certainly \u003cem>10 Cloverfield Lane\u003c/em> does have the obligation to pay off its \u003cem>Twilight Zone\u003c/em> premise. But Trachtenberg and his screenwriters, Josh Campbell and Matthew Stuecken, take advantage of the shelter’s tight quarters, which contribute to the expected pressure-cooker atmosphere of suspicion and hostility but also open up the punch-drunk comedy of people going mad with boredom. Howard may be a controlling monster, but he’s got a kick-ass jukebox and he’s always up for board games or late-night viewings of \u003cem>Pretty In Pink\u003c/em> on VHS. (Just be sure to compliment him on his spaghetti.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Goodman’s ability to vacillate between regular-guy jocularity and Biblical fury has made him a Coen brothers favorite since \u003cem>Barton Fink\u003c/em>, and his performance helps modulate the film’s stomach-clenching tonal shifts. But Winstead is every bit as good as the frightened yet resourceful heroine, who has to make difficult decisions about if, when, and how to act, and validate the serpentine logic of the script. Their battle of wills adds a substance to \u003cem>10 Cloverfield Lane\u003c/em> that the improvising ninnies of the original \u003cem>Cloverfield\u003c/em> couldn’t muster, despite its novel perspective on the monster movie. The gimmickry eventually arrives — and, god help us, the Cloverfield “mythology” — but by then, the film has succeeded thoroughly on its own terms.\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 761,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 10
},
"modified": 1705044870,
"excerpt": "Searching for the connection between '10 Cloverfield Lane' and the original 'Cloverfield' is sort of pointless and needless; in the end, the non-sequel stands on its own.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Searching for the connection between '10 Cloverfield Lane' and the original 'Cloverfield' is sort of pointless and needless; in the end, the non-sequel stands on its own.",
"title": "It's Not Really 'Cloverfield,' But It's A Lot Of Fun | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "It's Not Really 'Cloverfield,' But It's A Lot Of Fun",
"datePublished": "2016-03-14T12:00:30-07:00",
"dateModified": "2024-01-11T23:34:30-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "its-not-really-cloverfield-but-its-a-lot-of-fun",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=469650092&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Scott Tobias",
"nprStoryDate": "Thu, 10 Mar 2016 17:00:17 -0500",
"nprLastModifiedDate": "Thu, 10 Mar 2016 17:00:17 -0500",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/2016/03/10/469650092/its-not-really-cloverfield-but-its-a-lot-of-fun?ft=nprml&f=469650092",
"nprImageAgency": "Courtesy of Paramount Pictures",
"nprImageCredit": "Michele K. Short",
"nprStoryId": "469650092",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 10 Mar 2016 17:00:00 -0500",
"path": "/arts/11403573/its-not-really-cloverfield-but-its-a-lot-of-fun",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>[\u003cem>This is a film it’s very hard to talk about at all without spoiling at least the premise and the basic setup, but this review does its level best not to go beyond that point.\u003c/em>]\u003c/p>\n\u003cp>“What does this have to do with \u003cem>Cloverfield\u003c/em>?”\u003c/p>\n\u003cp>Putting that question out of your mind during \u003cem>10 Cloverfield Lane\u003c/em> is ignoring the elephant in the room, but everything about the film, from its out-of-the-blue viral campaign to its thrilling commitment to misdirection, makes it possible. Some connections eventually emerge, as might be expected from one of producer J.J. Abrams’ puzzlebox narratives, but \u003cem>10 Cloverfield Lane\u003c/em> is not another found-footage \u003cem>War of the Worlds\u003c/em> scenario. And it doesn’t take place in the wide-open spaces of a city under siege, either. For the longest time, it appears that the \u003cem>Cloverfield\u003c/em> franchise is united mainly by the aesthetic principle of offscreen space — not the catchiest hook, but an enormously effective one.\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/yQy-ANhnUpE'\n title='//www.youtube.com/embed/yQy-ANhnUpE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The obvious reason the two films connect so thinly is that \u003cem>10 Cloverfield Lane\u003c/em> wasn’t originally conceived as a sort-of sequel, but retrofitted like the chainsaw Bruce Campbell attaches to his arm in \u003cem>Evil Dead II\u003c/em>. In sharp contrast to the shaky-cam of Cloverfield, first-time director Dan Trachtenberg gives the opening scenes a classic Hitchcockian quality, nodding specifically to Janet Leigh’s dash out of town in \u003cem>Psycho\u003c/em> and laying on a muscular score (by Bear McCreary) in homage to Bernard Herrmann. Also like Hitchcock, the story takes a decisive turn once a car peels off the road.\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 car belongs to Michelle (Mary Elizabeth Winstead), a Louisiana woman who’s first shown hastily packing her things in a suitcase and a box, and rushing out of her apartment, leaving her wedding ring behind. Shortly after an evening pitstop for fuel, Michelle gets in a car accident that sends her careening down an embankment. When she awakens, she finds herself hooked to an IV drip in an unadorned cement bunker with her leg handcuffed to a pipe. Before she can improvise her way out of trouble, her captor comes thundering through the door. His name is Howard (John Goodman), he explains, and contrary to appearances, he saved Michelle from the wreck and is currently protecting her from threats unknown.\u003c/p>\n\u003cp>There’s reason to believe he’s right. Howard claims that after the accident, there was a chemical attack that rendered the air unbreathable, and being the cheerful paranoiac he is, he’d built an underground shelter for just such an occasion. Along with a third resident named Emmett (John Gallagher Jr.), the two of them have enough supplies to wait out the apocalypse for a year or two, when the toxicity has presumably passed. Howard is a disturbing guy who lords over Michelle and Emmett like a belligerent father, but any attempt to escape risks the likelihood of instant death the moment they peek their heads above ground.\u003c/p>\n\u003cp>All this may sound like the set-up to an M. Night Shyamalan twist, and certainly \u003cem>10 Cloverfield Lane\u003c/em> does have the obligation to pay off its \u003cem>Twilight Zone\u003c/em> premise. But Trachtenberg and his screenwriters, Josh Campbell and Matthew Stuecken, take advantage of the shelter’s tight quarters, which contribute to the expected pressure-cooker atmosphere of suspicion and hostility but also open up the punch-drunk comedy of people going mad with boredom. Howard may be a controlling monster, but he’s got a kick-ass jukebox and he’s always up for board games or late-night viewings of \u003cem>Pretty In Pink\u003c/em> on VHS. (Just be sure to compliment him on his spaghetti.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Goodman’s ability to vacillate between regular-guy jocularity and Biblical fury has made him a Coen brothers favorite since \u003cem>Barton Fink\u003c/em>, and his performance helps modulate the film’s stomach-clenching tonal shifts. But Winstead is every bit as good as the frightened yet resourceful heroine, who has to make difficult decisions about if, when, and how to act, and validate the serpentine logic of the script. Their battle of wills adds a substance to \u003cem>10 Cloverfield Lane\u003c/em> that the improvising ninnies of the original \u003cem>Cloverfield\u003c/em> couldn’t muster, despite its novel perspective on the monster movie. The gimmickry eventually arrives — and, god help us, the Cloverfield “mythology” — but by then, the film has succeeded thoroughly on its own terms.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11403573/its-not-really-cloverfield-but-its-a-lot-of-fun",
"authors": [
"byline_arts_11403573"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11403574",
"label": "arts_137"
},
"arts_11392000": {
"type": "posts",
"id": "arts_11392000",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11392000",
"score": null,
"sort": [
1457556860000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1457556860,
"format": "standard",
"title": "New TV Drama Recounts Heroic Escapes on the Underground Railroad",
"headTitle": "New TV Drama Recounts Heroic Escapes on the Underground Railroad | KQED",
"content": "\u003cp>Visiting the set of a historical drama can be a surreal experience, and \u003cem>Underground\u003c/em> was no exception.\u003c/p>\n\u003cp>As the Louisiana sun beat down on an actual historical plantation near Baton Rouge last July, director Kate Woods oversaw a scene where an adorable small boy — actor Maceo Smedley — is picking cotton.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/469670174/469757766\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>“Could someone go and put more blood on his hands?” she shouted.\u003c/p>\n\u003cp>The second the filming stopped, someone dashed over with an umbrella to protect the 8-year-old from the stultifying heat, while the extras playing female field workers pulled bottles of Gatorade and cellphones from their 18th-century skirts.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Underground\u003c/em> premieres on the basic cable channel WGN America tonight. It’s the first major scripted drama taking the Underground Railroad as a setting. Enslaved people in the American South journeyed hundreds of miles to freedom, assisted by abolitionists, black and white. Given the drama of the actual history, it’s almost hard to believe the Underground Railroad hasn’t been a setting for a TV show before. (As it happens, NBC also planned a miniseries, called \u003cem>Freedom Run,\u003c/em> last year, but it didn’t pan out.)\u003c/p>\n\u003cfigure id=\"attachment_11392002\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/undg_101-20150512-sb_0120-1_enl-d7a2a171a081b3d50560cc69ad98f3a5160acd48-800x533.jpg\" alt=\"'Underground' was filmed in part at a historic sugarcane plantation in Louisiana.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11392002\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/undg_101-20150512-sb_0120-1_enl-d7a2a171a081b3d50560cc69ad98f3a5160acd48-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/undg_101-20150512-sb_0120-1_enl-d7a2a171a081b3d50560cc69ad98f3a5160acd48-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/undg_101-20150512-sb_0120-1_enl-d7a2a171a081b3d50560cc69ad98f3a5160acd48-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/undg_101-20150512-sb_0120-1_enl-d7a2a171a081b3d50560cc69ad98f3a5160acd48-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/undg_101-20150512-sb_0120-1_enl-d7a2a171a081b3d50560cc69ad98f3a5160acd48-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/undg_101-20150512-sb_0120-1_enl-d7a2a171a081b3d50560cc69ad98f3a5160acd48-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/undg_101-20150512-sb_0120-1_enl-d7a2a171a081b3d50560cc69ad98f3a5160acd48.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Underground’ was filmed in part at a historic sugarcane plantation in Louisiana. \u003ccite>(Photo: Skip Bolen/Sony Pictures Television)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Co-creators Misha Green and Joe Pokaski met while working as writers for the series \u003cem>Heroes\u003c/em>, which ran for four seasons on NBC. It was Green’s idea to draw on their shared love of comic books and action movies for a show that in some ways would be more \u003cem>24\u003c/em> than \u003cem>Roots.\u003c/em> They wanted to make it exciting and high-stakes, real and relevant.\u003c/p>\n\u003cp>\u003cem>Underground\u003c/em> is, in the manner of \u003cem>Game of Thrones,\u003c/em> a multilayered drama following different groups. Here: slave catchers, abolitionists, a plantation family in Georgia, the enslaved people forced to work there, and those who try to escape. Among them, a housemaid played by actress Jurnee Smollett-Bell. She compares \u003cem>Underground\u003c/em> to spy thrillers where characters must rely on cryptic clues to make their way to freedom.\u003c/p>\n\u003cp>“They could use a star or they could use a song, or they could use code words or glances or markings on a tree,” she says. The song “Follow the Drinking Gourd,” for example, is said to contain coded messages about navigating north by using the Big Dipper.\u003c/p>\n\u003cp>Other TV shows have dramatized American slavery — but not many. And such shows tend to be miniseries, not regularly scheduled dramas that could air for years. The great \u003cem>Roots,\u003c/em> from 1977, was a miniseries. So was BET’s critically acclaimed \u003cem>The Book of Negroes,\u003c/em> from 2015. (\u003cem>Roots\u003c/em> is scheduled for a remake this year.) The PBS series \u003cem>Mercy Street,\u003c/em> which debuted this year, is set during the Civil War.\u003c/p>\n\u003cp>“But slavery is folded within it and not at all its center,” writes Lisa Woolfork, a professor at the University of Virginia who studies representations of American slavery.\u003c/p>\n\u003cp>Woolfork says she’s heard complaints about “slavery fatigue” since the success of high-profile movies such as \u003cem>12 Years a Slave\u003c/em> and \u003cem>Django Unchained\u003c/em>. Writers Kara Brown \u003ca href=\"http://jezebel.com/im-so-damn-tired-of-slave-movies-1755250873\" target=\"_blank\" rel=\"noopener\">in \u003cem>Jezebel\u003c/em>\u003c/a> and Demetria Lucas D’Oyley \u003ca href=\"http://www.theroot.com/articles/culture/2016/01/why_we_need_more_films_about_slavery.html\" target=\"_blank\" rel=\"noopener\">in \u003cem>The Root\u003c/em>\u003c/a> both recently wrote about it. Woolfork says she wholeheartedly understands wanting to put a shameful past behind us.\u003c/p>\n\u003cp>“We want to have it safely away so it doesn’t impede on our everyday life,” Woolfork says. “But one way to understand why our present is the way it is, is rooted in the past. As Faulkner said, ‘The past is never dead. It isn’t even past.’ ”\u003c/p>\n\u003cfigure id=\"attachment_11392003\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/aldis-hodge-as-noah-and-jurnee-smollett-bell-as-rosalee-in-wgn-americas-underground_custom-4e0f0a34a883940d3505727f20203bc818f0dec9-800x534.jpg\" alt=\"Aldis Hodge, pictured above with Jurnee Smollett-Bell, plays Noah, the leader of the underground resistance. He says the show's impact stays with him even after the cameras are off: "There's no way that you can come from set without taking a little piece of that with you," he says\" width=\"800\" height=\"534\" class=\"size-medium wp-image-11392003\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/aldis-hodge-as-noah-and-jurnee-smollett-bell-as-rosalee-in-wgn-americas-underground_custom-4e0f0a34a883940d3505727f20203bc818f0dec9-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/aldis-hodge-as-noah-and-jurnee-smollett-bell-as-rosalee-in-wgn-americas-underground_custom-4e0f0a34a883940d3505727f20203bc818f0dec9-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/aldis-hodge-as-noah-and-jurnee-smollett-bell-as-rosalee-in-wgn-americas-underground_custom-4e0f0a34a883940d3505727f20203bc818f0dec9-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/aldis-hodge-as-noah-and-jurnee-smollett-bell-as-rosalee-in-wgn-americas-underground_custom-4e0f0a34a883940d3505727f20203bc818f0dec9-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/aldis-hodge-as-noah-and-jurnee-smollett-bell-as-rosalee-in-wgn-americas-underground_custom-4e0f0a34a883940d3505727f20203bc818f0dec9-1920x1281.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/aldis-hodge-as-noah-and-jurnee-smollett-bell-as-rosalee-in-wgn-americas-underground_custom-4e0f0a34a883940d3505727f20203bc818f0dec9-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/aldis-hodge-as-noah-and-jurnee-smollett-bell-as-rosalee-in-wgn-americas-underground_custom-4e0f0a34a883940d3505727f20203bc818f0dec9.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aldis Hodge, pictured above with Jurnee Smollett-Bell, plays Noah, the leader of the underground resistance. He says the show’s impact stays with him even after the cameras are off: “There’s no way that you can come from set without taking a little piece of that with you,” he says \u003ccite>(Photo: Skip Bolen/Sony Pictures Television)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I hadn’t yet talked to Woolfork when lead actor Aldis Hodge and production designer Meghan Rogers took me to \u003cem>Undeground\u003c/em>‘s reconstructed slave quarters outside the Rural Life Museum at Louisiana State University — another exterior set. Seven wooden shacks were arranged around a vegetable garden, all authentic slave cabins from the 1830s that had been moved from another location.\u003c/p>\n\u003cp>“This was creepy sometimes,” Rogers admitted.\u003c/p>\n\u003cp>“Very creepy,” Hodge agreed. “The first time on set, all of us, we didn’t know where to step, we didn’t know how to act, we didn’t want to touch anything. You could feel the presence.”\u003c/p>\n\u003cp>Hodge says that sense of authenticity helped when he had to play very difficult scenes as the leader of the resistance. On one of the first days of shooting, he said, his character had to beg for his life on his knees after being caught.\u003c/p>\n\u003cp>“Those are the hard days,” he said. “It hurts, and there’s no way you can come from set without taking a little piece of that with you.”\u003c/p>\n\u003cp>Filming \u003cem>Underground\u003c/em> wasn’t just emotionally draining for the actors. It was physically challenging. When Rogers created the set for the abolitionists’ house, she built a secret passageways and a bunker where actors playing runaways had to crouch for hours.\u003c/p>\n\u003cp>“We play a lot of action of people standing on top of people hiding,” she said. “You could see a slave catcher standing right on top of someone.”\u003c/p>\n\u003cp>The production designer was incredibly attentive to tiny details and nuances. For example, she designed the dresses of the plantation housemaids to nearly fade into the wallpaper of the big house, so the women are almost like furniture. And she made the color yellow a motif — the color of freedom. It’s the color of a ribbon carried by a runaway, and the color of the lanterns set in the window of the abolitionists’ house as a signal.\u003c/p>\n\u003cp>“Throughout the entire show. I had somebody putting yellow flowers all over the place when they’re on their journey,” Rogers said. “It’s echoing the color of the lantern, the light of the lantern.”\u003c/p>\n\u003cp>It’s fair to say that \u003cem>nothing\u003c/em> in \u003cem>Underground\u003c/em> is sepia-toned. The music is contemporary, and so is much of the language. Co-creator Misha Green said she aimed to pull American history off the wall of the proverbial museum.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“The Underground Railroad was the first integrated civil rights movement,” she said. “And it’s a great example of when we work together, what we can go against. Which is 600 miles of crazy terrain being chased by slave catchers to get people to be what they should be in the first case — which is free.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=New+TV+Drama+Recounts+Heroic+Escapes+On+The+Underground+Railroad&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1190,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 26
},
"modified": 1705044902,
"excerpt": "The multilayered thriller follows a group of enslaved people as they escape a Georgia plantation. Co-creator Joe Pokaski says the Underground Railroad may be America's \"most heroic story never told.\"",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The multilayered thriller follows a group of enslaved people as they escape a Georgia plantation. Co-creator Joe Pokaski says the Underground Railroad may be America's "most heroic story never told."",
"title": "New TV Drama Recounts Heroic Escapes on the Underground Railroad | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "New TV Drama Recounts Heroic Escapes on the Underground Railroad",
"datePublished": "2016-03-09T12:54:20-08:00",
"dateModified": "2024-01-11T23:35:02-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "new-tv-drama-recounts-heroic-escapes-on-the-underground-railroad",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=469670174&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Neda Ulaby",
"nprStoryDate": "Wed, 09 Mar 2016 05:08:00 -0500",
"nprLastModifiedDate": "Wed, 09 Mar 2016 14:18:32 -0500",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/2016/03/09/469670174/new-tv-drama-recounts-heroic-escapes-on-the-underground-railroad?ft=nprml&f=469670174",
"nprAudio": "http://pd.npr.org/anon.npr-mp3/npr/me/2016/03/20160309_me_new_tv_drama_recounts_heroic_escapes_on_the_underground_railroad.mp3?orgId=1&topicId=1138&d=417&p=3&story=469670174&t=progseg&e=469756250&seg=7&ft=nprml&f=469670174",
"nprImageAgency": "Sony Pictures Television",
"nprAudioM3u": "http://api.npr.org/m3u/1469757766-cab473.m3u?orgId=1&topicId=1138&d=417&p=3&story=469670174&t=progseg&e=469756250&seg=7&ft=nprml&f=469670174",
"nprStoryId": "469670174",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 09 Mar 2016 14:18:00 -0500",
"path": "/arts/11392000/new-tv-drama-recounts-heroic-escapes-on-the-underground-railroad",
"audioUrl": "http://pd.npr.org/anon.npr-mp3/npr/me/2016/03/20160309_me_new_tv_drama_recounts_heroic_escapes_on_the_underground_railroad.mp3?orgId=1&topicId=1138&d=417&p=3&story=469670174&t=progseg&e=469756250&seg=7&ft=nprml&f=469670174",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Visiting the set of a historical drama can be a surreal experience, and \u003cem>Underground\u003c/em> was no exception.\u003c/p>\n\u003cp>As the Louisiana sun beat down on an actual historical plantation near Baton Rouge last July, director Kate Woods oversaw a scene where an adorable small boy — actor Maceo Smedley — is picking cotton.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/469670174/469757766\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>“Could someone go and put more blood on his hands?” she shouted.\u003c/p>\n\u003cp>The second the filming stopped, someone dashed over with an umbrella to protect the 8-year-old from the stultifying heat, while the extras playing female field workers pulled bottles of Gatorade and cellphones from their 18th-century skirts.\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>\u003cem>Underground\u003c/em> premieres on the basic cable channel WGN America tonight. It’s the first major scripted drama taking the Underground Railroad as a setting. Enslaved people in the American South journeyed hundreds of miles to freedom, assisted by abolitionists, black and white. Given the drama of the actual history, it’s almost hard to believe the Underground Railroad hasn’t been a setting for a TV show before. (As it happens, NBC also planned a miniseries, called \u003cem>Freedom Run,\u003c/em> last year, but it didn’t pan out.)\u003c/p>\n\u003cfigure id=\"attachment_11392002\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/undg_101-20150512-sb_0120-1_enl-d7a2a171a081b3d50560cc69ad98f3a5160acd48-800x533.jpg\" alt=\"'Underground' was filmed in part at a historic sugarcane plantation in Louisiana.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11392002\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/undg_101-20150512-sb_0120-1_enl-d7a2a171a081b3d50560cc69ad98f3a5160acd48-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/undg_101-20150512-sb_0120-1_enl-d7a2a171a081b3d50560cc69ad98f3a5160acd48-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/undg_101-20150512-sb_0120-1_enl-d7a2a171a081b3d50560cc69ad98f3a5160acd48-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/undg_101-20150512-sb_0120-1_enl-d7a2a171a081b3d50560cc69ad98f3a5160acd48-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/undg_101-20150512-sb_0120-1_enl-d7a2a171a081b3d50560cc69ad98f3a5160acd48-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/undg_101-20150512-sb_0120-1_enl-d7a2a171a081b3d50560cc69ad98f3a5160acd48-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/undg_101-20150512-sb_0120-1_enl-d7a2a171a081b3d50560cc69ad98f3a5160acd48.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Underground’ was filmed in part at a historic sugarcane plantation in Louisiana. \u003ccite>(Photo: Skip Bolen/Sony Pictures Television)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Co-creators Misha Green and Joe Pokaski met while working as writers for the series \u003cem>Heroes\u003c/em>, which ran for four seasons on NBC. It was Green’s idea to draw on their shared love of comic books and action movies for a show that in some ways would be more \u003cem>24\u003c/em> than \u003cem>Roots.\u003c/em> They wanted to make it exciting and high-stakes, real and relevant.\u003c/p>\n\u003cp>\u003cem>Underground\u003c/em> is, in the manner of \u003cem>Game of Thrones,\u003c/em> a multilayered drama following different groups. Here: slave catchers, abolitionists, a plantation family in Georgia, the enslaved people forced to work there, and those who try to escape. Among them, a housemaid played by actress Jurnee Smollett-Bell. She compares \u003cem>Underground\u003c/em> to spy thrillers where characters must rely on cryptic clues to make their way to freedom.\u003c/p>\n\u003cp>“They could use a star or they could use a song, or they could use code words or glances or markings on a tree,” she says. The song “Follow the Drinking Gourd,” for example, is said to contain coded messages about navigating north by using the Big Dipper.\u003c/p>\n\u003cp>Other TV shows have dramatized American slavery — but not many. And such shows tend to be miniseries, not regularly scheduled dramas that could air for years. The great \u003cem>Roots,\u003c/em> from 1977, was a miniseries. So was BET’s critically acclaimed \u003cem>The Book of Negroes,\u003c/em> from 2015. (\u003cem>Roots\u003c/em> is scheduled for a remake this year.) The PBS series \u003cem>Mercy Street,\u003c/em> which debuted this year, is set during the Civil War.\u003c/p>\n\u003cp>“But slavery is folded within it and not at all its center,” writes Lisa Woolfork, a professor at the University of Virginia who studies representations of American slavery.\u003c/p>\n\u003cp>Woolfork says she’s heard complaints about “slavery fatigue” since the success of high-profile movies such as \u003cem>12 Years a Slave\u003c/em> and \u003cem>Django Unchained\u003c/em>. Writers Kara Brown \u003ca href=\"http://jezebel.com/im-so-damn-tired-of-slave-movies-1755250873\" target=\"_blank\" rel=\"noopener\">in \u003cem>Jezebel\u003c/em>\u003c/a> and Demetria Lucas D’Oyley \u003ca href=\"http://www.theroot.com/articles/culture/2016/01/why_we_need_more_films_about_slavery.html\" target=\"_blank\" rel=\"noopener\">in \u003cem>The Root\u003c/em>\u003c/a> both recently wrote about it. Woolfork says she wholeheartedly understands wanting to put a shameful past behind us.\u003c/p>\n\u003cp>“We want to have it safely away so it doesn’t impede on our everyday life,” Woolfork says. “But one way to understand why our present is the way it is, is rooted in the past. As Faulkner said, ‘The past is never dead. It isn’t even past.’ ”\u003c/p>\n\u003cfigure id=\"attachment_11392003\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/aldis-hodge-as-noah-and-jurnee-smollett-bell-as-rosalee-in-wgn-americas-underground_custom-4e0f0a34a883940d3505727f20203bc818f0dec9-800x534.jpg\" alt=\"Aldis Hodge, pictured above with Jurnee Smollett-Bell, plays Noah, the leader of the underground resistance. He says the show's impact stays with him even after the cameras are off: "There's no way that you can come from set without taking a little piece of that with you," he says\" width=\"800\" height=\"534\" class=\"size-medium wp-image-11392003\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/aldis-hodge-as-noah-and-jurnee-smollett-bell-as-rosalee-in-wgn-americas-underground_custom-4e0f0a34a883940d3505727f20203bc818f0dec9-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/aldis-hodge-as-noah-and-jurnee-smollett-bell-as-rosalee-in-wgn-americas-underground_custom-4e0f0a34a883940d3505727f20203bc818f0dec9-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/aldis-hodge-as-noah-and-jurnee-smollett-bell-as-rosalee-in-wgn-americas-underground_custom-4e0f0a34a883940d3505727f20203bc818f0dec9-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/aldis-hodge-as-noah-and-jurnee-smollett-bell-as-rosalee-in-wgn-americas-underground_custom-4e0f0a34a883940d3505727f20203bc818f0dec9-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/aldis-hodge-as-noah-and-jurnee-smollett-bell-as-rosalee-in-wgn-americas-underground_custom-4e0f0a34a883940d3505727f20203bc818f0dec9-1920x1281.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/aldis-hodge-as-noah-and-jurnee-smollett-bell-as-rosalee-in-wgn-americas-underground_custom-4e0f0a34a883940d3505727f20203bc818f0dec9-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/aldis-hodge-as-noah-and-jurnee-smollett-bell-as-rosalee-in-wgn-americas-underground_custom-4e0f0a34a883940d3505727f20203bc818f0dec9.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aldis Hodge, pictured above with Jurnee Smollett-Bell, plays Noah, the leader of the underground resistance. He says the show’s impact stays with him even after the cameras are off: “There’s no way that you can come from set without taking a little piece of that with you,” he says \u003ccite>(Photo: Skip Bolen/Sony Pictures Television)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I hadn’t yet talked to Woolfork when lead actor Aldis Hodge and production designer Meghan Rogers took me to \u003cem>Undeground\u003c/em>‘s reconstructed slave quarters outside the Rural Life Museum at Louisiana State University — another exterior set. Seven wooden shacks were arranged around a vegetable garden, all authentic slave cabins from the 1830s that had been moved from another location.\u003c/p>\n\u003cp>“This was creepy sometimes,” Rogers admitted.\u003c/p>\n\u003cp>“Very creepy,” Hodge agreed. “The first time on set, all of us, we didn’t know where to step, we didn’t know how to act, we didn’t want to touch anything. You could feel the presence.”\u003c/p>\n\u003cp>Hodge says that sense of authenticity helped when he had to play very difficult scenes as the leader of the resistance. On one of the first days of shooting, he said, his character had to beg for his life on his knees after being caught.\u003c/p>\n\u003cp>“Those are the hard days,” he said. “It hurts, and there’s no way you can come from set without taking a little piece of that with you.”\u003c/p>\n\u003cp>Filming \u003cem>Underground\u003c/em> wasn’t just emotionally draining for the actors. It was physically challenging. When Rogers created the set for the abolitionists’ house, she built a secret passageways and a bunker where actors playing runaways had to crouch for hours.\u003c/p>\n\u003cp>“We play a lot of action of people standing on top of people hiding,” she said. “You could see a slave catcher standing right on top of someone.”\u003c/p>\n\u003cp>The production designer was incredibly attentive to tiny details and nuances. For example, she designed the dresses of the plantation housemaids to nearly fade into the wallpaper of the big house, so the women are almost like furniture. And she made the color yellow a motif — the color of freedom. It’s the color of a ribbon carried by a runaway, and the color of the lanterns set in the window of the abolitionists’ house as a signal.\u003c/p>\n\u003cp>“Throughout the entire show. I had somebody putting yellow flowers all over the place when they’re on their journey,” Rogers said. “It’s echoing the color of the lantern, the light of the lantern.”\u003c/p>\n\u003cp>It’s fair to say that \u003cem>nothing\u003c/em> in \u003cem>Underground\u003c/em> is sepia-toned. The music is contemporary, and so is much of the language. Co-creator Misha Green said she aimed to pull American history off the wall of the proverbial museum.\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>“The Underground Railroad was the first integrated civil rights movement,” she said. “And it’s a great example of when we work together, what we can go against. Which is 600 miles of crazy terrain being chased by slave catchers to get people to be what they should be in the first case — which is free.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=New+TV+Drama+Recounts+Heroic+Escapes+On+The+Underground+Railroad&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11392000/new-tv-drama-recounts-heroic-escapes-on-the-underground-railroad",
"authors": [
"byline_arts_11392000"
],
"categories": [
"arts_990"
],
"tags": [
"arts_1118",
"arts_1377",
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11392001",
"label": "arts_137"
},
"arts_11389762": {
"type": "posts",
"id": "arts_11389762",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11389762",
"score": null,
"sort": [
1457479785000
]
},
"guestAuthors": [],
"slug": "j-k-rowling-releases-part-1-of-new-magic-in-north-america-series",
"title": "J.K. Rowling Releases Part 1 of New 'Magic in North America' Series",
"publishDate": 1457479785,
"format": "standard",
"headTitle": "J.K. Rowling Releases Part 1 of New ‘Magic in North America’ Series | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>“The Native American wizarding community was particularly gifted in animal and plant magic, its potions in particular being of a sophistication beyond much that was known in Europe.”\u003c/p>\n\u003cp>That’s what J.K. Rowling writes in the first of a four-part essay series, collectively called \u003cem>History of Magic in North America\u003c/em>. “The most glaring difference between magic practised by Native Americans and the wizards of Europe was the absence of a wand.”\u003c/p>\n\u003cp>It’s just one tidbit from the essay titled “Fourteenth Century — Seventeenth Century” and \u003ca href=\"https://www.pottermore.com/collection-episodic/history-of-magic-in-north-america-en\" target=\"_blank\" rel=\"noopener\">published on the Pottermore website\u003c/a> on Tuesday.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BBcKROEJgRQ\u003c/p>\n\u003cp>The writing is full of details to whet fans’ appetites ahead of the November release of the \u003ca href=\"https://www.pottermore.com/news/fantastic-beasts-trailer-and-review\" target=\"_blank\" rel=\"noopener\">Harry Potter spinoff film\u003c/a> \u003cem>Fantastic Beasts and Where to Find Them\u003c/em>. Set in New York City in 1926, the movie documents the life of \u003ca href=\"https://www.pottermore.com/explore-the-story/fantastic-beasts\" target=\"_blank\" rel=\"noopener\">wizard Newt Scamander\u003c/a> (played by Eddie Redmayne), who wrote the “Fantastic Beasts” textbook featured in the \u003cem>Harry Potter\u003c/em> series.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For example, Rowling writes that “while every nationality has its own term for ‘Muggle,’ the American community uses the slang term No-Maj, short for ‘No Magic.’ ” The essay also explains the “legend of the Native American ‘skin walker’ – an evil witch or wizard that can transform into an animal at will.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The remaining three parts will publish, one per day through Friday, at 8 a.m. ET on Pottermore. The series will cover magic-related topics in North America, such as the Salem witch trials and other native American legends. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=J.K.+Rowling+Releases+Part+1+Of+New+%27Magic+in+North+America%27+Series&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "In the first of a four-part essay series, the \u003cem>Harry Potter\u003c/em> author delves into the previously unaddressed world of magic in North America, whetting fans' appetites ahead of new spinoff movie.",
"status": "publish",
"parent": 0,
"modified": 1726771226,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 8,
"wordCount": 288
},
"headData": {
"title": "J.K. Rowling Releases Part 1 of New 'Magic in North America' Series | KQED",
"description": "In the first of a four-part essay series, the Harry Potter author delves into the previously unaddressed world of magic in North America, whetting fans' appetites ahead of new spinoff movie.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "J.K. Rowling Releases Part 1 of New 'Magic in North America' Series",
"datePublished": "2016-03-08T15:29:45-08:00",
"dateModified": "2024-09-19T11:40:26-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Laura Wagner",
"nprStoryId": "469663802",
"nprApiLink": "http://api.npr.org/query?id=469663802&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "http://www.npr.org/sections/thetwo-way/2016/03/08/469663802/j-k-rowling-releases-part-1-of-new-magic-in-north-america-series?ft=nprml&f=469663802",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 08 Mar 2016 14:31:00 -0500",
"nprStoryDate": "Tue, 08 Mar 2016 12:30:00 -0500",
"nprLastModifiedDate": "Tue, 08 Mar 2016 14:31:36 -0500",
"path": "/arts/11389762/j-k-rowling-releases-part-1-of-new-magic-in-north-america-series",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“The Native American wizarding community was particularly gifted in animal and plant magic, its potions in particular being of a sophistication beyond much that was known in Europe.”\u003c/p>\n\u003cp>That’s what J.K. Rowling writes in the first of a four-part essay series, collectively called \u003cem>History of Magic in North America\u003c/em>. “The most glaring difference between magic practised by Native Americans and the wizards of Europe was the absence of a wand.”\u003c/p>\n\u003cp>It’s just one tidbit from the essay titled “Fourteenth Century — Seventeenth Century” and \u003ca href=\"https://www.pottermore.com/collection-episodic/history-of-magic-in-north-america-en\" target=\"_blank\" rel=\"noopener\">published on the Pottermore website\u003c/a> on Tuesday.\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/BBcKROEJgRQ'\n title='//www.youtube.com/embed/BBcKROEJgRQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The writing is full of details to whet fans’ appetites ahead of the November release of the \u003ca href=\"https://www.pottermore.com/news/fantastic-beasts-trailer-and-review\" target=\"_blank\" rel=\"noopener\">Harry Potter spinoff film\u003c/a> \u003cem>Fantastic Beasts and Where to Find Them\u003c/em>. Set in New York City in 1926, the movie documents the life of \u003ca href=\"https://www.pottermore.com/explore-the-story/fantastic-beasts\" target=\"_blank\" rel=\"noopener\">wizard Newt Scamander\u003c/a> (played by Eddie Redmayne), who wrote the “Fantastic Beasts” textbook featured in the \u003cem>Harry Potter\u003c/em> series.\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>For example, Rowling writes that “while every nationality has its own term for ‘Muggle,’ the American community uses the slang term No-Maj, short for ‘No Magic.’ ” The essay also explains the “legend of the Native American ‘skin walker’ – an evil witch or wizard that can transform into an animal at will.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The remaining three parts will publish, one per day through Friday, at 8 a.m. ET on Pottermore. The series will cover magic-related topics in North America, such as the Salem witch trials and other native American legends. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=J.K.+Rowling+Releases+Part+1+Of+New+%27Magic+in+North+America%27+Series&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11389762/j-k-rowling-releases-part-1-of-new-magic-in-north-america-series",
"authors": [
"byline_arts_11389762"
],
"categories": [
"arts_1"
],
"tags": [
"arts_1376",
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11389764",
"label": "arts_137"
},
"arts_11378345": {
"type": "posts",
"id": "arts_11378345",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11378345",
"score": null,
"sort": [
1457107234000
]
},
"guestAuthors": [],
"slug": "race-brings-jesse-owens-and-the-1936-olympics-to-the-screen",
"title": "'Race' Brings Jesse Owens And The 1936 Olympics To The Screen",
"publishDate": 1457107234,
"format": "standard",
"headTitle": "‘Race’ Brings Jesse Owens And The 1936 Olympics To The Screen | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>For a while \u003cem>Race\u003c/em>, a handsomely mounted drama about a pivotal moment in the life of track star Jesse Owens, bowls along as a crisp, if conventional, account of a black athlete who triumphs over poverty and racism to get the gold. An unprecedented four gold medals to be precise, at the 1936 Berlin Olympics. But that’s getting ahead of ourselves. In Cleveland, there are angry, red-faced bigots to get in the way, and the statutory tough-love coach, serviceably rendered by Jason Sudeikis, to smooth the path to glory.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Ho9KA_JF0sE\u003c/p>\n\u003cp>The road to success is no cakewalk: Coach Snyder is a bit of a lush who comes to Owens having screwed up his own athletic career and his family life. Owens hasn’t had it easy either, having already fathered a child with his sweetheart, Ruth (Shanice Banton), whose loyalty he briefly betrays before coming to his senses. He gets more saintly later, and not necessarily to the film’s advantage. But for now, there is learning to live with prejudice in a funny, appalling scene in which Snyder models for his protege how to screen out the ugly noise and focus on being — the mostly lively screenplay by Joe Shrapnel and Anna Waterhouse has a few bum lines— the best that he can be. Refreshingly, though, the point of view belongs not to Coach but to Owens, who’s ably played by the impossibly beautiful Canadian actor Stephan James, last seen as civil rights activist John Lewis in \u003cem>Selma\u003c/em>. His graceful carriage is pure pleasure, his victories over haters satisfying. And though this ground has been well covered in other biopics about athletes of color, it bears repeating.\u003c/p>\n\u003cp>Things start to get interestingly out of hand when the canvas widens to rumors of war in Europe, where Hitler plans to turn the games into a showpiece for his Aryan master race. For the Fuhrer (Adrian Zwicker) and Joseph Goebbels (a stony-faced Barnaby Metschurat), this specifically excludes the likes of Owens or his two Jewish teammates. But before he sets foot on German soil, Owens must contend with the NAACP, which pressures him to stay home in solidarity with the country’s oppressed minorities. Also muddying the waters is a divided U.S. Olympic Committee dominated by the corruptible real estate developer Avery Brundage, played by Jeremy Irons, looking unnervingly like British Prime Minister Neville Chamberlain, who was busy conducting his own little policy of appeasement across the pond.\u003c/p>\n\u003cp>\u003cem>Realpolitik\u003c/em> rules, and if \u003cem>Race\u003c/em> is bracingly candid on the back-room politicking about Germany’s treatment of its Jews that raged on both sides of the Atlantic, it’s stronger still on the mixed signals awaiting the team in Berlin. The Third Reich is just gearing up, so there’s actually less physical segregation for the black athletes than there was at home. No such luck for their Jewish compatriots or for the German-Jewish citizens we see loaded onto trucks, even as Owens steps out into a stadium ringing with thousands yelling “Sieg Heil.” That Owens was lionized and befriended by Germany’s star jumper Carl “Luz” Long (David Kross), a brave and decent man, is well known and movingly told here. It’s unfortunate, then, that Dutch actress Carice Van Houten strains all belief as filmmaker and Nazi propagandist Leni Riefenstahl, gussied up into a concerned humanitarian who mediates between the Americans and Joseph Goebbels while she makes her documentary \u003cem>Olympia\u003c/em>. Either someone’s been reading the real-life Riefenstahl’s self-cleaning memoirs, or the need was felt for a well-turned ankle to glam things up.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>What is a fiction film’s responsibility to history? Is it a lack of focus or simply the truth that, late in the movie, Owens fades into a dignified but mostly passive witness to the diplomatic maelstrom? The scenes in which he wins his four golds are a big thrill, but to Hopkins’ credit, he doesn’t fudge the fact that despite the hero’s welcome to which Owens returns on the streets, it’s humiliating business as usual when he arrives at the front door of a swank hotel for a dinner in his honor. It would be decades before Owens was invited to the White House, and decades more for this engrossing film to get out the word.\u003c/p>\n\n",
"blocks": [],
"excerpt": "Once the story of 'Race' begins to balance the many forces that pulled on Owens and complicated his story, it gets more interesting.",
"status": "publish",
"parent": 0,
"modified": 1726771232,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 7,
"wordCount": 755
},
"headData": {
"title": "'Race' Brings Jesse Owens And The 1936 Olympics To The Screen | KQED",
"description": "Once the story of 'Race' begins to balance the many forces that pulled on Owens and complicated his story, it gets more interesting.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Race' Brings Jesse Owens And The 1936 Olympics To The Screen",
"datePublished": "2016-03-04T08:00:34-08:00",
"dateModified": "2024-09-19T11:40:32-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprImageCredit": "Thibault Grabherr",
"nprByline": "Ella Taylor",
"nprImageAgency": "Courtesy of Focus Features ",
"nprStoryId": "467068214",
"nprApiLink": "http://api.npr.org/query?id=467068214&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "http://www.npr.org/2016/02/19/467068214/race-brings-jesse-owens-and-the-1936-olympics-to-the-screen?ft=nprml&f=467068214",
"nprRetrievedStory": "1",
"nprPubDate": "Sat, 20 Feb 2016 09:11:00 -0500",
"nprStoryDate": "Fri, 19 Feb 2016 12:59:00 -0500",
"nprLastModifiedDate": "Sat, 20 Feb 2016 09:11:14 -0500",
"path": "/arts/11378345/race-brings-jesse-owens-and-the-1936-olympics-to-the-screen",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For a while \u003cem>Race\u003c/em>, a handsomely mounted drama about a pivotal moment in the life of track star Jesse Owens, bowls along as a crisp, if conventional, account of a black athlete who triumphs over poverty and racism to get the gold. An unprecedented four gold medals to be precise, at the 1936 Berlin Olympics. But that’s getting ahead of ourselves. In Cleveland, there are angry, red-faced bigots to get in the way, and the statutory tough-love coach, serviceably rendered by Jason Sudeikis, to smooth the path to glory.\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/Ho9KA_JF0sE'\n title='//www.youtube.com/embed/Ho9KA_JF0sE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The road to success is no cakewalk: Coach Snyder is a bit of a lush who comes to Owens having screwed up his own athletic career and his family life. Owens hasn’t had it easy either, having already fathered a child with his sweetheart, Ruth (Shanice Banton), whose loyalty he briefly betrays before coming to his senses. He gets more saintly later, and not necessarily to the film’s advantage. But for now, there is learning to live with prejudice in a funny, appalling scene in which Snyder models for his protege how to screen out the ugly noise and focus on being — the mostly lively screenplay by Joe Shrapnel and Anna Waterhouse has a few bum lines— the best that he can be. Refreshingly, though, the point of view belongs not to Coach but to Owens, who’s ably played by the impossibly beautiful Canadian actor Stephan James, last seen as civil rights activist John Lewis in \u003cem>Selma\u003c/em>. His graceful carriage is pure pleasure, his victories over haters satisfying. And though this ground has been well covered in other biopics about athletes of color, it bears repeating.\u003c/p>\n\u003cp>Things start to get interestingly out of hand when the canvas widens to rumors of war in Europe, where Hitler plans to turn the games into a showpiece for his Aryan master race. For the Fuhrer (Adrian Zwicker) and Joseph Goebbels (a stony-faced Barnaby Metschurat), this specifically excludes the likes of Owens or his two Jewish teammates. But before he sets foot on German soil, Owens must contend with the NAACP, which pressures him to stay home in solidarity with the country’s oppressed minorities. Also muddying the waters is a divided U.S. Olympic Committee dominated by the corruptible real estate developer Avery Brundage, played by Jeremy Irons, looking unnervingly like British Prime Minister Neville Chamberlain, who was busy conducting his own little policy of appeasement across the pond.\u003c/p>\n\u003cp>\u003cem>Realpolitik\u003c/em> rules, and if \u003cem>Race\u003c/em> is bracingly candid on the back-room politicking about Germany’s treatment of its Jews that raged on both sides of the Atlantic, it’s stronger still on the mixed signals awaiting the team in Berlin. The Third Reich is just gearing up, so there’s actually less physical segregation for the black athletes than there was at home. No such luck for their Jewish compatriots or for the German-Jewish citizens we see loaded onto trucks, even as Owens steps out into a stadium ringing with thousands yelling “Sieg Heil.” That Owens was lionized and befriended by Germany’s star jumper Carl “Luz” Long (David Kross), a brave and decent man, is well known and movingly told here. It’s unfortunate, then, that Dutch actress Carice Van Houten strains all belief as filmmaker and Nazi propagandist Leni Riefenstahl, gussied up into a concerned humanitarian who mediates between the Americans and Joseph Goebbels while she makes her documentary \u003cem>Olympia\u003c/em>. Either someone’s been reading the real-life Riefenstahl’s self-cleaning memoirs, or the need was felt for a well-turned ankle to glam things up.\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>\u003c/p>\n\u003cp>What is a fiction film’s responsibility to history? Is it a lack of focus or simply the truth that, late in the movie, Owens fades into a dignified but mostly passive witness to the diplomatic maelstrom? The scenes in which he wins his four golds are a big thrill, but to Hopkins’ credit, he doesn’t fudge the fact that despite the hero’s welcome to which Owens returns on the streets, it’s humiliating business as usual when he arrives at the front door of a swank hotel for a dinner in his honor. It would be decades before Owens was invited to the White House, and decades more for this engrossing film to get out the word.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11378345/race-brings-jesse-owens-and-the-1936-olympics-to-the-screen",
"authors": [
"byline_arts_11378345"
],
"categories": [
"arts_1"
],
"tags": [
"arts_1118",
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11378350",
"label": "arts_137"
},
"arts_11377501": {
"type": "posts",
"id": "arts_11377501",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11377501",
"score": null,
"sort": [
1457047791000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1457047791,
"format": "standard",
"title": "And The Winner Of The 2016 Tiny Desk Contest Is: Gaelynn Lea",
"headTitle": "And The Winner Of The 2016 Tiny Desk Contest Is: Gaelynn Lea | KQED",
"content": "\u003cp>There were 6,100 entries in this year’s \u003ca href=\"http://npr.org/tinydeskcontest\">Tiny Desk Contest\u003c/a>, representing every state in the nation. We asked you to send us a video of an original song, behind a desk of your choosing. We didn’t care much about the quality of the video or even the sound. We wanted something singular, a song and a sound that felt original and a performance that felt inspired. We at NPR Music watched all of those 6,100 entries and in the end our six judges — \u003ca href=\"http://www.npr.org/artists/102424474/dan-auerbach\" target=\"_blank\" rel=\"noopener\">Dan Auerbach\u003c/a> of The Black Keys and The Arcs, Holly Laessig and Jess Wolfe of \u003ca href=\"http://www.npr.org/artists/230150589/lucius\" target=\"_blank\" rel=\"noopener\">Lucius\u003c/a>, \u003ca href=\"http://www.npr.org/artists/446104054/son-little\" target=\"_blank\" rel=\"noopener\">Son Little\u003c/a>, Robin Hilton and I — found one artist so compelling we’re thrilled about this announcement. Our winner is a haunting fiddler from Duluth, Minn. Her name is Gaelynn Lea.\u003c/p>\n\u003cp>Holly Laessig said it best: “Hers was the one melody that stayed with me throughout the process. It’s captivating and powerful.” Robin Hilton, my cohost on \u003cem>All Songs Considered,\u003c/em> said, “Gaelynn Lea had the most arresting voice and overall sound I heard in this competition. While judging each entry, I’d listen to the song first, then watch the video if I was moved by the music to spend more time with it. I was profoundly moved by Lea’s song, particularly its serpentine, earworm melody and the tremendous heartache in her poetry.”\u003c/p>\n\u003cp>Gaelynn is a 32-year-old classically trained fiddler whose music is steeped in Celtic tradition and American fiddle tunes. Her fiddle style is shaped by those traditions but also the challenge she has, playing an instrument that is almost as large as she is. Gaelynn was born with brittle bone disease, a congenital disability that makes playing the violin tucked tightly under the chin not a comfortable option. Instead she plays it upright, as a cellist might.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jb1oCjiIu9M\u003c/p>\n\u003cp>In the original tune she submitted, “Someday We’ll Linger in the Sun,” Gaelynn creates a beautiful droning loop with her JamMan Express loop pedal and after a moody minute begins to sing a yearning tale of life’s preciousness and time’s constant ticking and why we should always care. “Don’t tell me we’ve got time / the subtle thief of life / it slips away when we pay no mind,” she sings in a somewhat childlike and haunting voice. She ends with the phrase, “Someday we’ll linger in the sun / And I love you.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That’s such a universal message — simple, thoughtful and relatable. Truth be told I saw musicians with better craft than Gaelynn, heard singers more capable. That was true of last year’s winner as well. Skill and craft is a part of how we select a winner. What Gaelynn Lea did for all of our judges, myself included, was to make something memorable. As Jess Wolfe put it, Gaelynn Lea created something “so unusual/beautiful and like nothing we’ve ever heard before.”\u003c/p>\n\u003cp>After I voted, I spent some time trying to find out more about Gaelynn Lea. I learned about her congenital disease; I learned that she was a fiddle teacher and that she plays many of the same fiddle tunes my son and I have played together in Irish music camps and for contra dances. I also learned something I hadn’t expected: One day while playing at a farmers market in Duluth, Alan Sparhawk, the guitarist and singer of the band \u003ca href=\"http://www.npr.org/artists/16700848/low\" target=\"_blank\" rel=\"noopener\">Low\u003c/a> (also from Duluth) heard Gaelynn Lea playing. Shortly after he texted her, asking if she’d like to play together. It was the beginning of a musical friendship. That friendship is a casual one they call The Murder of Crows. I discovered that they’d made a record together back in 2012 called \u003cem>Imperfecta\u003c/em>. Working with Alan helped Gaelynn envision and shape her sound. Fans of Low might be able to hear that band in the way her music unfolds, slow and mysterious, every moment existing for each moment to come.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I love this. I love the way musicians change and shape each other and open ideas that might not arrive naturally but become part of a vocabulary of expression. My hope with the Tiny Desk Contest and concert series has always been about discovery, about finding music outside our comfort zone. One day there might be Adele, the next day a Colombian jazz harpist or a punk band from Detroit. We want you to hear something new and inspiring, something which moves you in some way, makes you think of something — in this case, the preciousness of time — in a way that may cause you to be more appreciative, more thoughtful, more expressive, be it musically or personally. Gaelynn Lea’s music felt like a perfect gift. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=And+The+Winner+Of+The+2016+Tiny+Desk+Contest+Is+...&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 842,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 9
},
"modified": 1705044950,
"excerpt": "Out of more than 6,000 entries, the musician selected as the winner of the Tiny Desk Contest created something \"captivating,\" \"serpentine,\" \"beautiful,\" \"unusual\" and \"tremendous.\"",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Out of more than 6,000 entries, the musician selected as the winner of the Tiny Desk Contest created something "captivating," "serpentine," "beautiful," "unusual" and "tremendous."",
"title": "And The Winner Of The 2016 Tiny Desk Contest Is: Gaelynn Lea | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "And The Winner Of The 2016 Tiny Desk Contest Is: Gaelynn Lea",
"datePublished": "2016-03-03T15:29:51-08:00",
"dateModified": "2024-01-11T23:35:50-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "and-the-winner-of-the-2016-tiny-desk-contest-is-gaelynn-lea",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=468923804&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Bob Boilen",
"nprStoryDate": "Thu, 03 Mar 2016 06:47:00 -0500",
"nprLastModifiedDate": "Thu, 03 Mar 2016 17:44:52 -0500",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/sections/allsongs/2016/03/03/468923804/and-the-winner-of-the-2016-tiny-desk-contest-is?ft=nprml&f=468923804",
"nprAudio": "http://pd.npr.org/anon.npr-mp3/npr/me/2016/03/20160303_me_and_the_winner_of_the_2016_tiny_desk_concert_is_.mp3?orgId=1&topicId=1039&aggIds=100920965&d=228&p=3&story=468923804&t=progseg&e=468998017&seg=19&ft=nprml&f=468923804",
"nprImageAgency": "Courtesy of the artist",
"nprAudioM3u": "http://api.npr.org/m3u/1469023402-4fdd26.m3u?orgId=1&topicId=1039&aggIds=100920965&d=228&p=3&story=468923804&t=progseg&e=468998017&seg=19&ft=nprml&f=468923804",
"nprStoryId": "468923804",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 03 Mar 2016 17:44:00 -0500",
"path": "/arts/11377501/and-the-winner-of-the-2016-tiny-desk-contest-is-gaelynn-lea",
"audioUrl": "http://pd.npr.org/anon.npr-mp3/npr/me/2016/03/20160303_me_and_the_winner_of_the_2016_tiny_desk_concert_is_.mp3?orgId=1&topicId=1039&aggIds=100920965&d=228&p=3&story=468923804&t=progseg&e=468998017&seg=19&ft=nprml&f=468923804",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There were 6,100 entries in this year’s \u003ca href=\"http://npr.org/tinydeskcontest\">Tiny Desk Contest\u003c/a>, representing every state in the nation. We asked you to send us a video of an original song, behind a desk of your choosing. We didn’t care much about the quality of the video or even the sound. We wanted something singular, a song and a sound that felt original and a performance that felt inspired. We at NPR Music watched all of those 6,100 entries and in the end our six judges — \u003ca href=\"http://www.npr.org/artists/102424474/dan-auerbach\" target=\"_blank\" rel=\"noopener\">Dan Auerbach\u003c/a> of The Black Keys and The Arcs, Holly Laessig and Jess Wolfe of \u003ca href=\"http://www.npr.org/artists/230150589/lucius\" target=\"_blank\" rel=\"noopener\">Lucius\u003c/a>, \u003ca href=\"http://www.npr.org/artists/446104054/son-little\" target=\"_blank\" rel=\"noopener\">Son Little\u003c/a>, Robin Hilton and I — found one artist so compelling we’re thrilled about this announcement. Our winner is a haunting fiddler from Duluth, Minn. Her name is Gaelynn Lea.\u003c/p>\n\u003cp>Holly Laessig said it best: “Hers was the one melody that stayed with me throughout the process. It’s captivating and powerful.” Robin Hilton, my cohost on \u003cem>All Songs Considered,\u003c/em> said, “Gaelynn Lea had the most arresting voice and overall sound I heard in this competition. While judging each entry, I’d listen to the song first, then watch the video if I was moved by the music to spend more time with it. I was profoundly moved by Lea’s song, particularly its serpentine, earworm melody and the tremendous heartache in her poetry.”\u003c/p>\n\u003cp>Gaelynn is a 32-year-old classically trained fiddler whose music is steeped in Celtic tradition and American fiddle tunes. Her fiddle style is shaped by those traditions but also the challenge she has, playing an instrument that is almost as large as she is. Gaelynn was born with brittle bone disease, a congenital disability that makes playing the violin tucked tightly under the chin not a comfortable option. Instead she plays it upright, as a cellist might.\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/jb1oCjiIu9M'\n title='//www.youtube.com/embed/jb1oCjiIu9M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the original tune she submitted, “Someday We’ll Linger in the Sun,” Gaelynn creates a beautiful droning loop with her JamMan Express loop pedal and after a moody minute begins to sing a yearning tale of life’s preciousness and time’s constant ticking and why we should always care. “Don’t tell me we’ve got time / the subtle thief of life / it slips away when we pay no mind,” she sings in a somewhat childlike and haunting voice. She ends with the phrase, “Someday we’ll linger in the sun / And I love you.”\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’s such a universal message — simple, thoughtful and relatable. Truth be told I saw musicians with better craft than Gaelynn, heard singers more capable. That was true of last year’s winner as well. Skill and craft is a part of how we select a winner. What Gaelynn Lea did for all of our judges, myself included, was to make something memorable. As Jess Wolfe put it, Gaelynn Lea created something “so unusual/beautiful and like nothing we’ve ever heard before.”\u003c/p>\n\u003cp>After I voted, I spent some time trying to find out more about Gaelynn Lea. I learned about her congenital disease; I learned that she was a fiddle teacher and that she plays many of the same fiddle tunes my son and I have played together in Irish music camps and for contra dances. I also learned something I hadn’t expected: One day while playing at a farmers market in Duluth, Alan Sparhawk, the guitarist and singer of the band \u003ca href=\"http://www.npr.org/artists/16700848/low\" target=\"_blank\" rel=\"noopener\">Low\u003c/a> (also from Duluth) heard Gaelynn Lea playing. Shortly after he texted her, asking if she’d like to play together. It was the beginning of a musical friendship. That friendship is a casual one they call The Murder of Crows. I discovered that they’d made a record together back in 2012 called \u003cem>Imperfecta\u003c/em>. Working with Alan helped Gaelynn envision and shape her sound. Fans of Low might be able to hear that band in the way her music unfolds, slow and mysterious, every moment existing for each moment to come.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I love this. I love the way musicians change and shape each other and open ideas that might not arrive naturally but become part of a vocabulary of expression. My hope with the Tiny Desk Contest and concert series has always been about discovery, about finding music outside our comfort zone. One day there might be Adele, the next day a Colombian jazz harpist or a punk band from Detroit. We want you to hear something new and inspiring, something which moves you in some way, makes you think of something — in this case, the preciousness of time — in a way that may cause you to be more appreciative, more thoughtful, more expressive, be it musically or personally. Gaelynn Lea’s music felt like a perfect gift. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=And+The+Winner+Of+The+2016+Tiny+Desk+Contest+Is+...&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11377501/and-the-winner-of-the-2016-tiny-desk-contest-is-gaelynn-lea",
"authors": [
"byline_arts_11377501"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11377502",
"label": "arts_137"
},
"arts_11359160": {
"type": "posts",
"id": "arts_11359160",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11359160",
"score": null,
"sort": [
1456498834000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1456498834,
"format": "standard",
"title": "The Strange And Intoxicating 'Embrace Of The Serpent'",
"headTitle": "The Strange And Intoxicating ‘Embrace Of The Serpent’ | KQED",
"content": "\u003cp>A river cruise is like a movie. The boat glides from scene to scene, the travelers get to know each other, and around the final curve awaits resolution, or perhaps revelation.\u003c/p>\n\u003cp>Or at least that’s how the voyage proceeds in Colombian director and co-writer Ciro Guerra’s fascinating \u003cem>The Embrace of the Serpent\u003c/em>. Nominated for the best foreign-language-film Oscar, the Amazon-set drama is a trip in more ways than one. It intertwines two journeys of discovery, inspired by the real-life journals of German ethnologist Theodor Koch-Grunberg and American ethno-botanist Richard Evans Schultes.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=uymNkBuR-SY\u003c/p>\n\u003cp>Both are looking for a rare plant, although for different reasons. In 1909, Theo (Jan Bijvoet) is seriously ill, and his semi-Westernized native guide (Miguel Dionisio Ramos) believes yakruna will save him. The men seek a young shaman, Karamakate (Nilbio Torres), who mistrusts white people and believes himself the last of his tribe. Only when Theo says he can reconnect Karamakate with his surviving kin does the healer join the expedition.\u003c/p>\n\u003cp>Some 30 years later, Evans (Brionne Davis) follows Theo’s path. The American has been recruited to find new sources of rubber for his country, at war with a Japan that controls Southeast Asia’s sticky sap. Evans is an expert on hallucinogenic plants and hopes to find yakruna. He enlists an older Karamakate (Antonio Bolivar), who believes he has lost his memory, and perhaps even his identity.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Karamakate’s wisdom mingles the practical, the ecological, and the mystical. To him, shooting stars become totemic animals, including the jaguar and the boa, which impart wisdom in dreams. He laughs, a generation apart, at Theo and Evans’ attachment to their possessions. He’s also amused by Theo’s songs, although suitably awed when Evans’ gramophone emits Haydn’s “The Creation.”\u003c/p>\n\u003cp>Such devices, which include the compass Theo loses to a village chief, are the white man’s magic. They are potentially corrupting, since they may supplant the local knowledge and cause even a shaman to forget who he used to be.\u003c/p>\n\u003cp>During the two quests, several episodes justify Karamakate’s contempt for European explorers and exploiters, who’ve oppressed indigenous peoples in the service of both rubber and Jesus. A stop at an orphanage run by a lone monk is as chilling an illustration of the white man’s jungle madness as \u003cem>Aguirre, the Wrath of God\u003c/em>. And when Evans and Karamakate arrive at the same mission three decades later, the place has descended into a nightmare worthy of \u003cem>Apocalypse Now\u003c/em>.\u003c/p>\n\u003cp>Theo and Evans each lug cameras into the Amazon basin, and David Gallego’s cinematography honors the period by being black-and-white — but crisp and widescreen, very unlike the vintage glass-plate photo in which Karamakate is confused to glimpse a version of himself. The elegant monochromatic compositions also contrast a short full-color sequence near the journey’s end.\u003c/p>\n\u003cp>Yakruna is a (fictional) plant used to make a brew that summons vomit and visions. It’s not clear that it can cure Theo’s exotic illness, but perhaps it can rectify Evans’ scientific detachment.\u003c/p>\n\u003cp>That may be Guerra’s goal for the viewer as well. \u003cem>The Embrace of the Serpent\u003c/em>, whose title is a metaphor for psychedelic experience, isn’t as flamboyantly nutty as such hippie-era Latin perplexities as Alejandro Jodorowsky’s \u003cem>El Topo\u003c/em>. But it is bewitchingly strange, and as enveloping as the Amazon jungle.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Indeed, the place itself is transformative. To embrace the serpent may be to digest strange dreams, but an overhead shot of the terrain ultimately suggests another meaning. From above, it’s clear that the river coils through the forest like an endless snake.\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 650,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 13
},
"modified": 1705045015,
"excerpt": "This Colombian nominee for best foreign-language film is loosely based on two real explorers who spend decades seeking a sacred plant.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "This Colombian nominee for best foreign-language film is loosely based on two real explorers who spend decades seeking a sacred plant.",
"title": "The Strange And Intoxicating 'Embrace Of The Serpent' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The Strange And Intoxicating 'Embrace Of The Serpent'",
"datePublished": "2016-02-26T07:00:34-08:00",
"dateModified": "2024-01-11T23:36:55-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "the-strange-and-intoxicating-embrace-of-the-serpent",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=467071774&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Mark Jenkins",
"nprStoryDate": "Thu, 18 Feb 2016 17:00:15 -0500",
"nprLastModifiedDate": "Thu, 18 Feb 2016 17:00:15 -0500",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/2016/02/18/467071774/the-strange-and-intoxicating-embrace-of-the-serpent?ft=nprml&f=467071774",
"nprImageAgency": "Courtesy of Oscilloscope Laboratories",
"nprImageCredit": "Andres Barrientos",
"nprStoryId": "467071774",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 18 Feb 2016 17:00:00 -0500",
"path": "/arts/11359160/the-strange-and-intoxicating-embrace-of-the-serpent",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A river cruise is like a movie. The boat glides from scene to scene, the travelers get to know each other, and around the final curve awaits resolution, or perhaps revelation.\u003c/p>\n\u003cp>Or at least that’s how the voyage proceeds in Colombian director and co-writer Ciro Guerra’s fascinating \u003cem>The Embrace of the Serpent\u003c/em>. Nominated for the best foreign-language-film Oscar, the Amazon-set drama is a trip in more ways than one. It intertwines two journeys of discovery, inspired by the real-life journals of German ethnologist Theodor Koch-Grunberg and American ethno-botanist Richard Evans Schultes.\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/uymNkBuR-SY'\n title='//www.youtube.com/embed/uymNkBuR-SY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Both are looking for a rare plant, although for different reasons. In 1909, Theo (Jan Bijvoet) is seriously ill, and his semi-Westernized native guide (Miguel Dionisio Ramos) believes yakruna will save him. The men seek a young shaman, Karamakate (Nilbio Torres), who mistrusts white people and believes himself the last of his tribe. Only when Theo says he can reconnect Karamakate with his surviving kin does the healer join the expedition.\u003c/p>\n\u003cp>Some 30 years later, Evans (Brionne Davis) follows Theo’s path. The American has been recruited to find new sources of rubber for his country, at war with a Japan that controls Southeast Asia’s sticky sap. Evans is an expert on hallucinogenic plants and hopes to find yakruna. He enlists an older Karamakate (Antonio Bolivar), who believes he has lost his memory, and perhaps even his identity.\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>Karamakate’s wisdom mingles the practical, the ecological, and the mystical. To him, shooting stars become totemic animals, including the jaguar and the boa, which impart wisdom in dreams. He laughs, a generation apart, at Theo and Evans’ attachment to their possessions. He’s also amused by Theo’s songs, although suitably awed when Evans’ gramophone emits Haydn’s “The Creation.”\u003c/p>\n\u003cp>Such devices, which include the compass Theo loses to a village chief, are the white man’s magic. They are potentially corrupting, since they may supplant the local knowledge and cause even a shaman to forget who he used to be.\u003c/p>\n\u003cp>During the two quests, several episodes justify Karamakate’s contempt for European explorers and exploiters, who’ve oppressed indigenous peoples in the service of both rubber and Jesus. A stop at an orphanage run by a lone monk is as chilling an illustration of the white man’s jungle madness as \u003cem>Aguirre, the Wrath of God\u003c/em>. And when Evans and Karamakate arrive at the same mission three decades later, the place has descended into a nightmare worthy of \u003cem>Apocalypse Now\u003c/em>.\u003c/p>\n\u003cp>Theo and Evans each lug cameras into the Amazon basin, and David Gallego’s cinematography honors the period by being black-and-white — but crisp and widescreen, very unlike the vintage glass-plate photo in which Karamakate is confused to glimpse a version of himself. The elegant monochromatic compositions also contrast a short full-color sequence near the journey’s end.\u003c/p>\n\u003cp>Yakruna is a (fictional) plant used to make a brew that summons vomit and visions. It’s not clear that it can cure Theo’s exotic illness, but perhaps it can rectify Evans’ scientific detachment.\u003c/p>\n\u003cp>That may be Guerra’s goal for the viewer as well. \u003cem>The Embrace of the Serpent\u003c/em>, whose title is a metaphor for psychedelic experience, isn’t as flamboyantly nutty as such hippie-era Latin perplexities as Alejandro Jodorowsky’s \u003cem>El Topo\u003c/em>. But it is bewitchingly strange, and as enveloping as the Amazon jungle.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Indeed, the place itself is transformative. To embrace the serpent may be to digest strange dreams, but an overhead shot of the terrain ultimately suggests another meaning. From above, it’s clear that the river coils through the forest like an endless snake.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11359160/the-strange-and-intoxicating-embrace-of-the-serpent",
"authors": [
"byline_arts_11359160"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11359163",
"label": "arts_137"
},
"arts_11336204": {
"type": "posts",
"id": "arts_11336204",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11336204",
"score": null,
"sort": [
1455894025000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1455894025,
"format": "standard",
"title": "Navigating A Minefield Of Moral Quandaries And Consequences In 'A War'",
"headTitle": "Navigating A Minefield Of Moral Quandaries And Consequences In ‘A War’ | KQED",
"content": "\u003cp>The Danish entry in the foreign language Oscar sweepstakes, \u003cem>A War\u003c/em>, begins in Afghanistan, deep in Taliban territory. A Danish patrol is walking single file across a field. Each man steps where the previous man stepped … alas, to no avail. A land mine explodes, killing the baby-faced last soldier in the line.\u003c/p>\n\u003cp>Back at the squad’s fortified HQ, Claus, their 30-something commanding officer, decides he will not send his men out again without being there himself, a decision that will later have repercussions. He’s a decent man — a father, a caring officer, proud of the role his soldiers play in protecting civilians. This war, though, turns such considerations on their heads. Help an Afghan family, and the Taliban is apt to target that family, which is how Claus later finds himself with his squad in an ambush.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MyygZlPuoFQ\u003c/p>\n\u003cp>One of his men — a soldier who was traumatized in the first incident to the point that Claus almost had to send him home — is hit and will die without assistance. The rest are pinned down, unable to tell where shots are coming from. Claus calls in an airstrike on a nearby compound, not quite sure that that’s where the shots are coming from, but it turns out he was right. His action saves his men.\u003c/p>\n\u003cp>But a few days later, he is called in for an inquiry. There were civilians in the compound, too. After a debriefing, he is sent back to his wife and kids in Copenhagen, charged with war crimes. And the complications are just beginning.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The first half of \u003cem>A War\u003c/em> was shot in Turkey, and nearly all the roles in that war-zone setting were cast with nonactors — Afghan refugees, Danish ex-soldiers — which helped filmmaker Tobias Lindholm achieve a documentary-like realism there. In the scenes at Claus’ home and in the courtroom, the director relies more on leading man Pilou Asbaek, who has a solemn, brooding manner that is likely to serve him well in a substantial role he has landed in the coming season of \u003cem>Game of Thrones\u003c/em>.\u003c/p>\n\u003cp>Lindholm has said in interviews that just as films about the Vietnam War gave the American public a way to process a national trauma, he hopes his film can do that for a Danish public that has been sending troops to Iraq and Afghanistan for much of the past decade and a half. And indeed, he has freighted \u003cem>A War\u003c/em> with many of the same moral quandaries, impossible choices, terrible consequences.\u003c/p>\n\u003cp>In Afghanistan, Claus’ soldiers are tense, their foothold insecure, the civilians they’re protecting anxious. He returns to find his home tense, his children insecure, his wife anxious. If what he did in the war zone to save his men was criminal, what should he do at home?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the courtroom, with his attorney staring down the prosecutor, the battle lines seem so clear. In his own mind, they’re less clear. What do you do when there’s no right move? \u003cem>A War\u003c/em> brings that question home.\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 530,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 10
},
"modified": 1705045091,
"excerpt": "This contender for the best foreign film Oscar is about a soldier in Afghanistan placed in an impossible situation.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "This contender for the best foreign film Oscar is about a soldier in Afghanistan placed in an impossible situation.",
"title": "Navigating A Minefield Of Moral Quandaries And Consequences In 'A War' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Navigating A Minefield Of Moral Quandaries And Consequences In 'A War'",
"datePublished": "2016-02-19T07:00:25-08:00",
"dateModified": "2024-01-11T23:38:11-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "navigating-a-minefield-of-moral-quandaries-and-consequences-in-a-war",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=466552068&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Bob Mondello",
"nprStoryDate": "Fri, 12 Feb 2016 17:06:00 -0500",
"nprLastModifiedDate": "Mon, 15 Feb 2016 19:12:56 -0500",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/2016/02/12/466552068/navigating-a-minefield-of-moral-quandaries-and-consequences-in-a-war?ft=nprml&f=466552068",
"nprAudio": "http://pd.npr.org/anon.npr-mp3/npr/atc/2016/02/20160215_atc_navigating_a_minefield_of_moral_quandaries_and_consequences_in_a_war.mp3?orgId=1&topicId=4467349&d=179&p=2&story=466552068&t=progseg&e=466787783&seg=18&ft=nprml&f=466552068",
"nprImageAgency": "Courtesy of Magnolia Pictures",
"nprAudioM3u": "http://api.npr.org/m3u/1466848863-499d95.m3u?orgId=1&topicId=4467349&d=179&p=2&story=466552068&t=progseg&e=466787783&seg=18&ft=nprml&f=466552068",
"nprStoryId": "466552068",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 15 Feb 2016 19:13:00 -0500",
"path": "/arts/11336204/navigating-a-minefield-of-moral-quandaries-and-consequences-in-a-war",
"audioUrl": "http://pd.npr.org/anon.npr-mp3/npr/atc/2016/02/20160215_atc_navigating_a_minefield_of_moral_quandaries_and_consequences_in_a_war.mp3?orgId=1&topicId=4467349&d=179&p=2&story=466552068&t=progseg&e=466787783&seg=18&ft=nprml&f=466552068",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Danish entry in the foreign language Oscar sweepstakes, \u003cem>A War\u003c/em>, begins in Afghanistan, deep in Taliban territory. A Danish patrol is walking single file across a field. Each man steps where the previous man stepped … alas, to no avail. A land mine explodes, killing the baby-faced last soldier in the line.\u003c/p>\n\u003cp>Back at the squad’s fortified HQ, Claus, their 30-something commanding officer, decides he will not send his men out again without being there himself, a decision that will later have repercussions. He’s a decent man — a father, a caring officer, proud of the role his soldiers play in protecting civilians. This war, though, turns such considerations on their heads. Help an Afghan family, and the Taliban is apt to target that family, which is how Claus later finds himself with his squad in an ambush.\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/MyygZlPuoFQ'\n title='//www.youtube.com/embed/MyygZlPuoFQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>One of his men — a soldier who was traumatized in the first incident to the point that Claus almost had to send him home — is hit and will die without assistance. The rest are pinned down, unable to tell where shots are coming from. Claus calls in an airstrike on a nearby compound, not quite sure that that’s where the shots are coming from, but it turns out he was right. His action saves his men.\u003c/p>\n\u003cp>But a few days later, he is called in for an inquiry. There were civilians in the compound, too. After a debriefing, he is sent back to his wife and kids in Copenhagen, charged with war crimes. And the complications are just beginning.\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>The first half of \u003cem>A War\u003c/em> was shot in Turkey, and nearly all the roles in that war-zone setting were cast with nonactors — Afghan refugees, Danish ex-soldiers — which helped filmmaker Tobias Lindholm achieve a documentary-like realism there. In the scenes at Claus’ home and in the courtroom, the director relies more on leading man Pilou Asbaek, who has a solemn, brooding manner that is likely to serve him well in a substantial role he has landed in the coming season of \u003cem>Game of Thrones\u003c/em>.\u003c/p>\n\u003cp>Lindholm has said in interviews that just as films about the Vietnam War gave the American public a way to process a national trauma, he hopes his film can do that for a Danish public that has been sending troops to Iraq and Afghanistan for much of the past decade and a half. And indeed, he has freighted \u003cem>A War\u003c/em> with many of the same moral quandaries, impossible choices, terrible consequences.\u003c/p>\n\u003cp>In Afghanistan, Claus’ soldiers are tense, their foothold insecure, the civilians they’re protecting anxious. He returns to find his home tense, his children insecure, his wife anxious. If what he did in the war zone to save his men was criminal, what should he do at home?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the courtroom, with his attorney staring down the prosecutor, the battle lines seem so clear. In his own mind, they’re less clear. What do you do when there’s no right move? \u003cem>A War\u003c/em> brings that question home.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11336204/navigating-a-minefield-of-moral-quandaries-and-consequences-in-a-war",
"authors": [
"byline_arts_11336204"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11336210",
"label": "arts_137"
},
"arts_11338682": {
"type": "posts",
"id": "arts_11338682",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11338682",
"score": null,
"sort": [
1455825605000
]
},
"guestAuthors": [],
"slug": "haunting-photo-of-migrants-takes-world-press-photos-top-prize",
"title": "Haunting Photo of Migrants Takes World Press Photo's Top Prize",
"publishDate": 1455825605,
"format": "standard",
"headTitle": "Haunting Photo of Migrants Takes World Press Photo’s Top Prize | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>An image of man passing a baby under a fence at the Hungarian-Serbian border has taken top honors at this year’s World Press Photo of the Year.\u003c/p>\n\u003cp>The photo, titled “Hope for a New Life,” was taken by Australian photographer Warren Richardson and shows a man with his eyes set on the horizon, passing the infant under coils of razor-wire into outstretched arms in the moonlight.\u003c/p>\n\u003cp>Richardson took the photo in late August in Röszke, Hungary, which is on the border with Serbia. Hungarian police have \u003ca href=\"http://www.npr.org/2015/09/15/440477068/hungary-closes-border-with-serbia-vows-to-arrest-trespassers\" target=\"_blank\" rel=\"noopener\">routinely cracked down on\u003c/a> the massive flow of migrants fleeing from Syria, Iraq and other countries.\u003c/p>\n\u003cp>“It had such power because of its simplicity, especially the symbolism of the barbed wire,” general jury chair and Agence France-Press photo director Francis Kohn said \u003ca href=\"http://www.worldpressphoto.org/news/2016-02-18/world-press-photo-year-2015-goes-warren-richardson\" target=\"_blank\" rel=\"noopener\">in a press release from World Press Photo.\u003c/a>\u003c/p>\n\u003cp>“It’s subtle, and shows the emotion and the real feeling from the deep heart of a father just trying to hand over his baby to the world he was longing to be in,” adds jury member and director of new media development at Xinhua News Agency Huang Wen.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Richardson describes the experience of covering border crossings in this area over the course of five days \u003ca href=\"http://www.warrenrichardson.com/2957080-refugee-crisis-hungary\" target=\"_blank\" rel=\"noopener\">on his website\u003c/a>: “There were men, women and children, amputees, the sick, all with stories to tell about where they had come from and where they wanted to go.”\u003c/p>\n\u003cp>One night stood out, he says. “There was a group of Syrians hiding amongst the apple trees on the Serbian side of the border with Hungary, their challenge was to put as many people under the newly constructed razor wire fence. In the group there were some ten engineers that had taken a good look at the fence to see where they could cross so that they could get as many of their friends and family members into Hungary.”\u003c/p>\n\u003cp>Here’s more of Richardson’s account:\u003c/p>\n\u003cblockquote>\n\u003cp>“Like a finely tuned machine, they played cat and mouse with the Hungarian police. The police would come and go from near where the Syrian group was hiding. Each time the police showed up, they would try to fix the fence so that people would not go under. But each time the police would leave, the Syrian engineers would make another hole so that they could help as many people as possible get under the fence. The police continually returned to the same spot, but this time they were a little more verbal and angry. The police attempted to fix the new holes that the Syrian engineers had made. The police were yelling into the darkness in broken English, ‘do not come illegally into Hungary, go away we do not want you here, if we catch you, you will be arrested.’ They proceeded to spray pepper everywhere to prevent anyone from using this particular spot. Again the police moved on to check other areas they were having problems with. Once again the Syrian engineers, with tears in their eyes from the pepper spray, created another hole in the fence to allow more people to move forward into Hungary to get to Germany, as this is where they desperately wanted to be. Four hours on from when they started, they had helped more than 200 people go under the razor wire fence. Once everyone had passed under the fence, the Syrian engineers said their last good byes to me, and left as they were the last ones to go into the darkness of the night.”\u003c/p>\n\u003c/blockquote>\n\u003cp>It’s not clear if the man depicted in this photo was among this particular group of engineers. But it gives a sense of the atmosphere where this photo was taken.\u003c/p>\n\u003cp>In a press release from World Press Photo, Richardson says the photo was taken by moonlight, because a flash would give away their location to the police.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Richardson, who is currently based in Eastern Europe, \u003ca href=\"http://www.warrenrichardson.com/about\">says on his website\u003c/a> that his next project will involve walking to the Arctic Circle. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Haunting+Photo+Of+Migrants+Takes+World+Press+Photo%27s+Top+Prize&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "The winning image, taken by Australian photographer Warren Richardson, shows a man passing a baby through a razor-wire fence at the Hungarian-Serbian border.",
"status": "publish",
"parent": 0,
"modified": 1726771256,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 14,
"wordCount": 700
},
"headData": {
"title": "Haunting Photo of Migrants Takes World Press Photo's Top Prize | KQED",
"description": "The winning image, taken by Australian photographer Warren Richardson, shows a man passing a baby through a razor-wire fence at the Hungarian-Serbian border.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Haunting Photo of Migrants Takes World Press Photo's Top Prize",
"datePublished": "2016-02-18T12:00:05-08:00",
"dateModified": "2024-09-19T11:40:56-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Merrit Kennedy",
"nprImageAgency": "Warren Richardson via World Press Photo",
"nprStoryId": "467201434",
"nprApiLink": "http://api.npr.org/query?id=467201434&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "http://www.npr.org/sections/thetwo-way/2016/02/18/467201434/haunting-photo-of-migrants-takes-world-press-photos-top-prize?ft=nprml&f=467201434",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 18 Feb 2016 10:49:00 -0500",
"nprStoryDate": "Thu, 18 Feb 2016 10:49:52 -0500",
"nprLastModifiedDate": "Thu, 18 Feb 2016 10:49:52 -0500",
"path": "/arts/11338682/haunting-photo-of-migrants-takes-world-press-photos-top-prize",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>An image of man passing a baby under a fence at the Hungarian-Serbian border has taken top honors at this year’s World Press Photo of the Year.\u003c/p>\n\u003cp>The photo, titled “Hope for a New Life,” was taken by Australian photographer Warren Richardson and shows a man with his eyes set on the horizon, passing the infant under coils of razor-wire into outstretched arms in the moonlight.\u003c/p>\n\u003cp>Richardson took the photo in late August in Röszke, Hungary, which is on the border with Serbia. Hungarian police have \u003ca href=\"http://www.npr.org/2015/09/15/440477068/hungary-closes-border-with-serbia-vows-to-arrest-trespassers\" target=\"_blank\" rel=\"noopener\">routinely cracked down on\u003c/a> the massive flow of migrants fleeing from Syria, Iraq and other countries.\u003c/p>\n\u003cp>“It had such power because of its simplicity, especially the symbolism of the barbed wire,” general jury chair and Agence France-Press photo director Francis Kohn said \u003ca href=\"http://www.worldpressphoto.org/news/2016-02-18/world-press-photo-year-2015-goes-warren-richardson\" target=\"_blank\" rel=\"noopener\">in a press release from World Press Photo.\u003c/a>\u003c/p>\n\u003cp>“It’s subtle, and shows the emotion and the real feeling from the deep heart of a father just trying to hand over his baby to the world he was longing to be in,” adds jury member and director of new media development at Xinhua News Agency Huang Wen.\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>Richardson describes the experience of covering border crossings in this area over the course of five days \u003ca href=\"http://www.warrenrichardson.com/2957080-refugee-crisis-hungary\" target=\"_blank\" rel=\"noopener\">on his website\u003c/a>: “There were men, women and children, amputees, the sick, all with stories to tell about where they had come from and where they wanted to go.”\u003c/p>\n\u003cp>One night stood out, he says. “There was a group of Syrians hiding amongst the apple trees on the Serbian side of the border with Hungary, their challenge was to put as many people under the newly constructed razor wire fence. In the group there were some ten engineers that had taken a good look at the fence to see where they could cross so that they could get as many of their friends and family members into Hungary.”\u003c/p>\n\u003cp>Here’s more of Richardson’s account:\u003c/p>\n\u003cblockquote>\n\u003cp>“Like a finely tuned machine, they played cat and mouse with the Hungarian police. The police would come and go from near where the Syrian group was hiding. Each time the police showed up, they would try to fix the fence so that people would not go under. But each time the police would leave, the Syrian engineers would make another hole so that they could help as many people as possible get under the fence. The police continually returned to the same spot, but this time they were a little more verbal and angry. The police attempted to fix the new holes that the Syrian engineers had made. The police were yelling into the darkness in broken English, ‘do not come illegally into Hungary, go away we do not want you here, if we catch you, you will be arrested.’ They proceeded to spray pepper everywhere to prevent anyone from using this particular spot. Again the police moved on to check other areas they were having problems with. Once again the Syrian engineers, with tears in their eyes from the pepper spray, created another hole in the fence to allow more people to move forward into Hungary to get to Germany, as this is where they desperately wanted to be. Four hours on from when they started, they had helped more than 200 people go under the razor wire fence. Once everyone had passed under the fence, the Syrian engineers said their last good byes to me, and left as they were the last ones to go into the darkness of the night.”\u003c/p>\n\u003c/blockquote>\n\u003cp>It’s not clear if the man depicted in this photo was among this particular group of engineers. But it gives a sense of the atmosphere where this photo was taken.\u003c/p>\n\u003cp>In a press release from World Press Photo, Richardson says the photo was taken by moonlight, because a flash would give away their location to the police.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Richardson, who is currently based in Eastern Europe, \u003ca href=\"http://www.warrenrichardson.com/about\">says on his website\u003c/a> that his next project will involve walking to the Arctic Circle. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Haunting+Photo+Of+Migrants+Takes+World+Press+Photo%27s+Top+Prize&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11338682/haunting-photo-of-migrants-takes-world-press-photos-top-prize",
"authors": [
"byline_arts_11338682"
],
"categories": [
"arts_235",
"arts_70"
],
"tags": [
"arts_1118",
"arts_746",
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11338684",
"label": "arts_137"
},
"arts_11316204": {
"type": "posts",
"id": "arts_11316204",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11316204",
"score": null,
"sort": [
1455292854000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1455292854,
"format": "standard",
"title": "'Hail, Caesar!' Will Make You Miss Movies With Exclamation Points",
"headTitle": "‘Hail, Caesar!’ Will Make You Miss Movies With Exclamation Points | KQED",
"content": "\u003cp>\u003cem>Hail, Caesar!,\u003c/em> the 17th feature from indefatigable screenwriting, directing and (pseudo-nonamously) editing brothers Joel and Ethan Coen, is rated PG-13 for “suggestive content and smoking.” But save for one word — \u003cem>sodomy\u003c/em> — and a few less clinical terms that have long been allowed on network TV, this genial farce set in 1950s Hollywood could’ve almost passed muster under the Hays Code. It follows a frantic couple of days in the life of Eddie Mannix, head of Physical Production for Capitol Pictures. Any resemblance between this character and the historical Eddie Mannix, a legendary “fixer” for MGM Studios during Hollywood’s Golden Age, is purely … well, the Coens would prefer you not ask such boring questions. But for what it’s worth, movie-Mannix’s boss \u003cem>also\u003c/em> shares his name with a real-life showbiz mogul of antiquity, Nick Schenck.\u003c/p>\n\u003cp>While biographers and historians have \u003ca href=\"http://www.slate.com/articles/podcasts/you_must_remember_this/2015/11/eddie_mannix_mgm_s_fixer_and_the_scandal_of_patricia_douglas.html\">linked the real Mannix to any number of dark deeds\u003c/a>, his \u003cem>Hail, Caesar! \u003c/em>alter ego is, surprisingly, not such a bad guy. As embodied by Josh Brolin, a leading man’s man whose rugged charm was on full display in the Coens’ 2007 best picture-winner \u003cem>No Country for Old Men,\u003c/em> Eddie is wily enough to succeed in pictures, but decent so far as it goes: hardworking, fair to his employees, warm and respectful with his wife, a pragmatist with a conscience. (He’s availing himself of the Catholic sacrament of penance when we meet him, in point of fact.) But he’s no pushover: He keeps Capitol Pictures pictures on schedule and on budget, and Capitol Pictures stars out of jail and out of the papers. If that means manipulating reporters, or making the occasional on-the-spot cash contribution to the Patrolmen’s Benevolent Association, well, that’s life in the Dream Factory.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jfyaZ1FFZrM\u003c/p>\n\u003cp>Eddie finds his considerable problem-solving acumen tested when Baird Whitlock (game George Clooney, in his fourth Coen Bros. joint), the affable-but-dim star of Capitol’s in-production religious epic \u003cem>Hail, Caesar!\u003c/em>, is kidnapped. (Yes, \u003cem>Raising Arizona, Fargo\u003c/em> and \u003cem>The Big Lebowski\u003c/em> all turned on kidnappings, too. One suspects that both Coens carry ransom insurance.)\u003c/p>\n\u003cp>While Eddie hustles to recover his actor and to keep the incident under wraps, other production emergencies vie for his attention. For one thing, DeeAnna Moran (Scarlett Johnansson), the star of family “aquatic pictures” featuring Busby Berkeley-style choreography, is twice-divorced and the mother of a child by a third man — which means Eddie needs her to choose a spouse, pronto, for image-maintenance purposes. (After she’s pried out of her mermaid prosthetic, she gripes, “I don’t think I’m gonna fit back in that fish ass again.”) Then there’s the matter of British director Laurence Laurentz — played by Ralph Fiennes, whose walkabout into comedy in recent years is a boon to all humankind. Eddie has forced Laurentz to cast singing cowboy Hobie Doyle (Alden Ehrenreich, holding his own among much more famous company) in his Noel Coward-style Broadway adaptation \u003cem>Merrily We Dance\u003c/em>. Turns out Hobie isn’t nearly as comfortable gliding across a drawing room in a tuxedo as he is performing stunts on horseback.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While fighting all these fires, Eddie is also mulling a generous job offer from Lockheed Aircraft. More money, saner hours and, says the headhunter, a piece of the future. After all, who’s going to keep going to the pictures once every American home has a television set?\u003c/p>\n\u003cp>This frantic action pauses from time to time to allow the Coens to clear their throats on subjects that only filmmakers as frugal and revered as these two may touch: Whitlock soaks up his captors’ lectures on Marxism like a sponge — they’re a cabal of disgruntled screenwriters, naturally — while Eddie wrangles the panel of clerics and rabbis he’s convened to reassure him that \u003cem>Hail, Caesar!\u003c/em> will not offend any person of faith with its depiction of Jesus Christ. (Whether the extras hanging on crucifixes are entitled to hardship pay is the kind of matter Eddie can resolve himself.) But whatever point the Coens are trying to make about the pageantry of belief systems, they never sacrifice buoyancy to make it.\u003c/p>\n\u003cp>Appropriately for a yarn about The Industry, some of the best scenes hail from the films within the film. The best of these is \u003cem>No Dames!\u003c/em>, a sailors-on-shore-leave musical starring Bert Gurney (Channing Tatum, who is really a pretty good dancer. Who knew?). This long segment is even more homoerotic than the excerpts from \u003cem>Hail, Caesar!\u003c/em> — the Capitol Pictures Bible epic, I mean — and is easily the most delightful production number in a major motion picture since the Coens’ lifelong pal Sam Raimi shoehorned one into \u003cem>Spider-Man 3\u003c/em>. It’ll also make you miss the days long before the Age of Ultron, when movie titles had exclamation points instead of colons.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Hail, Caesar!\u003c/em> doesn’t have the weirdness of its authors’ other Old Hollywood film, 1991’s \u003cem>Barton Fink\u003c/em> (which also concerned the fictitious Capitol Pictures), or the weary soul of their prior feature, 2013’s haunting \u003cem>Inside Llewyn Davis\u003c/em>. Its pleasures are piecemeal and peculiar, like the way Sir Michael Gambon, the film’s narrator, elongates the phrase “in Westerly Malibu.” Or the way Tilda Swinton plays a pair of identical — and fiercely competitive — twin gossip columnists. Or the way that a work print of \u003cem>Hail, Caesar!\u003c/em> includes a title card reading DIVINE PRESENCE TO BE SHOT. They’re not the types to go fumbling for profundity, those Coens. Profoundly funny will do.\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 985,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 10
},
"modified": 1705045139,
"excerpt": "The 17th film from the Coen brothers stars George Clooney, Scarlett Johansson, Josh Brolin and lots more in a rollicking tale of Old Hollywood.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The 17th film from the Coen brothers stars George Clooney, Scarlett Johansson, Josh Brolin and lots more in a rollicking tale of Old Hollywood.",
"title": "'Hail, Caesar!' Will Make You Miss Movies With Exclamation Points | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Hail, Caesar!' Will Make You Miss Movies With Exclamation Points",
"datePublished": "2016-02-12T08:00:54-08:00",
"dateModified": "2024-01-11T23:38:59-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "hail-caesar-will-make-you-miss-movies-with-exclamation-points",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=465312506&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Chris Klimek",
"nprStoryDate": "Thu, 04 Feb 2016 18:00:00 -0500",
"nprLastModifiedDate": "Fri, 05 Feb 2016 14:07:03 -0500",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/2016/02/04/465312506/hail-caesar-will-make-you-miss-movies-with-exclamation-points?ft=nprml&f=465312506",
"nprImageAgency": "Courtesy of Working Title Films ",
"nprStoryId": "465312506",
"nprRetrievedStory": "1",
"nprPubDate": "Fri, 05 Feb 2016 14:07:00 -0500",
"path": "/arts/11316204/hail-caesar-will-make-you-miss-movies-with-exclamation-points",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Hail, Caesar!,\u003c/em> the 17th feature from indefatigable screenwriting, directing and (pseudo-nonamously) editing brothers Joel and Ethan Coen, is rated PG-13 for “suggestive content and smoking.” But save for one word — \u003cem>sodomy\u003c/em> — and a few less clinical terms that have long been allowed on network TV, this genial farce set in 1950s Hollywood could’ve almost passed muster under the Hays Code. It follows a frantic couple of days in the life of Eddie Mannix, head of Physical Production for Capitol Pictures. Any resemblance between this character and the historical Eddie Mannix, a legendary “fixer” for MGM Studios during Hollywood’s Golden Age, is purely … well, the Coens would prefer you not ask such boring questions. But for what it’s worth, movie-Mannix’s boss \u003cem>also\u003c/em> shares his name with a real-life showbiz mogul of antiquity, Nick Schenck.\u003c/p>\n\u003cp>While biographers and historians have \u003ca href=\"http://www.slate.com/articles/podcasts/you_must_remember_this/2015/11/eddie_mannix_mgm_s_fixer_and_the_scandal_of_patricia_douglas.html\">linked the real Mannix to any number of dark deeds\u003c/a>, his \u003cem>Hail, Caesar! \u003c/em>alter ego is, surprisingly, not such a bad guy. As embodied by Josh Brolin, a leading man’s man whose rugged charm was on full display in the Coens’ 2007 best picture-winner \u003cem>No Country for Old Men,\u003c/em> Eddie is wily enough to succeed in pictures, but decent so far as it goes: hardworking, fair to his employees, warm and respectful with his wife, a pragmatist with a conscience. (He’s availing himself of the Catholic sacrament of penance when we meet him, in point of fact.) But he’s no pushover: He keeps Capitol Pictures pictures on schedule and on budget, and Capitol Pictures stars out of jail and out of the papers. If that means manipulating reporters, or making the occasional on-the-spot cash contribution to the Patrolmen’s Benevolent Association, well, that’s life in the Dream Factory.\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/jfyaZ1FFZrM'\n title='//www.youtube.com/embed/jfyaZ1FFZrM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Eddie finds his considerable problem-solving acumen tested when Baird Whitlock (game George Clooney, in his fourth Coen Bros. joint), the affable-but-dim star of Capitol’s in-production religious epic \u003cem>Hail, Caesar!\u003c/em>, is kidnapped. (Yes, \u003cem>Raising Arizona, Fargo\u003c/em> and \u003cem>The Big Lebowski\u003c/em> all turned on kidnappings, too. One suspects that both Coens carry ransom insurance.)\u003c/p>\n\u003cp>While Eddie hustles to recover his actor and to keep the incident under wraps, other production emergencies vie for his attention. For one thing, DeeAnna Moran (Scarlett Johnansson), the star of family “aquatic pictures” featuring Busby Berkeley-style choreography, is twice-divorced and the mother of a child by a third man — which means Eddie needs her to choose a spouse, pronto, for image-maintenance purposes. (After she’s pried out of her mermaid prosthetic, she gripes, “I don’t think I’m gonna fit back in that fish ass again.”) Then there’s the matter of British director Laurence Laurentz — played by Ralph Fiennes, whose walkabout into comedy in recent years is a boon to all humankind. Eddie has forced Laurentz to cast singing cowboy Hobie Doyle (Alden Ehrenreich, holding his own among much more famous company) in his Noel Coward-style Broadway adaptation \u003cem>Merrily We Dance\u003c/em>. Turns out Hobie isn’t nearly as comfortable gliding across a drawing room in a tuxedo as he is performing stunts on horseback.\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>While fighting all these fires, Eddie is also mulling a generous job offer from Lockheed Aircraft. More money, saner hours and, says the headhunter, a piece of the future. After all, who’s going to keep going to the pictures once every American home has a television set?\u003c/p>\n\u003cp>This frantic action pauses from time to time to allow the Coens to clear their throats on subjects that only filmmakers as frugal and revered as these two may touch: Whitlock soaks up his captors’ lectures on Marxism like a sponge — they’re a cabal of disgruntled screenwriters, naturally — while Eddie wrangles the panel of clerics and rabbis he’s convened to reassure him that \u003cem>Hail, Caesar!\u003c/em> will not offend any person of faith with its depiction of Jesus Christ. (Whether the extras hanging on crucifixes are entitled to hardship pay is the kind of matter Eddie can resolve himself.) But whatever point the Coens are trying to make about the pageantry of belief systems, they never sacrifice buoyancy to make it.\u003c/p>\n\u003cp>Appropriately for a yarn about The Industry, some of the best scenes hail from the films within the film. The best of these is \u003cem>No Dames!\u003c/em>, a sailors-on-shore-leave musical starring Bert Gurney (Channing Tatum, who is really a pretty good dancer. Who knew?). This long segment is even more homoerotic than the excerpts from \u003cem>Hail, Caesar!\u003c/em> — the Capitol Pictures Bible epic, I mean — and is easily the most delightful production number in a major motion picture since the Coens’ lifelong pal Sam Raimi shoehorned one into \u003cem>Spider-Man 3\u003c/em>. It’ll also make you miss the days long before the Age of Ultron, when movie titles had exclamation points instead of colons.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Hail, Caesar!\u003c/em> doesn’t have the weirdness of its authors’ other Old Hollywood film, 1991’s \u003cem>Barton Fink\u003c/em> (which also concerned the fictitious Capitol Pictures), or the weary soul of their prior feature, 2013’s haunting \u003cem>Inside Llewyn Davis\u003c/em>. Its pleasures are piecemeal and peculiar, like the way Sir Michael Gambon, the film’s narrator, elongates the phrase “in Westerly Malibu.” Or the way Tilda Swinton plays a pair of identical — and fiercely competitive — twin gossip columnists. Or the way that a work print of \u003cem>Hail, Caesar!\u003c/em> includes a title card reading DIVINE PRESENCE TO BE SHOT. They’re not the types to go fumbling for profundity, those Coens. Profoundly funny will do.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11316204/hail-caesar-will-make-you-miss-movies-with-exclamation-points",
"authors": [
"byline_arts_11316204"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11316315",
"label": "arts_137"
},
"arts_11316452": {
"type": "posts",
"id": "arts_11316452",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11316452",
"score": null,
"sort": [
1455138000000
]
},
"guestAuthors": [],
"slug": "american-musicals-are-so-popular-in-paris-theyre-coming-back-to-the-u-s",
"title": "American Musicals are so Popular in Paris, They're Coming Back to the U.S.",
"publishDate": 1455138000,
"format": "standard",
"headTitle": "American Musicals are so Popular in Paris, They’re Coming Back to the U.S. | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>This week, the lights go down on another packed house at the \u003ca href=\"http://chatelet-theatre.com/en\" target=\"_blank\" rel=\"noopener\">Theatre du Chatelet\u003c/a>, the gilded\u003csup> \u003c/sup>19th century theater in Paris whose name has become synonymous with grand American musical productions. The latest hit is Cole Porter’s \u003cem>Kiss Me, Kate\u003c/em>, which ends a sold-out 10-day run this Friday.\u003c/p>\n\u003cp>Over the past decade, Parisians have relished such classics as \u003cem>Singin’ in the Rain\u003c/em>, \u003cem>The King and I\u003c/em> and \u003cem>The Sound of Music\u003c/em>, all performed in English by international casts at the Chatelet. The French can’t seem to get enough of the musical genre, says\u003ca href=\"http://chatelet-theatre.com/en/direction-generale\" target=\"_blank\" rel=\"noopener\"> Jean-Luc Choplin\u003c/a>, the theater’s director.\u003c/p>\n\u003cp>“We have done Rodgers and Hammerstein, Gershwin, Bernstein, Sondheim, but we had not done Cole Porter until now, and it was time,” he says. He calls \u003cem>Kiss Me, Kate\u003c/em> a fitting tribute to one of the “big five” American musical composers who was also inspired by the City of Light.\u003c/p>\n\u003cp>\u003cem>Kiss Me, Kate \u003c/em>is the story of an acting troupe in Baltimore putting on a performance of Shakespeare’s \u003cem>The Taming of the Shrew.\u003c/em> The Chatelet’s version is directed by \u003ca href=\"http://www.leeblakeley.com/home-page\" target=\"_blank\" rel=\"noopener\">Lee Blakeley\u003c/a>, a Briton known for his grand staging of international operas. As a show within a show, \u003cem>Kiss Me, Kate\u003c/em> is fun, Blakeley says — but complicated.\u003c/p>\n\u003cp>“But musicals, in general, are more complicated to put on,” he says. “They are more episodic than plays or operas. There are more scenes. And the cast is interdisciplinary — with different skills that come into focus at different times. We have actors who act, actors who sing, singers who dance, dancers who act.”\u003c/p>\n\u003cfigure id=\"attachment_11316454\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/02-kiss-me-kate-david-pittsinger-fred-graham-christine-buffle-lili-vanessi-c-th-tre-du-ch-telet-marie-no-lle-robert-3f014199e53185b4959bac420422663aea13ca76-1180x885.jpg\" alt=\"The current run in Paris of 'Kiss Me, Kate' ends this Friday.\" width=\"640\" height=\"480\" class=\"size-large wp-image-11316454\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/02-kiss-me-kate-david-pittsinger-fred-graham-christine-buffle-lili-vanessi-c-th-tre-du-ch-telet-marie-no-lle-robert-3f014199e53185b4959bac420422663aea13ca76-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/02-kiss-me-kate-david-pittsinger-fred-graham-christine-buffle-lili-vanessi-c-th-tre-du-ch-telet-marie-no-lle-robert-3f014199e53185b4959bac420422663aea13ca76-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/02-kiss-me-kate-david-pittsinger-fred-graham-christine-buffle-lili-vanessi-c-th-tre-du-ch-telet-marie-no-lle-robert-3f014199e53185b4959bac420422663aea13ca76-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/02-kiss-me-kate-david-pittsinger-fred-graham-christine-buffle-lili-vanessi-c-th-tre-du-ch-telet-marie-no-lle-robert-3f014199e53185b4959bac420422663aea13ca76-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/02-kiss-me-kate-david-pittsinger-fred-graham-christine-buffle-lili-vanessi-c-th-tre-du-ch-telet-marie-no-lle-robert-3f014199e53185b4959bac420422663aea13ca76-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/02-kiss-me-kate-david-pittsinger-fred-graham-christine-buffle-lili-vanessi-c-th-tre-du-ch-telet-marie-no-lle-robert-3f014199e53185b4959bac420422663aea13ca76-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The current run in Paris of ‘Kiss Me, Kate’ ends this Friday. \u003ccite>(Photo: Marie-Noëlle Robert /Courtesy of Théâtre du Châtelet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Blakeley has been a key part of the Chatelet’s musical success over the past six years, directing plays including \u003cem>Sunday in the Park with George\u003c/em> and \u003cem>The King and I\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Putting on a show at this theater is like nothing else, he says. “We have a massive stage, so we can create shows on a scale that’s hard to create anywhere else. Most stages are not this big in [London’s] West End or on Broadway. And it is such a glorious theater to perform in.”\u003c/p>\n\u003cp>Some of the Chatelet’s productions have been so well received, they’ve traveled back across the Atlantic — reaching new audiences in the U.S. and earning the Chatelet a name on Broadway.\u003c/p>\n\u003cp>“The quality coming out of Chatelet in the last few years is fantastic,” says Blakeley. “We’re now exporting American musicals back to America from Paris. Who would’ve thought that would happen?”\u003c/p>\n\u003cp>The Chatelet’s production of \u003cem>Sweeney Todd\u003c/em> was performed in Houston and San Francisco, and \u003cem>The King and I\u003c/em> played in Chicago. Choplin says he recently signed an agreement with \u003ca href=\"http://weinsteinco.com/about-us/harvey-weinstein/\" target=\"_blank\" rel=\"noopener\">Harvey Weinstein\u003c/a> to bring last year’s production of \u003cem>Singin’ in the Rain\u003c/em> to Broadway in 2017.\u003c/p>\n\u003cp>In 2014, the Chatelet teamed up with Broadway producers to create the world premiere stage version in Paris of the musical movie \u003cem>An American in Paris.\u003c/em> It went on to Broadway, where it won four Tony Awards and is still playing.\u003c/p>\n\u003cp>As a public theater, the Chatelet is subsidized by the city of Paris, something Choplin says gives him great leverage. “A producer coming to work with us doesn’t have to pay for the theater,” he says. “It is given with all of the personnel. And we do sets and costumes at a very competitive price because we have no overhead. So the conditions are fantastic. And there is time on stage to rehearse at no cost. For producers, that’s a great advantage.”\u003c/p>\n\u003cfigure id=\"attachment_11316455\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/01-kiss-me-kate-c-th-tre-du-ch-telet-marie-no-lle-rober0t-d00a23ad8996bf7f8cf145075b9e93ba95f53144-1180x885.jpg\" alt=\"'Kiss Me, Kate' is the story of an American acting troupe putting on a performance of Shakespeare's 'The Taming of the Shrew.' It's fun, says the Chatelet production's director — but complicated to stage.\" width=\"640\" height=\"480\" class=\"size-large wp-image-11316455\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/01-kiss-me-kate-c-th-tre-du-ch-telet-marie-no-lle-rober0t-d00a23ad8996bf7f8cf145075b9e93ba95f53144-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/01-kiss-me-kate-c-th-tre-du-ch-telet-marie-no-lle-rober0t-d00a23ad8996bf7f8cf145075b9e93ba95f53144-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/01-kiss-me-kate-c-th-tre-du-ch-telet-marie-no-lle-rober0t-d00a23ad8996bf7f8cf145075b9e93ba95f53144-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/01-kiss-me-kate-c-th-tre-du-ch-telet-marie-no-lle-rober0t-d00a23ad8996bf7f8cf145075b9e93ba95f53144-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/01-kiss-me-kate-c-th-tre-du-ch-telet-marie-no-lle-rober0t-d00a23ad8996bf7f8cf145075b9e93ba95f53144-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/01-kiss-me-kate-c-th-tre-du-ch-telet-marie-no-lle-rober0t-d00a23ad8996bf7f8cf145075b9e93ba95f53144-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">‘Kiss Me, Kate’ is the story of an American acting troupe putting on a performance of Shakespeare’s ‘The Taming of the Shrew.’ It’s fun, says the Chatelet production’s director — but complicated to stage. \u003ccite>(Photo: Marie-Noëlle Robert/Courtesy of Théâtre du Châtelet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Chatelet earns money when Choplin sells its first-rate productions abroad. It’s a public-private model that’s getting increasing attention in the world of musical theater.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Choplin began introducing Parisians to American musicals a decade ago. It’s all in keeping with the eclectic mix of performances the theater has featured \u003ca href=\"http://chatelet-theatre.com/en/un-peu-d-histoire\">since it opened in 1862\u003c/a>. The Chatelet serves as a bridge between art and entertainment, Choplin says. “We try to do things that are popular and sophisticated,” he says. “And I think we do them very cleverly, and with a kind of Parisian elegance.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=American+Musicals+Are+So+Popular+In+Paris%2C+They%27re+Coming+Back+To+The+U.S.&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "French audiences have flocked to Paris productions of American musicals like \u003cem>Kiss Me, Kate, \u003c/em>which closes this week. France's versions of some of these plays are also being exported back to the U.S.",
"status": "publish",
"parent": 0,
"modified": 1726788195,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 16,
"wordCount": 839
},
"headData": {
"title": "American Musicals are so Popular in Paris, They're Coming Back to the U.S. | KQED",
"description": "French audiences have flocked to Paris productions of American musicals like Kiss Me, Kate, which closes this week. France's versions of some of these plays are also being exported back to the U.S.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "American Musicals are so Popular in Paris, They're Coming Back to the U.S.",
"datePublished": "2016-02-10T13:00:00-08:00",
"dateModified": "2024-09-19T16:23:15-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprImageCredit": "Vincent Pontent",
"nprByline": "Eleanor Beardsley",
"nprImageAgency": "Courtesy of Théâtre du Châtelet",
"nprStoryId": "466012777",
"nprApiLink": "http://api.npr.org/query?id=466012777&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "http://www.npr.org/sections/parallels/2016/02/10/466012777/american-musicals-are-so-popular-in-paris-theyre-coming-back-to-the-u-s?ft=nprml&f=466012777",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 10 Feb 2016 13:45:00 -0500",
"nprStoryDate": "Wed, 10 Feb 2016 09:58:00 -0500",
"nprLastModifiedDate": "Wed, 10 Feb 2016 13:45:16 -0500",
"path": "/arts/11316452/american-musicals-are-so-popular-in-paris-theyre-coming-back-to-the-u-s",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This week, the lights go down on another packed house at the \u003ca href=\"http://chatelet-theatre.com/en\" target=\"_blank\" rel=\"noopener\">Theatre du Chatelet\u003c/a>, the gilded\u003csup> \u003c/sup>19th century theater in Paris whose name has become synonymous with grand American musical productions. The latest hit is Cole Porter’s \u003cem>Kiss Me, Kate\u003c/em>, which ends a sold-out 10-day run this Friday.\u003c/p>\n\u003cp>Over the past decade, Parisians have relished such classics as \u003cem>Singin’ in the Rain\u003c/em>, \u003cem>The King and I\u003c/em> and \u003cem>The Sound of Music\u003c/em>, all performed in English by international casts at the Chatelet. The French can’t seem to get enough of the musical genre, says\u003ca href=\"http://chatelet-theatre.com/en/direction-generale\" target=\"_blank\" rel=\"noopener\"> Jean-Luc Choplin\u003c/a>, the theater’s director.\u003c/p>\n\u003cp>“We have done Rodgers and Hammerstein, Gershwin, Bernstein, Sondheim, but we had not done Cole Porter until now, and it was time,” he says. He calls \u003cem>Kiss Me, Kate\u003c/em> a fitting tribute to one of the “big five” American musical composers who was also inspired by the City of Light.\u003c/p>\n\u003cp>\u003cem>Kiss Me, Kate \u003c/em>is the story of an acting troupe in Baltimore putting on a performance of Shakespeare’s \u003cem>The Taming of the Shrew.\u003c/em> The Chatelet’s version is directed by \u003ca href=\"http://www.leeblakeley.com/home-page\" target=\"_blank\" rel=\"noopener\">Lee Blakeley\u003c/a>, a Briton known for his grand staging of international operas. As a show within a show, \u003cem>Kiss Me, Kate\u003c/em> is fun, Blakeley says — but complicated.\u003c/p>\n\u003cp>“But musicals, in general, are more complicated to put on,” he says. “They are more episodic than plays or operas. There are more scenes. And the cast is interdisciplinary — with different skills that come into focus at different times. We have actors who act, actors who sing, singers who dance, dancers who act.”\u003c/p>\n\u003cfigure id=\"attachment_11316454\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/02-kiss-me-kate-david-pittsinger-fred-graham-christine-buffle-lili-vanessi-c-th-tre-du-ch-telet-marie-no-lle-robert-3f014199e53185b4959bac420422663aea13ca76-1180x885.jpg\" alt=\"The current run in Paris of 'Kiss Me, Kate' ends this Friday.\" width=\"640\" height=\"480\" class=\"size-large wp-image-11316454\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/02-kiss-me-kate-david-pittsinger-fred-graham-christine-buffle-lili-vanessi-c-th-tre-du-ch-telet-marie-no-lle-robert-3f014199e53185b4959bac420422663aea13ca76-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/02-kiss-me-kate-david-pittsinger-fred-graham-christine-buffle-lili-vanessi-c-th-tre-du-ch-telet-marie-no-lle-robert-3f014199e53185b4959bac420422663aea13ca76-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/02-kiss-me-kate-david-pittsinger-fred-graham-christine-buffle-lili-vanessi-c-th-tre-du-ch-telet-marie-no-lle-robert-3f014199e53185b4959bac420422663aea13ca76-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/02-kiss-me-kate-david-pittsinger-fred-graham-christine-buffle-lili-vanessi-c-th-tre-du-ch-telet-marie-no-lle-robert-3f014199e53185b4959bac420422663aea13ca76-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/02-kiss-me-kate-david-pittsinger-fred-graham-christine-buffle-lili-vanessi-c-th-tre-du-ch-telet-marie-no-lle-robert-3f014199e53185b4959bac420422663aea13ca76-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/02-kiss-me-kate-david-pittsinger-fred-graham-christine-buffle-lili-vanessi-c-th-tre-du-ch-telet-marie-no-lle-robert-3f014199e53185b4959bac420422663aea13ca76-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The current run in Paris of ‘Kiss Me, Kate’ ends this Friday. \u003ccite>(Photo: Marie-Noëlle Robert /Courtesy of Théâtre du Châtelet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Blakeley has been a key part of the Chatelet’s musical success over the past six years, directing plays including \u003cem>Sunday in the Park with George\u003c/em> and \u003cem>The King and I\u003c/em>.\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>Putting on a show at this theater is like nothing else, he says. “We have a massive stage, so we can create shows on a scale that’s hard to create anywhere else. Most stages are not this big in [London’s] West End or on Broadway. And it is such a glorious theater to perform in.”\u003c/p>\n\u003cp>Some of the Chatelet’s productions have been so well received, they’ve traveled back across the Atlantic — reaching new audiences in the U.S. and earning the Chatelet a name on Broadway.\u003c/p>\n\u003cp>“The quality coming out of Chatelet in the last few years is fantastic,” says Blakeley. “We’re now exporting American musicals back to America from Paris. Who would’ve thought that would happen?”\u003c/p>\n\u003cp>The Chatelet’s production of \u003cem>Sweeney Todd\u003c/em> was performed in Houston and San Francisco, and \u003cem>The King and I\u003c/em> played in Chicago. Choplin says he recently signed an agreement with \u003ca href=\"http://weinsteinco.com/about-us/harvey-weinstein/\" target=\"_blank\" rel=\"noopener\">Harvey Weinstein\u003c/a> to bring last year’s production of \u003cem>Singin’ in the Rain\u003c/em> to Broadway in 2017.\u003c/p>\n\u003cp>In 2014, the Chatelet teamed up with Broadway producers to create the world premiere stage version in Paris of the musical movie \u003cem>An American in Paris.\u003c/em> It went on to Broadway, where it won four Tony Awards and is still playing.\u003c/p>\n\u003cp>As a public theater, the Chatelet is subsidized by the city of Paris, something Choplin says gives him great leverage. “A producer coming to work with us doesn’t have to pay for the theater,” he says. “It is given with all of the personnel. And we do sets and costumes at a very competitive price because we have no overhead. So the conditions are fantastic. And there is time on stage to rehearse at no cost. For producers, that’s a great advantage.”\u003c/p>\n\u003cfigure id=\"attachment_11316455\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/01-kiss-me-kate-c-th-tre-du-ch-telet-marie-no-lle-rober0t-d00a23ad8996bf7f8cf145075b9e93ba95f53144-1180x885.jpg\" alt=\"'Kiss Me, Kate' is the story of an American acting troupe putting on a performance of Shakespeare's 'The Taming of the Shrew.' It's fun, says the Chatelet production's director — but complicated to stage.\" width=\"640\" height=\"480\" class=\"size-large wp-image-11316455\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/01-kiss-me-kate-c-th-tre-du-ch-telet-marie-no-lle-rober0t-d00a23ad8996bf7f8cf145075b9e93ba95f53144-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/01-kiss-me-kate-c-th-tre-du-ch-telet-marie-no-lle-rober0t-d00a23ad8996bf7f8cf145075b9e93ba95f53144-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/01-kiss-me-kate-c-th-tre-du-ch-telet-marie-no-lle-rober0t-d00a23ad8996bf7f8cf145075b9e93ba95f53144-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/01-kiss-me-kate-c-th-tre-du-ch-telet-marie-no-lle-rober0t-d00a23ad8996bf7f8cf145075b9e93ba95f53144-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/01-kiss-me-kate-c-th-tre-du-ch-telet-marie-no-lle-rober0t-d00a23ad8996bf7f8cf145075b9e93ba95f53144-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/01-kiss-me-kate-c-th-tre-du-ch-telet-marie-no-lle-rober0t-d00a23ad8996bf7f8cf145075b9e93ba95f53144-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">‘Kiss Me, Kate’ is the story of an American acting troupe putting on a performance of Shakespeare’s ‘The Taming of the Shrew.’ It’s fun, says the Chatelet production’s director — but complicated to stage. \u003ccite>(Photo: Marie-Noëlle Robert/Courtesy of Théâtre du Châtelet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Chatelet earns money when Choplin sells its first-rate productions abroad. It’s a public-private model that’s getting increasing attention in the world of musical theater.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Choplin began introducing Parisians to American musicals a decade ago. It’s all in keeping with the eclectic mix of performances the theater has featured \u003ca href=\"http://chatelet-theatre.com/en/un-peu-d-histoire\">since it opened in 1862\u003c/a>. The Chatelet serves as a bridge between art and entertainment, Choplin says. “We try to do things that are popular and sophisticated,” he says. “And I think we do them very cleverly, and with a kind of Parisian elegance.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=American+Musicals+Are+So+Popular+In+Paris%2C+They%27re+Coming+Back+To+The+U.S.&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11316452/american-musicals-are-so-popular-in-paris-theyre-coming-back-to-the-u-s",
"authors": [
"byline_arts_11316452"
],
"categories": [
"arts_967"
],
"tags": [
"arts_1119",
"arts_1118",
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11316453",
"label": "arts_137"
},
"arts_11314053": {
"type": "posts",
"id": "arts_11314053",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11314053",
"score": null,
"sort": [
1455058830000
]
},
"guestAuthors": [],
"slug": "luncheon-in-fur-the-surrealist-teacup-that-stirred-the-art-world",
"title": "'Luncheon In Fur': The Surrealist Teacup that Stirred the Art World",
"publishDate": 1455058830,
"format": "standard",
"headTitle": "‘Luncheon In Fur’: The Surrealist Teacup that Stirred the Art World | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>As the world celebrates one hundred years of dadaism, it is worth looking at how this “anti-art” art movement that started in a café in Zurich during World War I resulted in an iconic artwork involving that most humble object of tableware: the teacup.\u003c/p>\n\u003cp>In 1936, a 23-year-old Swiss artist named Meret Oppenheim bought a teacup, saucer and spoon from a department store in Paris and wrapped them in the cream-and-tan pelt of a Chinese gazelle. Her hirsute little offering became a defining artifact of surrealism — the art movement that sprang from dadaism’s flamboyant entrails.\u003c/p>\n\u003cp>Part of the sculpture’s appeal lay in the conversation that led to its creation.\u003c/p>\n\u003cp>One day in 1936, Oppenheim met her friends Pablo Picasso and his new lover, Dora Maar, at the Café de Flore, the modish Paris coffeehouse that was a regular haunt of artists. Beautiful, witty and fiercely independent, Oppenheim had been living in Paris for the last four years. She had scarcely managed to sell her art, but made a modest income by designing jewelry and accessories for the trailblazing fashion designer Elsa Schiaparelli, known for her shoe-shaped hats and telephone-shaped purses. As part of the surrealist set, Oppenheim had posed nude for Man Ray’s camera and had recently ended a passionate yearlong love affair with the German painter Max Ernst, suddenly calling it off over lunch at a café.\u003c/p>\n\u003cp>Cafes would play an important role in her life. The story goes that at the Café de Flore, Picasso commented on Oppenheim’s bracelet – a broad round brass cuff wrapped in ocelot fur that she had designed the previous year for Schiaparelli. Picasso remarked that one could cover anything with fur. “Even this plate and this cup here,” Oppenheim replied. Then, when she found that her tea was cooling, she jokingly asked the waiter for “\u003cem>un peu plus de fourrure\u003c/em>” — or “a little more fur” — to swaddle her cup.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Shortly afterward, Oppenheim went to the department store in what would become the most famous shopping trip of her career. In her studio, she artfully wrapped the items in such a way that the tan formed a dark border around the teacup’s outer rim to match the saucer, while the body of the cup itself was offset in creamy white.\u003c/p>\n\u003cp>André Breton, the founder of surrealism, was enchanted. Here was an artwork that chimed with his declaration that “beauty will be convulsive or will not be at all.” He called it \u003cem>Le Déjeuner en fourrure\u003c/em> (\u003cem>L\u003c/em>\u003cem>uncheon\u003c/em>\u003cem> in Fur\u003c/em>, though in English it is also known as \u003cem>Breakfast in Fur\u003c/em>) and exhibited it that year at the first surrealist exhibition dedicated to objects.\u003c/p>\n\u003cp>As the talking point of the show, the sculpture became the receptacle of all kinds of theories, fears and longings. This being the age of Freud, a gastro-sexual interpretation was inescapable: the spoon was phallic, the cup vaginal, the hair pubic. For some, the tongue-shaped spoon brought to mind unpleasant sensations of a furry tongue. Others experienced unease at seeing a graceful item of the tea table transformed into something decadent and animalistic; some gagged at the thought of getting a hair or damp tea leaves in their mouth; still others wanted to stroke it.\u003c/p>\n\u003cp>Oppenheim’s friend and mentor Marcel Duchamp had achieved something similar in 1919, when he took a postcard picture of the Mona Lisa and crayoned a black mustache and beard on her smooth face. But while his hairy additions had a comical effect, Oppenheim’s were creepier, more visceral.\u003c/p>\n\u003cp>Among those impressed was Alfred J. Barr Jr., the young director of New York’s newly established Museum of Modern Art. When Oppenheim expressed a willingness to sell the work for a thousand French francs, he offered roughly half that amount, $50, and she agreed. Since this was the first work by a woman the museum acquired, Oppenheim is playfully called the First Lady of MoMA.\u003c/p>\n\u003cp>For Oppenheim, the unexpected success had mixed results. The fur cup became “her prison,” according to her niece, Lisa Wenger. The next year, having run out of funds – $50 didn’t last very long – and with the Nazis on the rise, Oppenheim went back to Switzerland. “She lives in Basel, bloody hates it,” Wenger said at a \u003ca href=\"https://www.youtube.com/watch?v=XShlnmkwbck\">talk\u003c/a> she gave at the 2013 Art Basel fair. “It was small compared to Paris, and conventional; people think she’s weird because she wears one green and one red stocking.”\u003c/p>\n\u003cp>It was the start of a 17-year-long depression, according to Wenger. Oppenheim was in any case vulnerable to bouts of anxiety and melancholy, and in the year before she created her fur cup, she had been sent by her doctor father to consult the great Carl Jung. His assessment, as he wrote to her father, was that Oppenheim reflected the “youthful disorientation of our era” and did not appear to have “any neurotic complication.”\u003c/p>\n\u003cp>As part of MoMA’s permanent collection, Oppenheim’s furry – if balding — ensemble continues to trigger reactions that are as intense as those elicited all those years ago in Paris.\u003c/p>\n\u003cfigure id=\"attachment_11314054\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/meret_enl-5e2d6b46be21fd6655d07a453bd5c5242d432187.jpg\" alt=\"A picture of Meret Oppenheim's September 1935 design notes for the prototype of her brass and ocelot fur bracelet. Pablo Picasso's comment about the bracelet may have inspired Oppenheim to wrap a teacup, saucer and spoon in fur as well\" width=\"960\" height=\"258\" class=\"size-full wp-image-11314054\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/meret_enl-5e2d6b46be21fd6655d07a453bd5c5242d432187.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/meret_enl-5e2d6b46be21fd6655d07a453bd5c5242d432187-400x108.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/meret_enl-5e2d6b46be21fd6655d07a453bd5c5242d432187-800x215.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/meret_enl-5e2d6b46be21fd6655d07a453bd5c5242d432187-768x206.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">A picture of Meret Oppenheim’s September 1935 design notes for the prototype of her brass and ocelot fur bracelet. Pablo Picasso’s comment about the bracelet may have inspired Oppenheim to wrap a teacup, saucer and spoon in fur as well \u003ccite>(Courtesy: Hans-Jörg Walter/Gems and Ladders)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the art critic Will Gompertz writes in his 2012 book \u003cem>What Are You Looking At?,\u003c/em> “Two incompatible materials have been brought together to create one troubling vessel. Fur is pleasing to touch, but horrible when you put it in your mouth. You want to drink from the cup and eat from the spoon — that is their purpose — but the sensation of the fur is too repulsive. It’s a maddening cycle.”\u003c/p>\n\u003cp>At the MoMa, the sculpture is known by the unadorned title that Oppenheim gave it: \u003cem>Object \u003c/em>\u003cem> \u003c/em>\u003cem>—\u003c/em> not \u003cem>Luncheon in Fur,\u003c/em> which was the sensual name Breton chose. His idea was to reference not only Edouard Manet’s famous painting \u003cem>Le Déjeuner\u003c/em> \u003cem>sur l’herbe\u003c/em> (“\u003ca href=\"https://en.wikipedia.org/wiki/Le_D%C3%A9jeuner_sur_l%E2%80%99herbe\">The Luncheon on the Grass\u003c/a>“), but also, more cannily, \u003cem>Venus in Furs, \u003c/em>the 1870 sadomasochistic novella by the Austrian writer Leopold von Sacher-Masoch (whose surname is the root of the word masochistic).\u003c/p>\n\u003cp>Oppenheim, no prude by any standard, maintained that she had neither whips nor chains in mind when she was dressing up her tea things. All she had wanted was to take something familiar and make it strange.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Fortunately, she didn’t design \u003cem>Object\u003c/em> today. It might have been called \u003cem>Fifty Shades of Earl Grey.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Luncheon+In+Fur%27%3A+The+Surrealist+Teacup+That+Stirred+The+Art+World+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "In 1936, the surrealist Meret Oppenheim wrapped a teacup, saucer and spoon in fur. In the age of Freud, a gastro-sexual interpretation was inescapable. Even today, the work triggers intense reactions.",
"status": "publish",
"parent": 0,
"modified": 1726710377,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 19,
"wordCount": 1187
},
"headData": {
"title": "'Luncheon In Fur': The Surrealist Teacup that Stirred the Art World | KQED",
"description": "In 1936, the surrealist Meret Oppenheim wrapped a teacup, saucer and spoon in fur. In the age of Freud, a gastro-sexual interpretation was inescapable. Even today, the work triggers intense reactions.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Luncheon In Fur': The Surrealist Teacup that Stirred the Art World",
"datePublished": "2016-02-09T15:00:30-08:00",
"dateModified": "2024-09-18T18:46:17-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Nina Martyris",
"nprStoryId": "466061492",
"nprApiLink": "http://api.npr.org/query?id=466061492&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "http://www.npr.org/sections/thesalt/2016/02/09/466061492/luncheon-in-fur-the-surrealist-tea-cup-that-stirred-the-art-world?ft=nprml&f=466061492",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 09 Feb 2016 16:39:00 -0500",
"nprStoryDate": "Tue, 09 Feb 2016 15:03:00 -0500",
"nprLastModifiedDate": "Tue, 09 Feb 2016 16:39:06 -0500",
"path": "/arts/11314053/luncheon-in-fur-the-surrealist-teacup-that-stirred-the-art-world",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As the world celebrates one hundred years of dadaism, it is worth looking at how this “anti-art” art movement that started in a café in Zurich during World War I resulted in an iconic artwork involving that most humble object of tableware: the teacup.\u003c/p>\n\u003cp>In 1936, a 23-year-old Swiss artist named Meret Oppenheim bought a teacup, saucer and spoon from a department store in Paris and wrapped them in the cream-and-tan pelt of a Chinese gazelle. Her hirsute little offering became a defining artifact of surrealism — the art movement that sprang from dadaism’s flamboyant entrails.\u003c/p>\n\u003cp>Part of the sculpture’s appeal lay in the conversation that led to its creation.\u003c/p>\n\u003cp>One day in 1936, Oppenheim met her friends Pablo Picasso and his new lover, Dora Maar, at the Café de Flore, the modish Paris coffeehouse that was a regular haunt of artists. Beautiful, witty and fiercely independent, Oppenheim had been living in Paris for the last four years. She had scarcely managed to sell her art, but made a modest income by designing jewelry and accessories for the trailblazing fashion designer Elsa Schiaparelli, known for her shoe-shaped hats and telephone-shaped purses. As part of the surrealist set, Oppenheim had posed nude for Man Ray’s camera and had recently ended a passionate yearlong love affair with the German painter Max Ernst, suddenly calling it off over lunch at a café.\u003c/p>\n\u003cp>Cafes would play an important role in her life. The story goes that at the Café de Flore, Picasso commented on Oppenheim’s bracelet – a broad round brass cuff wrapped in ocelot fur that she had designed the previous year for Schiaparelli. Picasso remarked that one could cover anything with fur. “Even this plate and this cup here,” Oppenheim replied. Then, when she found that her tea was cooling, she jokingly asked the waiter for “\u003cem>un peu plus de fourrure\u003c/em>” — or “a little more fur” — to swaddle her cup.\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>Shortly afterward, Oppenheim went to the department store in what would become the most famous shopping trip of her career. In her studio, she artfully wrapped the items in such a way that the tan formed a dark border around the teacup’s outer rim to match the saucer, while the body of the cup itself was offset in creamy white.\u003c/p>\n\u003cp>André Breton, the founder of surrealism, was enchanted. Here was an artwork that chimed with his declaration that “beauty will be convulsive or will not be at all.” He called it \u003cem>Le Déjeuner en fourrure\u003c/em> (\u003cem>L\u003c/em>\u003cem>uncheon\u003c/em>\u003cem> in Fur\u003c/em>, though in English it is also known as \u003cem>Breakfast in Fur\u003c/em>) and exhibited it that year at the first surrealist exhibition dedicated to objects.\u003c/p>\n\u003cp>As the talking point of the show, the sculpture became the receptacle of all kinds of theories, fears and longings. This being the age of Freud, a gastro-sexual interpretation was inescapable: the spoon was phallic, the cup vaginal, the hair pubic. For some, the tongue-shaped spoon brought to mind unpleasant sensations of a furry tongue. Others experienced unease at seeing a graceful item of the tea table transformed into something decadent and animalistic; some gagged at the thought of getting a hair or damp tea leaves in their mouth; still others wanted to stroke it.\u003c/p>\n\u003cp>Oppenheim’s friend and mentor Marcel Duchamp had achieved something similar in 1919, when he took a postcard picture of the Mona Lisa and crayoned a black mustache and beard on her smooth face. But while his hairy additions had a comical effect, Oppenheim’s were creepier, more visceral.\u003c/p>\n\u003cp>Among those impressed was Alfred J. Barr Jr., the young director of New York’s newly established Museum of Modern Art. When Oppenheim expressed a willingness to sell the work for a thousand French francs, he offered roughly half that amount, $50, and she agreed. Since this was the first work by a woman the museum acquired, Oppenheim is playfully called the First Lady of MoMA.\u003c/p>\n\u003cp>For Oppenheim, the unexpected success had mixed results. The fur cup became “her prison,” according to her niece, Lisa Wenger. The next year, having run out of funds – $50 didn’t last very long – and with the Nazis on the rise, Oppenheim went back to Switzerland. “She lives in Basel, bloody hates it,” Wenger said at a \u003ca href=\"https://www.youtube.com/watch?v=XShlnmkwbck\">talk\u003c/a> she gave at the 2013 Art Basel fair. “It was small compared to Paris, and conventional; people think she’s weird because she wears one green and one red stocking.”\u003c/p>\n\u003cp>It was the start of a 17-year-long depression, according to Wenger. Oppenheim was in any case vulnerable to bouts of anxiety and melancholy, and in the year before she created her fur cup, she had been sent by her doctor father to consult the great Carl Jung. His assessment, as he wrote to her father, was that Oppenheim reflected the “youthful disorientation of our era” and did not appear to have “any neurotic complication.”\u003c/p>\n\u003cp>As part of MoMA’s permanent collection, Oppenheim’s furry – if balding — ensemble continues to trigger reactions that are as intense as those elicited all those years ago in Paris.\u003c/p>\n\u003cfigure id=\"attachment_11314054\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/meret_enl-5e2d6b46be21fd6655d07a453bd5c5242d432187.jpg\" alt=\"A picture of Meret Oppenheim's September 1935 design notes for the prototype of her brass and ocelot fur bracelet. Pablo Picasso's comment about the bracelet may have inspired Oppenheim to wrap a teacup, saucer and spoon in fur as well\" width=\"960\" height=\"258\" class=\"size-full wp-image-11314054\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/meret_enl-5e2d6b46be21fd6655d07a453bd5c5242d432187.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/meret_enl-5e2d6b46be21fd6655d07a453bd5c5242d432187-400x108.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/meret_enl-5e2d6b46be21fd6655d07a453bd5c5242d432187-800x215.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/meret_enl-5e2d6b46be21fd6655d07a453bd5c5242d432187-768x206.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">A picture of Meret Oppenheim’s September 1935 design notes for the prototype of her brass and ocelot fur bracelet. Pablo Picasso’s comment about the bracelet may have inspired Oppenheim to wrap a teacup, saucer and spoon in fur as well \u003ccite>(Courtesy: Hans-Jörg Walter/Gems and Ladders)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the art critic Will Gompertz writes in his 2012 book \u003cem>What Are You Looking At?,\u003c/em> “Two incompatible materials have been brought together to create one troubling vessel. Fur is pleasing to touch, but horrible when you put it in your mouth. You want to drink from the cup and eat from the spoon — that is their purpose — but the sensation of the fur is too repulsive. It’s a maddening cycle.”\u003c/p>\n\u003cp>At the MoMa, the sculpture is known by the unadorned title that Oppenheim gave it: \u003cem>Object \u003c/em>\u003cem> \u003c/em>\u003cem>—\u003c/em> not \u003cem>Luncheon in Fur,\u003c/em> which was the sensual name Breton chose. His idea was to reference not only Edouard Manet’s famous painting \u003cem>Le Déjeuner\u003c/em> \u003cem>sur l’herbe\u003c/em> (“\u003ca href=\"https://en.wikipedia.org/wiki/Le_D%C3%A9jeuner_sur_l%E2%80%99herbe\">The Luncheon on the Grass\u003c/a>“), but also, more cannily, \u003cem>Venus in Furs, \u003c/em>the 1870 sadomasochistic novella by the Austrian writer Leopold von Sacher-Masoch (whose surname is the root of the word masochistic).\u003c/p>\n\u003cp>Oppenheim, no prude by any standard, maintained that she had neither whips nor chains in mind when she was dressing up her tea things. All she had wanted was to take something familiar and make it strange.\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>Fortunately, she didn’t design \u003cem>Object\u003c/em> today. It might have been called \u003cem>Fifty Shades of Earl Grey.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Luncheon+In+Fur%27%3A+The+Surrealist+Teacup+That+Stirred+The+Art+World+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11314053/luncheon-in-fur-the-surrealist-teacup-that-stirred-the-art-world",
"authors": [
"byline_arts_11314053"
],
"categories": [
"arts_70"
],
"tags": [
"arts_1119",
"arts_1118",
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11314057",
"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": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?affiliate=npr": {
"isFetching": false,
"latestQuery": {
"from": 2160,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 2506,
"relation": "eq"
},
"items": [
"arts_11412346",
"arts_11403573",
"arts_11392000",
"arts_11389762",
"arts_11378345",
"arts_11377501",
"arts_11359160",
"arts_11336204",
"arts_11338682",
"arts_11316204",
"arts_11316452",
"arts_11314053"
],
"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_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_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_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_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_1377": {
"type": "terms",
"id": "arts_1377",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1377",
"found": true
},
"relationships": {},
"featImg": null,
"name": "NPR",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "NPR Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1389,
"slug": "npr",
"isLoading": false,
"link": "/arts/tag/npr"
},
"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_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_1376": {
"type": "terms",
"id": "arts_1376",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1376",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Harry Potter",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Harry Potter Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1388,
"slug": "harry-potter",
"isLoading": false,
"link": "/arts/tag/harry-potter"
},
"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_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_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_746": {
"type": "terms",
"id": "arts_746",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "746",
"found": true
},
"relationships": {},
"featImg": null,
"name": "news",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "news Archives | KQED Arts",
"ogDescription": null
},
"ttid": 764,
"slug": "news-2",
"isLoading": false,
"link": "/arts/tag/news-2"
},
"arts_967": {
"type": "terms",
"id": "arts_967",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "967",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Theater",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Theater Archives | KQED Arts",
"ogDescription": null
},
"ttid": 985,
"slug": "theater",
"isLoading": false,
"link": "/arts/category/theater"
},
"arts_1119": {
"type": "terms",
"id": "arts_1119",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1119",
"found": true
},
"relationships": {},
"featImg": null,
"name": "feature",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "feature Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1136,
"slug": "feature",
"isLoading": false,
"link": "/arts/tag/feature"
}
},
"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
}
}
