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_11481810": {
"type": "attachments",
"id": "arts_11481810",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11481810",
"found": true
},
"parent": 11481809,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/notfilm000-08b61930353ac53acebb51fa5cb3596df630103b-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/notfilm000-08b61930353ac53acebb51fa5cb3596df630103b-400x300.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 300
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/notfilm000-08b61930353ac53acebb51fa5cb3596df630103b-960x720.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 720
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/notfilm000-08b61930353ac53acebb51fa5cb3596df630103b-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/notfilm000-08b61930353ac53acebb51fa5cb3596df630103b.jpg",
"width": 3000,
"height": 2249
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/notfilm000-08b61930353ac53acebb51fa5cb3596df630103b-1180x885.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 885
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/notfilm000-08b61930353ac53acebb51fa5cb3596df630103b-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/notfilm000-08b61930353ac53acebb51fa5cb3596df630103b-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/notfilm000-08b61930353ac53acebb51fa5cb3596df630103b-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/notfilm000-08b61930353ac53acebb51fa5cb3596df630103b-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/notfilm000-08b61930353ac53acebb51fa5cb3596df630103b-1920x1439.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1439
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/notfilm000-08b61930353ac53acebb51fa5cb3596df630103b-1180x885.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 885
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/notfilm000-08b61930353ac53acebb51fa5cb3596df630103b-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/notfilm000-08b61930353ac53acebb51fa5cb3596df630103b-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/notfilm000-08b61930353ac53acebb51fa5cb3596df630103b-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1460309750,
"modified": 1460309750,
"caption": null,
"description": "Buster Keaton stars in \u003cem>Film\u003c/em>, Samuel Beckett's only foray onto the big screen.",
"title": "Buster Keaton stars in Film, Samuel Beckett's only foray onto the big screen.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11476860": {
"type": "attachments",
"id": "arts_11476860",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11476860",
"found": true
},
"parent": 11476735,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Bruce-SpringsteenCROP-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Bruce-SpringsteenCROP-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Bruce-SpringsteenCROP.jpg",
"width": 800,
"height": 450
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Bruce-SpringsteenCROP-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Bruce-SpringsteenCROP-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Bruce-SpringsteenCROP-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Bruce-SpringsteenCROP-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Bruce-SpringsteenCROP-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Bruce-SpringsteenCROP-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Bruce-SpringsteenCROP-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1460162271,
"modified": 1460162346,
"caption": "Bruce Springsteen performs onstage at Madison Square Garden on March 28, 2016 in New York City. ",
"description": "Bruce Springsteen performs onstage at Madison Square Garden on March 28, 2016 in New York City. ",
"title": "Bruce Springsteen In Concert - New York, New York",
"credit": "Photo: Jamie McCarthy/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11470857": {
"type": "attachments",
"id": "arts_11470857",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11470857",
"found": true
},
"parent": 11470844,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/GoldenCover-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/GoldenCover-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/GoldenCover-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/GoldenCover-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/GoldenCover.jpg",
"width": 1152,
"height": 648
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/GoldenCover-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/GoldenCover-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/GoldenCover-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/GoldenCover-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/GoldenCover-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/GoldenCover-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/GoldenCover-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1459987330,
"modified": 1459987365,
"caption": "Lou Roy-Lecollinet and Quentin Dolmaire in 'My Golden Days.'",
"description": null,
"title": "43564wtw",
"credit": "Courtesy of Magnolia Pictures",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11456605": {
"type": "attachments",
"id": "arts_11456605",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11456605",
"found": true
},
"parent": 11456604,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/19milesdavis2_custom-6529eef46c43ebae4be104a0cc0c76eb1989fd74-e1459554841546-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/19milesdavis2_custom-6529eef46c43ebae4be104a0cc0c76eb1989fd74-e1459554841546-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/19milesdavis2_custom-6529eef46c43ebae4be104a0cc0c76eb1989fd74-e1459554841546-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/19milesdavis2_custom-6529eef46c43ebae4be104a0cc0c76eb1989fd74-e1459554841546-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/19milesdavis2_custom-6529eef46c43ebae4be104a0cc0c76eb1989fd74-e1459554841546.jpg",
"width": 2604,
"height": 1464
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/19milesdavis2_custom-6529eef46c43ebae4be104a0cc0c76eb1989fd74-e1459554841546-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/19milesdavis2_custom-6529eef46c43ebae4be104a0cc0c76eb1989fd74-e1459554841546-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/19milesdavis2_custom-6529eef46c43ebae4be104a0cc0c76eb1989fd74-e1459554841546-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/19milesdavis2_custom-6529eef46c43ebae4be104a0cc0c76eb1989fd74-e1459554841546-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/19milesdavis2_custom-6529eef46c43ebae4be104a0cc0c76eb1989fd74-e1459554841546-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/19milesdavis2_custom-6529eef46c43ebae4be104a0cc0c76eb1989fd74-e1459554841546-1920x1079.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1079
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/19milesdavis2_custom-6529eef46c43ebae4be104a0cc0c76eb1989fd74-e1459554841546-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/19milesdavis2_custom-6529eef46c43ebae4be104a0cc0c76eb1989fd74-e1459554841546-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/19milesdavis2_custom-6529eef46c43ebae4be104a0cc0c76eb1989fd74-e1459554841546-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/19milesdavis2_custom-6529eef46c43ebae4be104a0cc0c76eb1989fd74-e1459554841546-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1459554682,
"modified": 1459554938,
"caption": "Don Cheadle as Miles Davis in 'Miles Ahead.'",
"description": "Don Cheadle as Miles Davis in 'Miles Ahead.'",
"title": "Don Cheadle as Miles Davis in Miles Ahead.",
"credit": "Photo: Courtesy of Sony Pictures Classics",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11445937": {
"type": "attachments",
"id": "arts_11445937",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11445937",
"found": true
},
"parent": 11445936,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/marguerite_sm3_wide-485bf58c5d9074d736c1904fe8574c4dee4b8865-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/marguerite_sm3_wide-485bf58c5d9074d736c1904fe8574c4dee4b8865-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/marguerite_sm3_wide-485bf58c5d9074d736c1904fe8574c4dee4b8865-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/marguerite_sm3_wide-485bf58c5d9074d736c1904fe8574c4dee4b8865-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/marguerite_sm3_wide-485bf58c5d9074d736c1904fe8574c4dee4b8865-e1459231351960.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/marguerite_sm3_wide-485bf58c5d9074d736c1904fe8574c4dee4b8865-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/marguerite_sm3_wide-485bf58c5d9074d736c1904fe8574c4dee4b8865-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/marguerite_sm3_wide-485bf58c5d9074d736c1904fe8574c4dee4b8865-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/marguerite_sm3_wide-485bf58c5d9074d736c1904fe8574c4dee4b8865-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/marguerite_sm3_wide-485bf58c5d9074d736c1904fe8574c4dee4b8865-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/marguerite_sm3_wide-485bf58c5d9074d736c1904fe8574c4dee4b8865-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/marguerite_sm3_wide-485bf58c5d9074d736c1904fe8574c4dee4b8865-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/marguerite_sm3_wide-485bf58c5d9074d736c1904fe8574c4dee4b8865-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/marguerite_sm3_wide-485bf58c5d9074d736c1904fe8574c4dee4b8865-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/marguerite_sm3_wide-485bf58c5d9074d736c1904fe8574c4dee4b8865-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1459231177,
"modified": 1459231399,
"caption": "Catherine Frot plays an opera-loving socialite in 'Marguerite.'",
"description": null,
"title": "Catherine Frot plays an opera-loving socialite in Marguerite. (Also pictured: Denis Mpunga)",
"credit": "Courtesy of Cohen Media Group",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11444589": {
"type": "attachments",
"id": "arts_11444589",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11444589",
"found": true
},
"parent": 11444584,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/lkimg_2933_custom-12af31a8cb0e32b6d672f27c88d8e9c9b565bab2-e1459191289973-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/lkimg_2933_custom-12af31a8cb0e32b6d672f27c88d8e9c9b565bab2-e1459191289973-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/lkimg_2933_custom-12af31a8cb0e32b6d672f27c88d8e9c9b565bab2-e1459191289973-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/lkimg_2933_custom-12af31a8cb0e32b6d672f27c88d8e9c9b565bab2-e1459191289973-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/lkimg_2933_custom-12af31a8cb0e32b6d672f27c88d8e9c9b565bab2-e1459191289973.jpg",
"width": 5293,
"height": 2977
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/lkimg_2933_custom-12af31a8cb0e32b6d672f27c88d8e9c9b565bab2-e1459191289973-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/lkimg_2933_custom-12af31a8cb0e32b6d672f27c88d8e9c9b565bab2-e1459191289973-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/lkimg_2933_custom-12af31a8cb0e32b6d672f27c88d8e9c9b565bab2-e1459191289973-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/lkimg_2933_custom-12af31a8cb0e32b6d672f27c88d8e9c9b565bab2-e1459191289973-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/lkimg_2933_custom-12af31a8cb0e32b6d672f27c88d8e9c9b565bab2-e1459191289973-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/lkimg_2933_custom-12af31a8cb0e32b6d672f27c88d8e9c9b565bab2-e1459191289973-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/lkimg_2933_custom-12af31a8cb0e32b6d672f27c88d8e9c9b565bab2-e1459191289973-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/lkimg_2933_custom-12af31a8cb0e32b6d672f27c88d8e9c9b565bab2-e1459191289973-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/lkimg_2933_custom-12af31a8cb0e32b6d672f27c88d8e9c9b565bab2-e1459191289973-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/lkimg_2933_custom-12af31a8cb0e32b6d672f27c88d8e9c9b565bab2-e1459191289973-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1459190361,
"modified": 1459191192,
"caption": "An interior view of the fictional Selig family's house. Here, in the kitchen, a portal — one of many — leads out of the house into the otherworldly bey",
"description": "An interior view of the fictional Selig family's house. Here, in the kitchen, a portal — one of many — leads out of the house into the otherworldly bey",
"title": "An interior view of the fictional Selig family's house. Here, in the kitchen, a portal — one of many — leads out of the house into the otherworldly beyond.",
"credit": "Photo: Lindsey Kennedy/Courtesy of Meow Wolf\t ",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11434977": {
"type": "attachments",
"id": "arts_11434977",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11434977",
"found": true
},
"parent": 11434971,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/BatSuper-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/BatSuper-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/BatSuper-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/BatSuper-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/BatSuper.jpg",
"width": 1600,
"height": 900
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/BatSuper-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/BatSuper-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/BatSuper-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/BatSuper-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/BatSuper-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/BatSuper-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/BatSuper-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/BatSuper-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/BatSuper-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1458891569,
"modified": 1458891598,
"caption": "Ben Affleck as Batman and Henry Cavill as Superman in 'Batman v Superman: Dawn of Justice.'\n",
"description": null,
"title": "BatSuper",
"credit": "Clay Enos/Courtesy of Warner Brothers",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"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
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"byline_arts_11481809": {
"type": "authors",
"id": "byline_arts_11481809",
"meta": {
"override": true
},
"slug": "byline_arts_11481809",
"name": "Howie Movshovitz",
"isLoading": false
},
"byline_arts_11476735": {
"type": "authors",
"id": "byline_arts_11476735",
"meta": {
"override": true
},
"slug": "byline_arts_11476735",
"name": "Laura Wagner",
"isLoading": false
},
"byline_arts_11470844": {
"type": "authors",
"id": "byline_arts_11470844",
"meta": {
"override": true
},
"slug": "byline_arts_11470844",
"name": "Mark Jenkins",
"isLoading": false
},
"byline_arts_11456604": {
"type": "authors",
"id": "byline_arts_11456604",
"meta": {
"override": true
},
"slug": "byline_arts_11456604",
"name": "Andrew Lapin",
"isLoading": false
},
"byline_arts_11445936": {
"type": "authors",
"id": "byline_arts_11445936",
"meta": {
"override": true
},
"slug": "byline_arts_11445936",
"name": "Bob Mondello",
"isLoading": false
},
"byline_arts_11444584": {
"type": "authors",
"id": "byline_arts_11444584",
"meta": {
"override": true
},
"slug": "byline_arts_11444584",
"name": "Alexi Horowitz-Ghazi",
"isLoading": false
},
"byline_arts_11434971": {
"type": "authors",
"id": "byline_arts_11434971",
"meta": {
"override": true
},
"slug": "byline_arts_11434971",
"name": "Bob Mondello",
"isLoading": false
},
"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
}
},
"pagesReducer": {
"arts_affiliate_npr": {
"type": "terms",
"id": "arts_137",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "137",
"score": 14.2584305
},
"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_11481809": {
"type": "posts",
"id": "arts_11481809",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11481809",
"score": null,
"sort": [
1460386858000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1460386858,
"format": "standard",
"title": "Buster Keaton and Samuel Beckett Walk Into a Movie Studio",
"headTitle": "Buster Keaton and Samuel Beckett Walk Into a Movie Studio | KQED",
"content": "\u003cp>In 1964, two guys walk into a movie studio. One of them was Buster Keaton, a silent film master of physical comedy, and the other was Samuel Beckett, a master of cerebral literature. They were there to make a movie together, and now a \u003cem>new\u003c/em> movie tells the story of their unlikely collaboration.\u003c/p>\n\u003cp>Beckett and Keaton’s project was called \u003cem>Film\u003c/em>, and the new account of that project — created by former UCLA archivist Ross Lipman — is called \u003ca href=\"http://filmbysamuelbeckett.com/\">Notfilm\u003c/a>. Lipman was fascinated by the Beckett-Keaton collaboration. “I love storytelling,” he says, “and I love all the historical figures involved and I love pursuing these strange little nooks and crannies of cultural history.”\u003c/p>\n\u003cp>\u003cem>Film\u003c/em> is certainly one of those crannies, but making a movie about the making of a movie posed a problem. In the beginning of \u003cem>Notfilm\u003c/em>, Lipman says, “I’ve never quite trusted films about film. Art shouldn’t be about art; it should be about life, and speak to life — or so I told myself, as if they were somehow distinguishable.”\u003c/p>\n\u003cp>As an archivist, Lipman worked on a bunch of restoration projects, from silent films to the movies of John Sayles and John Cassavetes. His research on the Beckett-Keaton project led him to the apartment of the man who funded \u003cem>Film\u003c/em>. Under the sink, Lipman found reels of outtakes and a prologue that was eventually rejected.\u003c/p>\n\u003cp>“There were lots of outtakes of the camera panning across this abandoned room — this decrepit, decaying space,” Lipman says. “And they were so evocative. … I’ve got all this wonderful material that obviously speaks to me from a historical and intellectual standpoint, but underneath it got to me at this emotional level, and that was the thing that pushed me.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Lipman’s film grew into a movie essay on the meaning of images — how we see ourselves on screen and how others see us. He says, “The film by Beckett is about someone who is afraid of being looked at, and Beckett uses the camera as a metaphor for that. And Keaton was one of those people who did have this aversion to the limelight. In his private life, he didn’t really like to be invaded in that way. So at a physical level, he understood this aversion to being observed that Beckett was using as the subject of his film.”\u003c/p>\n\u003cp>But Keaton wasn’t Beckett’s first choice. Actor James Karen, who appears in \u003cem>Film\u003c/em>, says, “Beckett had written it for Jack MacGowran and MacGowran couldn’t do it, so I suggested Buster.”\u003c/p>\n\u003cp>Karen has acted on Broadway, TV and film, including 1985’s \u003cem>The Return of the Living Dead\u003c/em>. He was a close friend of Keaton’s, but he says he had to convince him to do the Beckett project. Once Keaton was on set, Karen says, the seasoned silent film star didn’t think Beckett or his first-time director, acclaimed theater director Alan Schneider, knew what they were doing.\u003c/p>\n\u003cp>“They were terrific in the theater,” Karen says, “but they knew nothing about making a movie. They would ask for things which no actor could do. I remember Beckett one time said to Buster, ‘Mr. Keaton, could you hold that blink three more frames?’ Buster looked at me and said, ‘Sure!’ I just said, ‘Take my word for it, these are respectable people.’ And he said, ‘Well, I know Beckett has done a lot of work,’ he says, ‘but do people really like it?’ ”\u003c/p>\n\u003cp>According to \u003cem>Notfilm\u003c/em>, Beckett himself thought his first (and last) foray onto the big screen was a failure, but film historian Bruce Kawin says the playwright was wrong. He thinks \u003cem>Film\u003c/em> was a well done, simple story about someone who doesn’t want to be seen.\u003c/p>\n\u003cp>“You have to think about what the great, modern experiments were like, and how many of them are actually entertaining,” Kawin says. “Like, you know, \u003cem>Ulysses\u003c/em> is really great if you like it; and if you don’t, it’s just too long, about too little, you know? And Beckett is cleaner and faster and simpler. We’re talking about simplicity, genius and clarity, which is something that Beckett had and Keaton had. … Keaton’s the real thing. … Beckett’s the real thing. These are \u003cem>amazing\u003c/em> artists, just amazing artists.”\u003c/p>\n\u003cp>And Kawin can’t understand why they didn’t have a great time making a movie that he thinks is funny.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I think you can really mess it up by being too intellectual about it,” he says. “And that may have been Beckett’s mistake and it may have been Schneider’s mistake. They may have just not understood that they were dealing with an absolute genius — Keaton. And Keaton may not have understood how brilliant and funny Beckett was.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 KUNC-FM. To see more, visit \u003ca href=\"http://kunc.org\">KUNC-FM\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Buster+Keaton+And+Samuel+Beckett+Walk+Into+A+Movie+Studio+...&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 872,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 15
},
"modified": 1705044614,
"excerpt": "In 1964, the silent film master and the celebrated playwright made a film together. It was Beckett's first movie — and it showed. \u003cem>Notfilm\u003c/em> tells the story of their collaboration.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "In 1964, the silent film master and the celebrated playwright made a film together. It was Beckett's first movie — and it showed. Notfilm tells the story of their collaboration.",
"title": "Buster Keaton and Samuel Beckett Walk Into a Movie Studio | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Buster Keaton and Samuel Beckett Walk Into a Movie Studio",
"datePublished": "2016-04-11T08:00:58-07:00",
"dateModified": "2024-01-11T23:30:14-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "buster-keaton-and-samuel-beckett-walk-into-a-movie-studio",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=473536101&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Howie Movshovitz",
"nprStoryDate": "Sun, 10 Apr 2016 05:55:00 -0400",
"nprLastModifiedDate": "Sun, 10 Apr 2016 09:28:49 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/2016/04/10/473536101/buster-keaton-and-samuel-beckett-walk-into-a-movie-studio?ft=nprml&f=473536101",
"nprAudio": "http://pd.npr.org/anon.npr-mp3/npr/wesun/2016/04/20160410_wesun_buster_keaton_and_samuel_beckett_walk_into_a_movie_studio_.mp3?orgId=223&topicId=1045&d=328&p=10&story=473536101&t=progseg&e=473622215&seg=18&ft=nprml&f=473536101",
"nprImageAgency": "Courtesy of Milestone Film",
"nprAudioM3u": "http://api.npr.org/m3u/1473703061-1f5584.m3u?orgId=223&topicId=1045&d=328&p=10&story=473536101&t=progseg&e=473622215&seg=18&ft=nprml&f=473536101",
"nprStoryId": "473536101",
"nprRetrievedStory": "1",
"nprPubDate": "Sun, 10 Apr 2016 12:27:00 -0400",
"path": "/arts/11481809/buster-keaton-and-samuel-beckett-walk-into-a-movie-studio",
"audioUrl": "http://pd.npr.org/anon.npr-mp3/npr/wesun/2016/04/20160410_wesun_buster_keaton_and_samuel_beckett_walk_into_a_movie_studio_.mp3?orgId=223&topicId=1045&d=328&p=10&story=473536101&t=progseg&e=473622215&seg=18&ft=nprml&f=473536101",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1964, two guys walk into a movie studio. One of them was Buster Keaton, a silent film master of physical comedy, and the other was Samuel Beckett, a master of cerebral literature. They were there to make a movie together, and now a \u003cem>new\u003c/em> movie tells the story of their unlikely collaboration.\u003c/p>\n\u003cp>Beckett and Keaton’s project was called \u003cem>Film\u003c/em>, and the new account of that project — created by former UCLA archivist Ross Lipman — is called \u003ca href=\"http://filmbysamuelbeckett.com/\">Notfilm\u003c/a>. Lipman was fascinated by the Beckett-Keaton collaboration. “I love storytelling,” he says, “and I love all the historical figures involved and I love pursuing these strange little nooks and crannies of cultural history.”\u003c/p>\n\u003cp>\u003cem>Film\u003c/em> is certainly one of those crannies, but making a movie about the making of a movie posed a problem. In the beginning of \u003cem>Notfilm\u003c/em>, Lipman says, “I’ve never quite trusted films about film. Art shouldn’t be about art; it should be about life, and speak to life — or so I told myself, as if they were somehow distinguishable.”\u003c/p>\n\u003cp>As an archivist, Lipman worked on a bunch of restoration projects, from silent films to the movies of John Sayles and John Cassavetes. His research on the Beckett-Keaton project led him to the apartment of the man who funded \u003cem>Film\u003c/em>. Under the sink, Lipman found reels of outtakes and a prologue that was eventually rejected.\u003c/p>\n\u003cp>“There were lots of outtakes of the camera panning across this abandoned room — this decrepit, decaying space,” Lipman says. “And they were so evocative. … I’ve got all this wonderful material that obviously speaks to me from a historical and intellectual standpoint, but underneath it got to me at this emotional level, and that was the thing that pushed me.”\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>Lipman’s film grew into a movie essay on the meaning of images — how we see ourselves on screen and how others see us. He says, “The film by Beckett is about someone who is afraid of being looked at, and Beckett uses the camera as a metaphor for that. And Keaton was one of those people who did have this aversion to the limelight. In his private life, he didn’t really like to be invaded in that way. So at a physical level, he understood this aversion to being observed that Beckett was using as the subject of his film.”\u003c/p>\n\u003cp>But Keaton wasn’t Beckett’s first choice. Actor James Karen, who appears in \u003cem>Film\u003c/em>, says, “Beckett had written it for Jack MacGowran and MacGowran couldn’t do it, so I suggested Buster.”\u003c/p>\n\u003cp>Karen has acted on Broadway, TV and film, including 1985’s \u003cem>The Return of the Living Dead\u003c/em>. He was a close friend of Keaton’s, but he says he had to convince him to do the Beckett project. Once Keaton was on set, Karen says, the seasoned silent film star didn’t think Beckett or his first-time director, acclaimed theater director Alan Schneider, knew what they were doing.\u003c/p>\n\u003cp>“They were terrific in the theater,” Karen says, “but they knew nothing about making a movie. They would ask for things which no actor could do. I remember Beckett one time said to Buster, ‘Mr. Keaton, could you hold that blink three more frames?’ Buster looked at me and said, ‘Sure!’ I just said, ‘Take my word for it, these are respectable people.’ And he said, ‘Well, I know Beckett has done a lot of work,’ he says, ‘but do people really like it?’ ”\u003c/p>\n\u003cp>According to \u003cem>Notfilm\u003c/em>, Beckett himself thought his first (and last) foray onto the big screen was a failure, but film historian Bruce Kawin says the playwright was wrong. He thinks \u003cem>Film\u003c/em> was a well done, simple story about someone who doesn’t want to be seen.\u003c/p>\n\u003cp>“You have to think about what the great, modern experiments were like, and how many of them are actually entertaining,” Kawin says. “Like, you know, \u003cem>Ulysses\u003c/em> is really great if you like it; and if you don’t, it’s just too long, about too little, you know? And Beckett is cleaner and faster and simpler. We’re talking about simplicity, genius and clarity, which is something that Beckett had and Keaton had. … Keaton’s the real thing. … Beckett’s the real thing. These are \u003cem>amazing\u003c/em> artists, just amazing artists.”\u003c/p>\n\u003cp>And Kawin can’t understand why they didn’t have a great time making a movie that he thinks is funny.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I think you can really mess it up by being too intellectual about it,” he says. “And that may have been Beckett’s mistake and it may have been Schneider’s mistake. They may have just not understood that they were dealing with an absolute genius — Keaton. And Keaton may not have understood how brilliant and funny Beckett was.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 KUNC-FM. To see more, visit \u003ca href=\"http://kunc.org\">KUNC-FM\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Buster+Keaton+And+Samuel+Beckett+Walk+Into+A+Movie+Studio+...&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11481809/buster-keaton-and-samuel-beckett-walk-into-a-movie-studio",
"authors": [
"byline_arts_11481809"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1119",
"arts_1118",
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11481810",
"label": "arts_137"
},
"arts_11476735": {
"type": "posts",
"id": "arts_11476735",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11476735",
"score": null,
"sort": [
1460162356000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1460162356,
"format": "standard",
"title": "Bruce Springsteen Cancels Show in North Carolina to Protest 'Bathroom Bill'",
"headTitle": "Bruce Springsteen Cancels Show in North Carolina to Protest ‘Bathroom Bill’ | KQED",
"content": "\u003cp>Bruce Springsteen has canceled his show scheduled for Sunday in North Carolina as a show of “solidarity” with the people and businesses protesting the state’s recently passed HB2 law, which requires that transgender people only use bathrooms that correspond with their sex at birth.\u003c/p>\n\u003cp>“Right now, there are many groups, businesses, and individuals in North Carolina working to oppose and overcome these negative developments,” the musician said in a \u003ca href=\"http://brucespringsteen.net/\" target=\"_blank\" rel=\"noopener\">statement\u003c/a>. “Taking all of this into account, I feel that this is a time for me and the band to show solidarity for those freedom fighters.”\u003c/p>\n\u003cp>https://twitter.com/springsteen/status/718524059559010309\u003c/p>\n\u003cp>The law, passed in March in a special session by the state’s Legislature and signed by Gov. Pat McCrory, also blocks “local governments from passing anti-discrimination rules to grant protections to gay and transgender people,” \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/03/24/471700323/north-carolina-passes-law-blocking-measures-to-protect-lgbt-people\" target=\"_blank\" rel=\"noopener\">as we reported\u003c/a>.\u003c/p>\n\u003cp>https://twitter.com/springsteen/status/718554551930982400\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Boss explained his reasoning in the statement:\u003c/p>\n\u003cblockquote>\n\u003cp>“As you, my fans, know I’m scheduled to play in Greensboro, North Carolina this Sunday. As we also know, North Carolina has just passed HB2, which the media are referring to as the ‘bathroom’ law. HB2 — known officially as the Public Facilities Privacy and Security Act — dictates which bathrooms transgender people are permitted to use. Just as important, the law also attacks the rights of LGBT citizens to sue when their human rights are violated in the workplace.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Springsteen also said, “No other group of North Carolinians faces such a burden. To my mind, it’s an attempt by people who cannot stand the progress our country has made in recognizing the human rights of all of our citizens to overturn that progress.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He concluded by saying:\u003c/p>\n\u003cblockquote>\n\u003cp>“As a result, and with deepest apologies to our dedicated fans in Greensboro, we have canceled our show scheduled for Sunday, April 10th. Some things are more important than a rock show and this fight against prejudice and bigotry — which is happening as I write — is one of them. It is the strongest means I have for raising my voice in opposition to those who continue to push us backwards instead of forwards.”\u003c/p>\n\u003c/blockquote>\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=Bruce+Springsteen+Cancels+Show+in+North+Carolina+To+Protest+%27Bathroom+Bill%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 394,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 10
},
"modified": 1705044627,
"excerpt": "The Boss is standing with opponents of the law that says transgender people must only use bathrooms that correspond with their sex at birth. The musician says he is supporting \"freedom fighters.\"",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The Boss is standing with opponents of the law that says transgender people must only use bathrooms that correspond with their sex at birth. The musician says he is supporting "freedom fighters."",
"title": "Bruce Springsteen Cancels Show in North Carolina to Protest 'Bathroom Bill' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Bruce Springsteen Cancels Show in North Carolina to Protest 'Bathroom Bill'",
"datePublished": "2016-04-08T17:39:16-07:00",
"dateModified": "2024-01-11T23:30:27-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "bruce-springsteen-cancels-show-in-north-carolina-to-protest-bathroom-bill",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=473566753&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Laura Wagner",
"nprStoryDate": "Fri, 08 Apr 2016 17:37:00 -0400",
"nprLastModifiedDate": "Fri, 08 Apr 2016 18:23:30 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/sections/thetwo-way/2016/04/08/473566753/bruce-springsteen-cancels-show-in-north-carolina-to-protest-bathroom-bill?ft=nprml&f=473566753",
"nprStoryId": "473566753",
"nprRetrievedStory": "1",
"nprPubDate": "Fri, 08 Apr 2016 18:23:00 -0400",
"path": "/arts/11476735/bruce-springsteen-cancels-show-in-north-carolina-to-protest-bathroom-bill",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bruce Springsteen has canceled his show scheduled for Sunday in North Carolina as a show of “solidarity” with the people and businesses protesting the state’s recently passed HB2 law, which requires that transgender people only use bathrooms that correspond with their sex at birth.\u003c/p>\n\u003cp>“Right now, there are many groups, businesses, and individuals in North Carolina working to oppose and overcome these negative developments,” the musician said in a \u003ca href=\"http://brucespringsteen.net/\" target=\"_blank\" rel=\"noopener\">statement\u003c/a>. “Taking all of this into account, I feel that this is a time for me and the band to show solidarity for those freedom fighters.”\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "718524059559010309"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The law, passed in March in a special session by the state’s Legislature and signed by Gov. Pat McCrory, also blocks “local governments from passing anti-discrimination rules to grant protections to gay and transgender people,” \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/03/24/471700323/north-carolina-passes-law-blocking-measures-to-protect-lgbt-people\" target=\"_blank\" rel=\"noopener\">as we reported\u003c/a>.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "718554551930982400"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\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 Boss explained his reasoning in the statement:\u003c/p>\n\u003cblockquote>\n\u003cp>“As you, my fans, know I’m scheduled to play in Greensboro, North Carolina this Sunday. As we also know, North Carolina has just passed HB2, which the media are referring to as the ‘bathroom’ law. HB2 — known officially as the Public Facilities Privacy and Security Act — dictates which bathrooms transgender people are permitted to use. Just as important, the law also attacks the rights of LGBT citizens to sue when their human rights are violated in the workplace.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Springsteen also said, “No other group of North Carolinians faces such a burden. To my mind, it’s an attempt by people who cannot stand the progress our country has made in recognizing the human rights of all of our citizens to overturn that progress.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He concluded by saying:\u003c/p>\n\u003cblockquote>\n\u003cp>“As a result, and with deepest apologies to our dedicated fans in Greensboro, we have canceled our show scheduled for Sunday, April 10th. Some things are more important than a rock show and this fight against prejudice and bigotry — which is happening as I write — is one of them. It is the strongest means I have for raising my voice in opposition to those who continue to push us backwards instead of forwards.”\u003c/p>\n\u003c/blockquote>\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=Bruce+Springsteen+Cancels+Show+in+North+Carolina+To+Protest+%27Bathroom+Bill%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11476735/bruce-springsteen-cancels-show-in-north-carolina-to-protest-bathroom-bill",
"authors": [
"byline_arts_11476735"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_10589",
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11476860",
"label": "arts_137"
},
"arts_11470844": {
"type": "posts",
"id": "arts_11470844",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11470844",
"score": null,
"sort": [
1460124058000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1460124058,
"format": "standard",
"title": "A Personal Tale Evokes A Sense Of The Past in 'My Golden Days'",
"headTitle": "A Personal Tale Evokes A Sense Of The Past in ‘My Golden Days’ | KQED",
"content": "\u003cp>Paul Dedalus can be a man of action. The middle-class protagonist of the dynamic yet ultimately melancholy \u003cem>My Golden Days\u003c/em> carries a gun into a tense negotiation with a drug dealer, and happily accepts a secret mission to carry documents and cash to Jewish refuseniks while on a high-school trip behind what was then the Iron Curtain.\u003c/p>\n\u003cp>Yet Paul — like his Irish cousin, James Joyce’s Stephen Dedalus — is more observer than doer. In fact, he’s an anthropology student who will grow up to be the central character in director Arnaud Desplechin’s 1996 film, \u003cem>My Sex Life, or … How I Got Into an Argument\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=v4D7XhKZoTg\u003c/p>\n\u003cp>The older Paul is played by Desplechin regular Matthieu Amalric, who also had the role 20 years ago. He appears only in brief framing stories, set in Tajikstan and Paris. The movie belongs to Quentin Dolmaire, soulful and selfish as the teenage Paul, and Lou Roy-Lecollinet, who movingly plays Esther, the troubled girlfriend he can’t comfort, and will never forget.\u003c/p>\n\u003cp>Despite its references to ancient Greek literature, \u003cem>My Golden Days\u003c/em> doesn’t try for classical symmetry. Its French title means “three memories of my youth,” and the film does consist primarily of a trio of episodes, set in the 1970s and ’80s. But the first two are quick and open-ended, while the third is a movie in itself.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the elliptical first chapter, Paul protects his two younger siblings from their manic mother, and then seeks refuge with his lesbian great-aunt. He hears a story about a Stalinist execution, and attends a funeral. The circumstances won’t be explained until later.\u003c/p>\n\u003cp>The second part sends Paul and a Jewish pal to Minsk, where they meet the refuseniks. Paul makes a spontaneous gift that will inconvenience him later, and also provide a metaphor for his detachment. “I feel nothing” is Paul’s refrain, although it’s not always true.\u003c/p>\n\u003cp>Finally, Paul meets Esther, one of his younger sister’s classmates. She’s a headstrong siren who’s certain of her attractiveness, yet has doubts about her other qualities. Their relationship is roiled by infidelities on both sides, and also by distance. Paul is studying in Paris, while Esther still lives in Roubaix, Paul’s — and the director’s — Belgian-border hometown.\u003c/p>\n\u003cp>Like \u003cem>My Sex Life\u003c/em>, Desplechin’s latest effort is as much novelistic as cinematic. Indeed, it might benefit from being longer and more discursive, so as to fill in such sketchy characters as Paul’s enigmatic younger brother, and to show more of how Esther became the person she is in the earlier film.\u003c/p>\n\u003cp>The overall style is realistic, and Irina Lubtchansky’s hand-held cinematography emulates documentary. Yet the director includes such movie-buff touches as split screens (most popular in the ’70s) and iris shots (which recall silent movies). Although the performances are immediate, the goal is to evoke a sense of the past.\u003c/p>\n\u003cp>This lost age is not particularly golden. Wispy classical-style music is interrupted by the earthy rap and funk of George Clinton, Run D.M.C., and Roxanne Shante, and Paul’s historical and anthropological interest in the former Soviet Union is tempered by his experience of Communist oppression.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But then this is a movie where Paul greets the demolition of the Berlin Wall with regret; he sees not freedom for millions but the end of his childhood. Years later, in a startling scene with the middle-aged Paul, a hometown rival, and the latter’s wife, Esther also becomes a symbol of private loss. It’s impossible to say how autobiographical \u003cem>My Golden Days\u003c/em> is, but there’s no question that it’s profoundly personal.\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 655,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 13
},
"modified": 1705044633,
"excerpt": "Twenty years after the first time we met writer-director Arnaud Desplechin's protagonist, we leap backward in time to visit with him as a younger man.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Twenty years after the first time we met writer-director Arnaud Desplechin's protagonist, we leap backward in time to visit with him as a younger man.",
"title": "A Personal Tale Evokes A Sense Of The Past in 'My Golden Days' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "A Personal Tale Evokes A Sense Of The Past in 'My Golden Days'",
"datePublished": "2016-04-08T07:00:58-07:00",
"dateModified": "2024-01-11T23:30:33-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "a-personal-tale-evokes-a-sense-of-the-past",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=470416959&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Mark Jenkins",
"nprStoryDate": "Thu, 17 Mar 2016 17:00:23 -0400",
"nprLastModifiedDate": "Thu, 17 Mar 2016 17:00:23 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/2016/03/17/470416959/a-personal-tale-evokes-a-sense-of-the-past?ft=nprml&f=470416959",
"nprImageAgency": "Courtesy of Magnolia Pictures",
"nprStoryId": "470416959",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 17 Mar 2016 17:00:00 -0400",
"path": "/arts/11470844/a-personal-tale-evokes-a-sense-of-the-past",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Paul Dedalus can be a man of action. The middle-class protagonist of the dynamic yet ultimately melancholy \u003cem>My Golden Days\u003c/em> carries a gun into a tense negotiation with a drug dealer, and happily accepts a secret mission to carry documents and cash to Jewish refuseniks while on a high-school trip behind what was then the Iron Curtain.\u003c/p>\n\u003cp>Yet Paul — like his Irish cousin, James Joyce’s Stephen Dedalus — is more observer than doer. In fact, he’s an anthropology student who will grow up to be the central character in director Arnaud Desplechin’s 1996 film, \u003cem>My Sex Life, or … How I Got Into an Argument\u003c/em>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/v4D7XhKZoTg'\n title='//www.youtube.com/embed/v4D7XhKZoTg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The older Paul is played by Desplechin regular Matthieu Amalric, who also had the role 20 years ago. He appears only in brief framing stories, set in Tajikstan and Paris. The movie belongs to Quentin Dolmaire, soulful and selfish as the teenage Paul, and Lou Roy-Lecollinet, who movingly plays Esther, the troubled girlfriend he can’t comfort, and will never forget.\u003c/p>\n\u003cp>Despite its references to ancient Greek literature, \u003cem>My Golden Days\u003c/em> doesn’t try for classical symmetry. Its French title means “three memories of my youth,” and the film does consist primarily of a trio of episodes, set in the 1970s and ’80s. But the first two are quick and open-ended, while the third is a movie in itself.\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>In the elliptical first chapter, Paul protects his two younger siblings from their manic mother, and then seeks refuge with his lesbian great-aunt. He hears a story about a Stalinist execution, and attends a funeral. The circumstances won’t be explained until later.\u003c/p>\n\u003cp>The second part sends Paul and a Jewish pal to Minsk, where they meet the refuseniks. Paul makes a spontaneous gift that will inconvenience him later, and also provide a metaphor for his detachment. “I feel nothing” is Paul’s refrain, although it’s not always true.\u003c/p>\n\u003cp>Finally, Paul meets Esther, one of his younger sister’s classmates. She’s a headstrong siren who’s certain of her attractiveness, yet has doubts about her other qualities. Their relationship is roiled by infidelities on both sides, and also by distance. Paul is studying in Paris, while Esther still lives in Roubaix, Paul’s — and the director’s — Belgian-border hometown.\u003c/p>\n\u003cp>Like \u003cem>My Sex Life\u003c/em>, Desplechin’s latest effort is as much novelistic as cinematic. Indeed, it might benefit from being longer and more discursive, so as to fill in such sketchy characters as Paul’s enigmatic younger brother, and to show more of how Esther became the person she is in the earlier film.\u003c/p>\n\u003cp>The overall style is realistic, and Irina Lubtchansky’s hand-held cinematography emulates documentary. Yet the director includes such movie-buff touches as split screens (most popular in the ’70s) and iris shots (which recall silent movies). Although the performances are immediate, the goal is to evoke a sense of the past.\u003c/p>\n\u003cp>This lost age is not particularly golden. Wispy classical-style music is interrupted by the earthy rap and funk of George Clinton, Run D.M.C., and Roxanne Shante, and Paul’s historical and anthropological interest in the former Soviet Union is tempered by his experience of Communist oppression.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But then this is a movie where Paul greets the demolition of the Berlin Wall with regret; he sees not freedom for millions but the end of his childhood. Years later, in a startling scene with the middle-aged Paul, a hometown rival, and the latter’s wife, Esther also becomes a symbol of private loss. It’s impossible to say how autobiographical \u003cem>My Golden Days\u003c/em> is, but there’s no question that it’s profoundly personal.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11470844/a-personal-tale-evokes-a-sense-of-the-past",
"authors": [
"byline_arts_11470844"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11470857",
"label": "arts_137"
},
"arts_11456604": {
"type": "posts",
"id": "arts_11456604",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11456604",
"score": null,
"sort": [
1459609225000
]
},
"guestAuthors": [],
"slug": "when-is-a-biopic-not-a-biopic-when-don-cheadle-meets-miles-davis",
"title": "When is a Biopic Not a Biopic? When Don Cheadle Meets Miles Davis",
"publishDate": 1459609225,
"format": "standard",
"headTitle": "When is a Biopic Not a Biopic? When Don Cheadle Meets Miles Davis | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>Don Cheadle has been playing Miles Davis for his entire career. To look back now on some of the actor’s most exciting performances — as flashy porn star Buck Swope in \u003cem>Boogie Nights,\u003c/em> velvet-slick con man Basher Tarr in the \u003cem>Ocean’s\u003c/em> trilogy, and rabble-rousing deejay Petey Greene in \u003cem>Talk to Me — \u003c/em>is to recognize those same larger-than-life elements from the persona of the jazz legend and Cheadle’s \u003ca href=\"http://www.npr.org/2016/03/26/471903220/what-does-genius-look-like\" target=\"_blank\" rel=\"noopener\">personal hero\u003c/a>. Maybe all that was missing was that Jheri curl and that brilliantly weaponized trumpet.\u003c/p>\n\u003cp>In his feature directorial debut, Cheadle finally lets us in on the Miles in his mind. Named after Davis’ 1957 album of the same name, but set during his six-year withdrawal from public life in the late 1970s, \u003cem>Miles Ahead \u003c/em>is from the start portraying not the trumpeter’s life story but rather his essence. Typically that’s film-speak for excusing a biopic’s inevitable factual inaccuracies. But what about when the biopic isn’t even \u003cem>trying\u003c/em> to be accurate, because its makers are motivated by something other than accuracy? In this case, it’s the idea of hanging out in Davis’ house, watching him navigate his pigsty while producing drugs and priceless memorabilia from every corner. Call it a life story, only funkified.\u003c/p>\n\u003cp>This also may be the first biopic to prominently feature a MacGuffin. The story concerns an unreleased recording of a Davis studio session that he is desperate to keep to himself, a tape that will be passed around between an unscrupulous journalist (Ewan McGregor) and an even less scrupulous manager (Michael Stuhlbarg, trying out handlebar-mustache ham). This tape rouses Davis from hermitdom and gets him out onto the street, brandishing a pistol and prompting car chases that Cheadle shoots in “NBC cop show” action pieces.\u003c/p>\n\u003cp>Cheadle’s attempt to impose this thriller element onto an already suitably strange life story is the hardest pill to swallow, as it’s not clear what new insights into Davis’ character it’s meant to bring. There are times, too, when the film is confused about the motivations of the Davis it has invented. Early in his recluse period, he calls in to a radio station during a tribute hour to request a song from his 1960 record \u003cem>Sketches of Spain,\u003c/em> but later, when he finds the same record on the shelf of a young fan/supplier, he’s annoyed: “Man, I’ve recorded, like, 15 albums since then.” Is he disappearing into his legacy willingly, or has it imprisoned him? Or is it specifically the kid’s youth and whiteness that leaves this titan feeling vulnerable? Whether it’s McGregor’s journalist asking the big questions or us, they don’t seem to get answered.\u003c/p>\n\u003cp>Nevertheless, \u003cem>Miles Ahead\u003c/em> makes for a fine complement to \u003ca href=\"http://www.npr.org/2016/03/24/471035008/born-to-be-blue-finds-truth-in-inventive-riffs\" target=\"_blank\" rel=\"noopener\">Born to be Blue\u003c/a>, the similarly experimental and, at times, similarly sloppy Chet Baker sorta-biopic released just last week. Truly, this is a golden age for jazz films. In \u003cem>Blue,\u003c/em> we watched Ethan Hawke’s Baker revitalize his career onstage at the New York club Birdland; here, in a brutal (and factual) sequence, we see club headliner Davis beaten and arrested on the sidewalk after escorting a white woman outside.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Flashbacks like these, and others featuring Davis’ passionate but abusive relationship with first wife Frances Taylor (a luminous Emayatzy Corinealdi), weave into the central narrative at odd angles. And Cheadle blessedly makes no attempt to slap on any sort of thematic catch-all. A life is what it is: bright, brilliant, full of missteps and contradictions and moments of sheer transcendent glory. We can try to take that mess of humanity and squeeze it into a tailored Hollywood red-carpet dress — or we can do what the jazz greats do and invent, invent, invent, all while riffing on the stuff we know we can’t afford to lose.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Miles Ahead\u003c/em> ends with a dizzying blurring of the line between fact, fiction, past and present. In character as Davis, we see Cheadle take the stage clad in a vest he could never have worn (branded with “#SocialMusic,” his term for jazz). Then we get a good look at his new backing band: generations of jazz legends including Esperanza Spalding and still-kicking Davis compatriot Herbie Hancock, jamming on thoroughly modern melodies. Davis constantly reinvented his own style right up until his death. The fusion tunes the group plays help turn \u003cem>Miles Ahead\u003c/em> into something much weirder and freer than a biopic: a pulsating act of cinematic resurrection. The dead are not dead, not yet. \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=When+Is+A+Biopic+Not+A+Biopic%3F+When+Don+Cheadle+Meets+Miles+Davis&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "Cheadle takes on the jazz great in an uneven but inventive film that struggles at times to bring clarity to its idea of Davis but experiments intriguingly with past, present, fact and fiction.",
"status": "publish",
"parent": 0,
"modified": 1726705283,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 9,
"wordCount": 806
},
"headData": {
"title": "When is a Biopic Not a Biopic? When Don Cheadle Meets Miles Davis | KQED",
"description": "Cheadle takes on the jazz great in an uneven but inventive film that struggles at times to bring clarity to its idea of Davis but experiments intriguingly with past, present, fact and fiction.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "When is a Biopic Not a Biopic? When Don Cheadle Meets Miles Davis",
"datePublished": "2016-04-02T08:00:25-07:00",
"dateModified": "2024-09-18T17:21:23-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Andrew Lapin",
"nprImageAgency": "Courtesy of Sony Pictures Classics",
"nprStoryId": "472258524",
"nprApiLink": "http://api.npr.org/query?id=472258524&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "http://www.npr.org/2016/04/01/472258524/when-is-a-biopic-not-a-biopic-when-don-cheadle-meets-miles-davis?ft=nprml&f=472258524",
"nprRetrievedStory": "1",
"nprPubDate": "Fri, 01 Apr 2016 14:52:00 -0400",
"nprStoryDate": "Fri, 01 Apr 2016 11:19:00 -0400",
"nprLastModifiedDate": "Fri, 01 Apr 2016 14:52:47 -0400",
"path": "/arts/11456604/when-is-a-biopic-not-a-biopic-when-don-cheadle-meets-miles-davis",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Don Cheadle has been playing Miles Davis for his entire career. To look back now on some of the actor’s most exciting performances — as flashy porn star Buck Swope in \u003cem>Boogie Nights,\u003c/em> velvet-slick con man Basher Tarr in the \u003cem>Ocean’s\u003c/em> trilogy, and rabble-rousing deejay Petey Greene in \u003cem>Talk to Me — \u003c/em>is to recognize those same larger-than-life elements from the persona of the jazz legend and Cheadle’s \u003ca href=\"http://www.npr.org/2016/03/26/471903220/what-does-genius-look-like\" target=\"_blank\" rel=\"noopener\">personal hero\u003c/a>. Maybe all that was missing was that Jheri curl and that brilliantly weaponized trumpet.\u003c/p>\n\u003cp>In his feature directorial debut, Cheadle finally lets us in on the Miles in his mind. Named after Davis’ 1957 album of the same name, but set during his six-year withdrawal from public life in the late 1970s, \u003cem>Miles Ahead \u003c/em>is from the start portraying not the trumpeter’s life story but rather his essence. Typically that’s film-speak for excusing a biopic’s inevitable factual inaccuracies. But what about when the biopic isn’t even \u003cem>trying\u003c/em> to be accurate, because its makers are motivated by something other than accuracy? In this case, it’s the idea of hanging out in Davis’ house, watching him navigate his pigsty while producing drugs and priceless memorabilia from every corner. Call it a life story, only funkified.\u003c/p>\n\u003cp>This also may be the first biopic to prominently feature a MacGuffin. The story concerns an unreleased recording of a Davis studio session that he is desperate to keep to himself, a tape that will be passed around between an unscrupulous journalist (Ewan McGregor) and an even less scrupulous manager (Michael Stuhlbarg, trying out handlebar-mustache ham). This tape rouses Davis from hermitdom and gets him out onto the street, brandishing a pistol and prompting car chases that Cheadle shoots in “NBC cop show” action pieces.\u003c/p>\n\u003cp>Cheadle’s attempt to impose this thriller element onto an already suitably strange life story is the hardest pill to swallow, as it’s not clear what new insights into Davis’ character it’s meant to bring. There are times, too, when the film is confused about the motivations of the Davis it has invented. Early in his recluse period, he calls in to a radio station during a tribute hour to request a song from his 1960 record \u003cem>Sketches of Spain,\u003c/em> but later, when he finds the same record on the shelf of a young fan/supplier, he’s annoyed: “Man, I’ve recorded, like, 15 albums since then.” Is he disappearing into his legacy willingly, or has it imprisoned him? Or is it specifically the kid’s youth and whiteness that leaves this titan feeling vulnerable? Whether it’s McGregor’s journalist asking the big questions or us, they don’t seem to get answered.\u003c/p>\n\u003cp>Nevertheless, \u003cem>Miles Ahead\u003c/em> makes for a fine complement to \u003ca href=\"http://www.npr.org/2016/03/24/471035008/born-to-be-blue-finds-truth-in-inventive-riffs\" target=\"_blank\" rel=\"noopener\">Born to be Blue\u003c/a>, the similarly experimental and, at times, similarly sloppy Chet Baker sorta-biopic released just last week. Truly, this is a golden age for jazz films. In \u003cem>Blue,\u003c/em> we watched Ethan Hawke’s Baker revitalize his career onstage at the New York club Birdland; here, in a brutal (and factual) sequence, we see club headliner Davis beaten and arrested on the sidewalk after escorting a white woman outside.\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>Flashbacks like these, and others featuring Davis’ passionate but abusive relationship with first wife Frances Taylor (a luminous Emayatzy Corinealdi), weave into the central narrative at odd angles. And Cheadle blessedly makes no attempt to slap on any sort of thematic catch-all. A life is what it is: bright, brilliant, full of missteps and contradictions and moments of sheer transcendent glory. We can try to take that mess of humanity and squeeze it into a tailored Hollywood red-carpet dress — or we can do what the jazz greats do and invent, invent, invent, all while riffing on the stuff we know we can’t afford to lose.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Miles Ahead\u003c/em> ends with a dizzying blurring of the line between fact, fiction, past and present. In character as Davis, we see Cheadle take the stage clad in a vest he could never have worn (branded with “#SocialMusic,” his term for jazz). Then we get a good look at his new backing band: generations of jazz legends including Esperanza Spalding and still-kicking Davis compatriot Herbie Hancock, jamming on thoroughly modern melodies. Davis constantly reinvented his own style right up until his death. The fusion tunes the group plays help turn \u003cem>Miles Ahead\u003c/em> into something much weirder and freer than a biopic: a pulsating act of cinematic resurrection. The dead are not dead, not yet. \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=When+Is+A+Biopic+Not+A+Biopic%3F+When+Don+Cheadle+Meets+Miles+Davis&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11456604/when-is-a-biopic-not-a-biopic-when-don-cheadle-meets-miles-davis",
"authors": [
"byline_arts_11456604"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_596",
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11456605",
"label": "arts_137"
},
"arts_11445936": {
"type": "posts",
"id": "arts_11445936",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11445936",
"score": null,
"sort": [
1459519241000
]
},
"guestAuthors": [],
"slug": "meet-marguerite-a-tone-deaf-opera-singer-whos-determined-to-perform",
"title": "Meet 'Marguerite,' A Tone-Deaf Opera Singer Who's Determined To Perform",
"publishDate": 1459519241,
"format": "standard",
"headTitle": "Meet ‘Marguerite,’ A Tone-Deaf Opera Singer Who’s Determined To Perform | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>Imagine the worst opera singer ever. Now imagine that she’s determined to perform in public. That’s the premise of an award-winning French satire that’s based on a true story. It’s called \u003cem>Marguerite\u003c/em>, and it follows a middle-aged socialite by the same name.\u003c/p>\n\u003cp>Marguerite has very little to do. While the roaring 1920s roar elsewhere and her husband spends all his time with a mistress, Marguerite sits in her \u003cem>Downton Abbey\u003c/em>-style mansion outside Paris surrendering her soul to music.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6XB3bB7ktMI\u003c/p>\n\u003cp>She adores opera, and is wealthy enough that she can sponsor musical recitals for charity with young guest singers. These are invitation-only affairs where her wealthy friends reward her charitable generosity by being charitable about the way she ends the concerts — with her own, shall we say, \u003cem>unique\u003c/em> musical stylings. Stylings with no sense of pitch, rhythm or, for that matter, talent.\u003c/p>\n\u003cp>Marguerite is surrounded by servants who applaud and friends who are polite. (Her husband usually claims car trouble kept him away.) But I hear your question: How could she not know? Wouldn’t someone tell her? Here’s how it works: After one recital, when a young singer is ushered into Marguerite’s presence to say thank you, Marguerite looks up — vulnerable and sweet — and says, “You heard me miss all my high notes.” The young performer, not wishing to hurt or be impolite, says, “No, it sounded fine.” Self-knowledge will have to wait.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There were, however, some uninvited guests. A young music critic writes in his paper that Marguerite sang as if she were trying to “exorcise an inner demon” — innocently, she takes that as praise. There’s also an anarchist poet who invites her to perform at a \u003cem>public\u003c/em> concert. Marguerite’s husband is terrified she’ll find out they’ve all been lying to her, but it’s an anarchist performance and she kind of fits right in.\u003c/p>\n\u003cp>Marguerite’s story of misplaced confidence is based loosely on that of Florence Foster Jenkins, an American laughingstock whose ghastly public renditions of some of the same music became a best-selling novelty record in the 1950s. It was called \u003cem>The Glory (????) of the Human Voice\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Meryl Streep will soon play Jenkins in another movie, but it’s hard to imagine anyone improving on the mix of hilarity and heartbreak this transplanted, fictional version achieves. As director Xavier Giannoli pushes his leading lady closer and closer to public humiliation, Catherine Frot’s Marguerite becomes every bit as haunting as you expect her to be laughable, walking barefoot in the rain after an evening of opera, then squawking in rehearsals like the peacocks that wander her estate’s lawn. The more ridiculous \u003cem>Marguerite\u003c/em> becomes, the more you want to keep this misguided, innocent, music-besotted creature from being hurt.\u003c/p>\n\n",
"blocks": [],
"excerpt": "Socialite Marguerite has no idea how bad she is -- servants, friends and even other opera singers are too polite to tell her.",
"status": "publish",
"parent": 0,
"modified": 1726771212,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 9,
"wordCount": 503
},
"headData": {
"title": "Meet 'Marguerite,' A Tone-Deaf Opera Singer Who's Determined To Perform | KQED",
"description": "Socialite Marguerite has no idea how bad she is -- servants, friends and even other opera singers are too polite to tell her.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Meet 'Marguerite,' A Tone-Deaf Opera Singer Who's Determined To Perform",
"datePublished": "2016-04-01T07:00:41-07:00",
"dateModified": "2024-09-19T11:40:12-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Bob Mondello",
"nprImageAgency": "Courtesy of Cohen Media Group",
"nprStoryId": "468938918",
"nprApiLink": "http://api.npr.org/query?id=468938918&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "http://www.npr.org/2016/03/11/468938918/introducing-marguerite-an-opera-loving-socialite-who-can-t-sing-for?ft=nprml&f=468938918",
"nprRetrievedStory": "1",
"nprPubDate": "Fri, 11 Mar 2016 22:27:00 -0500",
"nprStoryDate": "Fri, 11 Mar 2016 10:00:00 -0500",
"nprLastModifiedDate": "Fri, 11 Mar 2016 19:00:57 -0500",
"nprAudio": "http://pd.npr.org/anon.npr-mp3/npr/atc/2016/03/20160311_atc_meet_marguerite_a_tone-deaf_opera_singer_whos_determined_to_perform.mp3?orgId=1&topicId=4467349&d=217&p=2&story=468938918&t=progseg&e=470046399&seg=4&ft=nprml&f=468938918",
"nprAudioM3u": "http://api.npr.org/m3u/1470119990-4af504.m3u?orgId=1&topicId=4467349&d=217&p=2&story=468938918&t=progseg&e=470046399&seg=4&ft=nprml&f=468938918",
"path": "/arts/11445936/meet-marguerite-a-tone-deaf-opera-singer-whos-determined-to-perform",
"audioUrl": "http://pd.npr.org/anon.npr-mp3/npr/atc/2016/03/20160311_atc_meet_marguerite_a_tone-deaf_opera_singer_whos_determined_to_perform.mp3?orgId=1&topicId=4467349&d=217&p=2&story=468938918&t=progseg&e=470046399&seg=4&ft=nprml&f=468938918",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Imagine the worst opera singer ever. Now imagine that she’s determined to perform in public. That’s the premise of an award-winning French satire that’s based on a true story. It’s called \u003cem>Marguerite\u003c/em>, and it follows a middle-aged socialite by the same name.\u003c/p>\n\u003cp>Marguerite has very little to do. While the roaring 1920s roar elsewhere and her husband spends all his time with a mistress, Marguerite sits in her \u003cem>Downton Abbey\u003c/em>-style mansion outside Paris surrendering her soul to music.\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/6XB3bB7ktMI'\n title='//www.youtube.com/embed/6XB3bB7ktMI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>She adores opera, and is wealthy enough that she can sponsor musical recitals for charity with young guest singers. These are invitation-only affairs where her wealthy friends reward her charitable generosity by being charitable about the way she ends the concerts — with her own, shall we say, \u003cem>unique\u003c/em> musical stylings. Stylings with no sense of pitch, rhythm or, for that matter, talent.\u003c/p>\n\u003cp>Marguerite is surrounded by servants who applaud and friends who are polite. (Her husband usually claims car trouble kept him away.) But I hear your question: How could she not know? Wouldn’t someone tell her? Here’s how it works: After one recital, when a young singer is ushered into Marguerite’s presence to say thank you, Marguerite looks up — vulnerable and sweet — and says, “You heard me miss all my high notes.” The young performer, not wishing to hurt or be impolite, says, “No, it sounded fine.” Self-knowledge will have to wait.\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>There were, however, some uninvited guests. A young music critic writes in his paper that Marguerite sang as if she were trying to “exorcise an inner demon” — innocently, she takes that as praise. There’s also an anarchist poet who invites her to perform at a \u003cem>public\u003c/em> concert. Marguerite’s husband is terrified she’ll find out they’ve all been lying to her, but it’s an anarchist performance and she kind of fits right in.\u003c/p>\n\u003cp>Marguerite’s story of misplaced confidence is based loosely on that of Florence Foster Jenkins, an American laughingstock whose ghastly public renditions of some of the same music became a best-selling novelty record in the 1950s. It was called \u003cem>The Glory (????) of the Human Voice\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Meryl Streep will soon play Jenkins in another movie, but it’s hard to imagine anyone improving on the mix of hilarity and heartbreak this transplanted, fictional version achieves. As director Xavier Giannoli pushes his leading lady closer and closer to public humiliation, Catherine Frot’s Marguerite becomes every bit as haunting as you expect her to be laughable, walking barefoot in the rain after an evening of opera, then squawking in rehearsals like the peacocks that wander her estate’s lawn. The more ridiculous \u003cem>Marguerite\u003c/em> becomes, the more you want to keep this misguided, innocent, music-besotted creature from being hurt.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11445936/meet-marguerite-a-tone-deaf-opera-singer-whos-determined-to-perform",
"authors": [
"byline_arts_11445936"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11445937",
"label": "arts_137"
},
"arts_11444584": {
"type": "posts",
"id": "arts_11444584",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11444584",
"score": null,
"sort": [
1459191602000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1459191602,
"format": "standard",
"title": "DIY Artists Paint the Town Strange, with Some Help From George R.R. Martin",
"headTitle": "DIY Artists Paint the Town Strange, with Some Help From George R.R. Martin | KQED",
"content": "\u003cp>When you step into the House of Eternal Return, it feels a bit like walking into your family home — and finding yourself lost in a PeeWee’s Playhouse on steroids. Or amphetamines. Or better yet, some undiscovered alien narcotic.\u003c/p>\n\u003cp>Set up in the industrial district of Santa Fe, N.M., the new permanent art exhibition is a far cry from the fine arts galleries and museums for which Santa Fe is known. Think of it instead as a kind of art amusement park, built by an arts collective called Meow Wolf and largely funded by a surprising benefactor: George R.R. Martin.\u003c/p>\n\u003cp>But before we get ahead of ourselves, let’s start with the tour: When I arrive around 10 the night before the exhibition opens, dozens of Meow Wolf’s 135 artists are scrambling to put the finishing touches on their meticulously crafted installations.\u003c/p>\n\u003cp>One of those installations, a two-story Victorian house built from scratch, marks the entrance to the exhibition. All around it are uncanny reminders of the Seligs — the fictional family ostensibly lived here. I’m told the family has curiously disappeared after a break in the space-time continuum, and like all visitors, I’m set loose by the artists to explore the interdimensional mystery.\u003c/p>\n\u003cp>“It’s not art that you stand back from and look at,” says Chadney Everett, the painter and former film prop-maker who designed the house. “It’s art that you interact with and you experience in a very visceral way.”\u003c/p>\n\u003cfigure id=\"attachment_11444590\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/lkimg_16532_slide-392abba3bf84b41efcea84438f22cc0bf2bffc67-1180x787.jpg\" alt='\"The Aquarium\", by Matt King — with fish sculpted by Sarah Bradle' width=\"640\" height=\"427\" class=\"size-large wp-image-11444590\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_16532_slide-392abba3bf84b41efcea84438f22cc0bf2bffc67-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_16532_slide-392abba3bf84b41efcea84438f22cc0bf2bffc67-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_16532_slide-392abba3bf84b41efcea84438f22cc0bf2bffc67-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_16532_slide-392abba3bf84b41efcea84438f22cc0bf2bffc67-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_16532_slide-392abba3bf84b41efcea84438f22cc0bf2bffc67-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_16532_slide-392abba3bf84b41efcea84438f22cc0bf2bffc67-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">“The Aquarium”, by Matt King — with fish sculpted by Sarah Bradle \u003ccite>(Photo: Lindsey Kennedy/Courtesy of Meow Wolf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like most of the people I meet here, he’s got a cultlike dedication to Meow Wolf’s vision of immersive, interactive art — and to making it accessible to everyone. Despite suffering from a herniated disk, he’s been putting in 14 hours a day to finish.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s been really hard, but it’s so worth it. We’re gonna be open in a couple days, and then I’ll rest and fix my spine,” he laughs.\u003c/p>\n\u003cp>I opt to crawl through the family fireplace into a series of prehistoric caves, with a glowing, 12-foot mastodon skeleton at their center. Sculptor Matt Crimmins turned its rib cage into a radiant makeshift marimba.\u003c/p>\n\u003cp>“We’re still trying to work out the kinks, but it’s getting there,” he says.\u003c/p>\n\u003cp>The same could be said of Meow Wolf as a whole. Founding member Vince Kadlubek explains that when the collective started eight years ago, it was just a small band of creative 20-somethings who felt out of place in Santa Fe’s high-brow art establishment.\u003c/p>\n\u003cp>“We kind of always felt like we were on the outside looking in.”\u003c/p>\n\u003cp>So, they started their own DIY venue in a defunct barbershop. As the collective grew in size and popularity, Kadlubek says, their immersive shows grew more elaborate.\u003c/p>\n\u003cp>But they still didn’t have a large space of their own.\u003c/p>\n\u003cp>“We all knew that it could work, but we just didn’t have the heavy hitter,” Kadlubek says. “We needed somebody to take a risk on us.”\u003c/p>\n\u003cp>That’s where George R.R. Martin comes in. The mastermind behind A\u003cem> Song of Ice and Fire\u003c/em> — the massively popular book series that spawned the massively popular \u003cem>Game of Thrones\u003c/em> TV series — has become something of a latter-day Medici in his adopted hometown of Santa Fe. He has already reopened an old art house movie theater and converted a vacant high school into artist studios.\u003c/p>\n\u003cp>Martin didn’t plan on buying an old bowling alley — but when Meow Wolf showed him the space and told him what they planned to do with it, he couldn’t resist.\u003c/p>\n\u003cp>“They explained this vision of a Victorian house, unmoored in time and space with a haunted forest and a magical cave system, and portals to other worlds,” Martin says. “And of course, it pushed all my buttons. I love that kind of stuff.”\u003c/p>\n\u003cp>Martin bought and leased the place to Meow Wolf for 10 years, and spent an additional $2.5 million in renovations. That was enough to help Meow Wolf raise more money from investors to build their art complex, which includes a nonprofit education center for children and a makerspace, offering artists training and access to expensive equipment.\u003c/p>\n\u003cfigure id=\"attachment_11444591\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/lkimg_2766-84f7ee075450744239e379fac002735b7cf34a69-1180x885.jpg\" alt=\"A wood mosaic wall and door, created by Lance Ryan McGoldrick.\" width=\"640\" height=\"480\" class=\"size-large wp-image-11444591\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_2766-84f7ee075450744239e379fac002735b7cf34a69-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_2766-84f7ee075450744239e379fac002735b7cf34a69-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_2766-84f7ee075450744239e379fac002735b7cf34a69-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_2766-84f7ee075450744239e379fac002735b7cf34a69-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_2766-84f7ee075450744239e379fac002735b7cf34a69-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_2766-84f7ee075450744239e379fac002735b7cf34a69-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A wood mosaic wall and door, created by Lance Ryan McGoldrick. \u003ccite>(Photo: Lindsey Kennedy/Courtesy of Meow Wolf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the process, Meow Wolf has gone from DIY collective to a for-profit company. Now, in addition to solving problems like how to cut a bus in half or rig animatronic eyeballs to follow passersby, Meow Wolf must focus on ticket sales, too. The group’s future depends on its ability to bring in enough new and repeat visitors to sustain and grow the business.\u003c/p>\n\u003cp>Artist Megan Ronniger says the complex brings something unique to the city’s art ecosystem.\u003c/p>\n\u003cp>“You’ve got these large institutions, museums and universities, you’ve got your commercial galleries, and then you have the experimental spaces. And they’re all hopefully informing one another,” she says.\u003c/p>\n\u003cp>With investors and city officials and one internationally famous fantasy author backing them, Meow Wolf is playing in a different league than it did in in its early days.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Perhaps for that reason, when I leave the House of Eternal Return — as I’d expect of any art establishment worth its salt — I exit through the gift shop. \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=DIY+Artists+Paint+The+Town+Strange%2C+With+Some+Help+From+George+R.R.+Martin&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 985,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 25
},
"modified": 1705044749,
"excerpt": "The art market is booming in Santa Fe, N.M., but the highbrow scene leaves some artists feeling out of place. So, one collective made a space of their own — with a big boost from the fantasy author.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The art market is booming in Santa Fe, N.M., but the highbrow scene leaves some artists feeling out of place. So, one collective made a space of their own — with a big boost from the fantasy author.",
"title": "DIY Artists Paint the Town Strange, with Some Help From George R.R. Martin | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "DIY Artists Paint the Town Strange, with Some Help From George R.R. Martin",
"datePublished": "2016-03-28T12:00:02-07:00",
"dateModified": "2024-01-11T23:32:29-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "diy-artists-paint-the-town-strange-with-some-help-from-george-r-r-martin",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=471732581&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprStoryDate": "Sun, 27 Mar 2016 18:17:00 -0400",
"nprLastModifiedDate": "Sun, 27 Mar 2016 19:32:42 -0400",
"nprHtmlLink": "http://www.npr.org/2016/03/27/471732581/diy-artists-paint-the-town-strange-with-some-help-from-george-r-r-martin?ft=nprml&f=471732581",
"nprAudio": "http://pd.npr.org/anon.npr-mp3/npr/atc/2016/03/20160327_atc_diy_artists_paint_the_town_strange_with_help_from_george_rr_martin.mp3?orgId=1&topicId=1047&d=289&p=2&story=471732581&t=progseg&e=472067186&seg=9&ft=nprml&f=471732581",
"nprImageAgency": "Courtesy of Meow Wolf",
"nprAudioM3u": "http://api.npr.org/m3u/1472067254-dd54ce.m3u?orgId=1&topicId=1047&d=289&p=2&story=471732581&t=progseg&e=472067186&seg=9&ft=nprml&f=471732581",
"nprStoryId": "471732581",
"nprByline": "Alexi Horowitz-Ghazi",
"sticky": false,
"nprImageCredit": "Lindsey Kennedy",
"nprRetrievedStory": "1",
"nprPubDate": "Sun, 27 Mar 2016 19:31:00 -0400",
"path": "/arts/11444584/diy-artists-paint-the-town-strange-with-some-help-from-george-r-r-martin",
"audioUrl": "http://pd.npr.org/anon.npr-mp3/npr/atc/2016/03/20160327_atc_diy_artists_paint_the_town_strange_with_help_from_george_rr_martin.mp3?orgId=1&topicId=1047&d=289&p=2&story=471732581&t=progseg&e=472067186&seg=9&ft=nprml&f=471732581",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When you step into the House of Eternal Return, it feels a bit like walking into your family home — and finding yourself lost in a PeeWee’s Playhouse on steroids. Or amphetamines. Or better yet, some undiscovered alien narcotic.\u003c/p>\n\u003cp>Set up in the industrial district of Santa Fe, N.M., the new permanent art exhibition is a far cry from the fine arts galleries and museums for which Santa Fe is known. Think of it instead as a kind of art amusement park, built by an arts collective called Meow Wolf and largely funded by a surprising benefactor: George R.R. Martin.\u003c/p>\n\u003cp>But before we get ahead of ourselves, let’s start with the tour: When I arrive around 10 the night before the exhibition opens, dozens of Meow Wolf’s 135 artists are scrambling to put the finishing touches on their meticulously crafted installations.\u003c/p>\n\u003cp>One of those installations, a two-story Victorian house built from scratch, marks the entrance to the exhibition. All around it are uncanny reminders of the Seligs — the fictional family ostensibly lived here. I’m told the family has curiously disappeared after a break in the space-time continuum, and like all visitors, I’m set loose by the artists to explore the interdimensional mystery.\u003c/p>\n\u003cp>“It’s not art that you stand back from and look at,” says Chadney Everett, the painter and former film prop-maker who designed the house. “It’s art that you interact with and you experience in a very visceral way.”\u003c/p>\n\u003cfigure id=\"attachment_11444590\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/lkimg_16532_slide-392abba3bf84b41efcea84438f22cc0bf2bffc67-1180x787.jpg\" alt='\"The Aquarium\", by Matt King — with fish sculpted by Sarah Bradle' width=\"640\" height=\"427\" class=\"size-large wp-image-11444590\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_16532_slide-392abba3bf84b41efcea84438f22cc0bf2bffc67-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_16532_slide-392abba3bf84b41efcea84438f22cc0bf2bffc67-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_16532_slide-392abba3bf84b41efcea84438f22cc0bf2bffc67-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_16532_slide-392abba3bf84b41efcea84438f22cc0bf2bffc67-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_16532_slide-392abba3bf84b41efcea84438f22cc0bf2bffc67-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_16532_slide-392abba3bf84b41efcea84438f22cc0bf2bffc67-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">“The Aquarium”, by Matt King — with fish sculpted by Sarah Bradle \u003ccite>(Photo: Lindsey Kennedy/Courtesy of Meow Wolf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like most of the people I meet here, he’s got a cultlike dedication to Meow Wolf’s vision of immersive, interactive art — and to making it accessible to everyone. Despite suffering from a herniated disk, he’s been putting in 14 hours a day to finish.\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>“It’s been really hard, but it’s so worth it. We’re gonna be open in a couple days, and then I’ll rest and fix my spine,” he laughs.\u003c/p>\n\u003cp>I opt to crawl through the family fireplace into a series of prehistoric caves, with a glowing, 12-foot mastodon skeleton at their center. Sculptor Matt Crimmins turned its rib cage into a radiant makeshift marimba.\u003c/p>\n\u003cp>“We’re still trying to work out the kinks, but it’s getting there,” he says.\u003c/p>\n\u003cp>The same could be said of Meow Wolf as a whole. Founding member Vince Kadlubek explains that when the collective started eight years ago, it was just a small band of creative 20-somethings who felt out of place in Santa Fe’s high-brow art establishment.\u003c/p>\n\u003cp>“We kind of always felt like we were on the outside looking in.”\u003c/p>\n\u003cp>So, they started their own DIY venue in a defunct barbershop. As the collective grew in size and popularity, Kadlubek says, their immersive shows grew more elaborate.\u003c/p>\n\u003cp>But they still didn’t have a large space of their own.\u003c/p>\n\u003cp>“We all knew that it could work, but we just didn’t have the heavy hitter,” Kadlubek says. “We needed somebody to take a risk on us.”\u003c/p>\n\u003cp>That’s where George R.R. Martin comes in. The mastermind behind A\u003cem> Song of Ice and Fire\u003c/em> — the massively popular book series that spawned the massively popular \u003cem>Game of Thrones\u003c/em> TV series — has become something of a latter-day Medici in his adopted hometown of Santa Fe. He has already reopened an old art house movie theater and converted a vacant high school into artist studios.\u003c/p>\n\u003cp>Martin didn’t plan on buying an old bowling alley — but when Meow Wolf showed him the space and told him what they planned to do with it, he couldn’t resist.\u003c/p>\n\u003cp>“They explained this vision of a Victorian house, unmoored in time and space with a haunted forest and a magical cave system, and portals to other worlds,” Martin says. “And of course, it pushed all my buttons. I love that kind of stuff.”\u003c/p>\n\u003cp>Martin bought and leased the place to Meow Wolf for 10 years, and spent an additional $2.5 million in renovations. That was enough to help Meow Wolf raise more money from investors to build their art complex, which includes a nonprofit education center for children and a makerspace, offering artists training and access to expensive equipment.\u003c/p>\n\u003cfigure id=\"attachment_11444591\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/lkimg_2766-84f7ee075450744239e379fac002735b7cf34a69-1180x885.jpg\" alt=\"A wood mosaic wall and door, created by Lance Ryan McGoldrick.\" width=\"640\" height=\"480\" class=\"size-large wp-image-11444591\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_2766-84f7ee075450744239e379fac002735b7cf34a69-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_2766-84f7ee075450744239e379fac002735b7cf34a69-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_2766-84f7ee075450744239e379fac002735b7cf34a69-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_2766-84f7ee075450744239e379fac002735b7cf34a69-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_2766-84f7ee075450744239e379fac002735b7cf34a69-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_2766-84f7ee075450744239e379fac002735b7cf34a69-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A wood mosaic wall and door, created by Lance Ryan McGoldrick. \u003ccite>(Photo: Lindsey Kennedy/Courtesy of Meow Wolf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the process, Meow Wolf has gone from DIY collective to a for-profit company. Now, in addition to solving problems like how to cut a bus in half or rig animatronic eyeballs to follow passersby, Meow Wolf must focus on ticket sales, too. The group’s future depends on its ability to bring in enough new and repeat visitors to sustain and grow the business.\u003c/p>\n\u003cp>Artist Megan Ronniger says the complex brings something unique to the city’s art ecosystem.\u003c/p>\n\u003cp>“You’ve got these large institutions, museums and universities, you’ve got your commercial galleries, and then you have the experimental spaces. And they’re all hopefully informing one another,” she says.\u003c/p>\n\u003cp>With investors and city officials and one internationally famous fantasy author backing them, Meow Wolf is playing in a different league than it did in in its early days.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Perhaps for that reason, when I leave the House of Eternal Return — as I’d expect of any art establishment worth its salt — I exit through the gift shop. \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=DIY+Artists+Paint+The+Town+Strange%2C+With+Some+Help+From+George+R.R.+Martin&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11444584/diy-artists-paint-the-town-strange-with-some-help-from-george-r-r-martin",
"authors": [
"byline_arts_11444584"
],
"categories": [
"arts_1",
"arts_73",
"arts_75",
"arts_990",
"arts_70"
],
"tags": [
"arts_1310",
"arts_1118",
"arts_746",
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11444589",
"label": "arts_137"
},
"arts_11434971": {
"type": "posts",
"id": "arts_11434971",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11434971",
"score": null,
"sort": [
1458914435000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1458914435,
"format": "standard",
"title": "Fun And Entertainment Are Collateral Damage In 'Batman V Superman'",
"headTitle": "Fun And Entertainment Are Collateral Damage In ‘Batman V Superman’ | KQED",
"content": "\u003cp>It’s been three years since the Superman movie \u003cem>Man of Steel\u003c/em> arrived in theaters — three years in which DC Comics has released no other superhero movies. Meanwhile, its rival, Marvel, has earned more than $9 billion from a dozen men-in-spandex films.\u003c/p>\n\u003cp>So the \u003cem>Man of Steel\u003c/em> sequel, a ponderously overlong epic called \u003cem>Batman V Superman: Dawn of Justice\u003c/em> (that solitary “V” being pretty much the only thing abbreviated about it) has some serious catching up to do.\u003c/p>\n\u003cp>https://youtu.be/NhWg7AQLI_8\u003c/p>\n\u003cp>Easier said than done, since it’s freighted not so much with entertainment value as it is with enough talk of fallen gods, absent parents and dissolute heroes to fuel a Greek tragedy. And for much of the film’s 2 1/2 hours, director Zack Snyder seems convinced that that’s what he’s making. Or, as bad guy Lex Luthor puts it, in an unedited stream-of-consciousness attempt at pizazz: “A battle to the death, black and blue, fight night, the greatest gladiator match in the history of the world, God versus man, day versus night, son of Krypton, versus Bat of Gotham.”\u003c/p>\n\u003cp>It takes a while to pit these two iconic good guys against each other, but the script gives them reasons. Straight-arrow Clark Kent goes after vigilantes both as a reporter for the \u003cem>Daily Planet\u003c/em> and as a superdude in a cape, because he feels guilty that whole blocks of Metropolis got wiped out along with the bad guys at the end of his last movie.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Brooding bat-suited billionaire Bruce Wayne blames Superman for that collateral damage. And worries that it’s just the start. \u003c/p>\n\u003cp>“He has the power to wipe out the entire human race,” he says. “And if we believe there’s an even 1 percent chance that he’s our enemy, we have to take it as an absolute certainty.”\u003c/p>\n\u003cp>Not sure about that 1 percent/absolute certainty matchup, but hey … these guys are smart. Surely they can talk things out. Alas, Lex Luthor is the one doing the introductions.\u003c/p>\n\u003cp>Jesse Eisenberg mostly manages to make Lex Luthor an annoying villain, rather than an alarming one. But Ben Affleck’s graying Batman owns the alarm concession anyway — growling, prowling, literally branding bad guys. Henry Cavill’s Superman is comparatively subdued, floating down majestically from on high, lips curled with what looks like indigestion.\u003c/p>\n\u003cp>The half of the film not devoted to establishing why they’re fighting is devoted to making the fight seem plausibly even. Batman is, after all, a guy with gizmos … not superpowers. Everyone acts up a storm, plumbing psychological nuances that are not really what most people go to superhero epics for. But what’s a poor studio to do when Marvel has pretty much cornered the jokey, ironic detachment market?\u003c/p>\n\u003cp>Director Snyder plays to what I suppose you have to call his strengths. He lays on the moody atmospherics and Hans Zimmer’s score, while keeping the images grand enough to support the obligatory special-effects dust-up with a monster in the final reel.\u003c/p>\n\u003cp>The filmmakers save a secret weapon for that battle: Wonder Woman, who shows up more or less unannounced to toss her lasso and brandish her shield. Gal Gadot will doubtless get to do more next time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And yeah, there will be a next time, even if this time has turned out to be a lot less fun than it should be.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 601,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 14
},
"modified": 1705044765,
"excerpt": "'Batman V Superman' tries to go big on the psychological nuances but skimps on fun.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "'Batman V Superman' tries to go big on the psychological nuances but skimps on fun.",
"title": "Fun And Entertainment Are Collateral Damage In 'Batman V Superman' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Fun And Entertainment Are Collateral Damage In 'Batman V Superman'",
"datePublished": "2016-03-25T07:00:35-07:00",
"dateModified": "2024-01-11T23:32:45-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "fun-and-entertainment-are-collateral-damage-in-batman-v-superman",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=471717676&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprStoryDate": "Thu, 24 Mar 2016 16:30:00 -0400",
"nprLastModifiedDate": "Thu, 24 Mar 2016 19:20:02 -0400",
"nprHtmlLink": "http://www.npr.org/2016/03/24/471717676/fun-and-entertainment-are-collateral-damage-in-batman-v-superman?ft=nprml&f=471717676",
"nprAudio": "http://pd.npr.org/anon.npr-mp3/npr/atc/2016/03/20160324_atc_fun_and_entertainment_are_collateral_damage_in_batman_v_superman.mp3?orgId=1&topicId=4467349&d=218&p=2&story=471717676&t=progseg&e=471717045&seg=9&ft=nprml&f=471717676",
"nprImageAgency": "Courtesy of Warner Bros Pictures",
"nprAudioM3u": "http://api.npr.org/m3u/1471762425-81e7bf.m3u?orgId=1&topicId=4467349&d=218&p=2&story=471717676&t=progseg&e=471717045&seg=9&ft=nprml&f=471717676",
"nprStoryId": "471717676",
"nprByline": "Bob Mondello",
"sticky": false,
"nprImageCredit": "Clay Enos",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 24 Mar 2016 19:20:00 -0400",
"path": "/arts/11434971/fun-and-entertainment-are-collateral-damage-in-batman-v-superman",
"audioUrl": "http://pd.npr.org/anon.npr-mp3/npr/atc/2016/03/20160324_atc_fun_and_entertainment_are_collateral_damage_in_batman_v_superman.mp3?orgId=1&topicId=4467349&d=218&p=2&story=471717676&t=progseg&e=471717045&seg=9&ft=nprml&f=471717676",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s been three years since the Superman movie \u003cem>Man of Steel\u003c/em> arrived in theaters — three years in which DC Comics has released no other superhero movies. Meanwhile, its rival, Marvel, has earned more than $9 billion from a dozen men-in-spandex films.\u003c/p>\n\u003cp>So the \u003cem>Man of Steel\u003c/em> sequel, a ponderously overlong epic called \u003cem>Batman V Superman: Dawn of Justice\u003c/em> (that solitary “V” being pretty much the only thing abbreviated about it) has some serious catching up to do.\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/NhWg7AQLI_8'\n title='//www.youtube.com/embed/NhWg7AQLI_8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Easier said than done, since it’s freighted not so much with entertainment value as it is with enough talk of fallen gods, absent parents and dissolute heroes to fuel a Greek tragedy. And for much of the film’s 2 1/2 hours, director Zack Snyder seems convinced that that’s what he’s making. Or, as bad guy Lex Luthor puts it, in an unedited stream-of-consciousness attempt at pizazz: “A battle to the death, black and blue, fight night, the greatest gladiator match in the history of the world, God versus man, day versus night, son of Krypton, versus Bat of Gotham.”\u003c/p>\n\u003cp>It takes a while to pit these two iconic good guys against each other, but the script gives them reasons. Straight-arrow Clark Kent goes after vigilantes both as a reporter for the \u003cem>Daily Planet\u003c/em> and as a superdude in a cape, because he feels guilty that whole blocks of Metropolis got wiped out along with the bad guys at the end of his last movie.\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>Brooding bat-suited billionaire Bruce Wayne blames Superman for that collateral damage. And worries that it’s just the start. \u003c/p>\n\u003cp>“He has the power to wipe out the entire human race,” he says. “And if we believe there’s an even 1 percent chance that he’s our enemy, we have to take it as an absolute certainty.”\u003c/p>\n\u003cp>Not sure about that 1 percent/absolute certainty matchup, but hey … these guys are smart. Surely they can talk things out. Alas, Lex Luthor is the one doing the introductions.\u003c/p>\n\u003cp>Jesse Eisenberg mostly manages to make Lex Luthor an annoying villain, rather than an alarming one. But Ben Affleck’s graying Batman owns the alarm concession anyway — growling, prowling, literally branding bad guys. Henry Cavill’s Superman is comparatively subdued, floating down majestically from on high, lips curled with what looks like indigestion.\u003c/p>\n\u003cp>The half of the film not devoted to establishing why they’re fighting is devoted to making the fight seem plausibly even. Batman is, after all, a guy with gizmos … not superpowers. Everyone acts up a storm, plumbing psychological nuances that are not really what most people go to superhero epics for. But what’s a poor studio to do when Marvel has pretty much cornered the jokey, ironic detachment market?\u003c/p>\n\u003cp>Director Snyder plays to what I suppose you have to call his strengths. He lays on the moody atmospherics and Hans Zimmer’s score, while keeping the images grand enough to support the obligatory special-effects dust-up with a monster in the final reel.\u003c/p>\n\u003cp>The filmmakers save a secret weapon for that battle: Wonder Woman, who shows up more or less unannounced to toss her lasso and brandish her shield. Gal Gadot will doubtless get to do more next time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And yeah, there will be a next time, even if this time has turned out to be a lot less fun than it should be.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11434971/fun-and-entertainment-are-collateral-damage-in-batman-v-superman",
"authors": [
"byline_arts_11434971"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11434977",
"label": "arts_137"
},
"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"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"radioSearchSegmentsReducer": {},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"racesGenElection2026PresidentialReducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?affiliate=npr": {
"isFetching": false,
"latestQuery": {
"from": 2160,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 2513,
"relation": "eq"
},
"items": [
"arts_11481809",
"arts_11476735",
"arts_11470844",
"arts_11456604",
"arts_11445936",
"arts_11444584",
"arts_11434971",
"arts_11412346",
"arts_11403573",
"arts_11392000",
"arts_11389762",
"arts_11378345"
],
"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_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"
},
"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_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_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_10589": {
"type": "terms",
"id": "arts_10589",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10589",
"found": true
},
"relationships": {},
"featImg": null,
"name": "&Music",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "&Music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10601,
"slug": "music",
"isLoading": false,
"link": "/arts/tag/music"
},
"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_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_73": {
"type": "terms",
"id": "arts_73",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "73",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Books",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Books Archives | KQED Arts",
"ogDescription": null
},
"ttid": 74,
"slug": "literature",
"isLoading": false,
"link": "/arts/category/literature"
},
"arts_75": {
"type": "terms",
"id": "arts_75",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "75",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Pop Culture",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Pop Culture Archives | KQED Arts",
"ogDescription": null
},
"ttid": 76,
"slug": "popculture",
"isLoading": false,
"link": "/arts/category/popculture"
},
"arts_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_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_1310": {
"type": "terms",
"id": "arts_1310",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1310",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Art in the Open",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Art in the Open Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1322,
"slug": "art-in-the-open",
"isLoading": false,
"link": "/arts/tag/art-in-the-open"
},
"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_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_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"
}
},
"userPermissionsReducer": {
"wpLoggedIn": false
},
"eventsReducer": {},
"fssReducer": {},
"tvDailyScheduleReducer": {},
"tvWeeklyScheduleReducer": {},
"tvPrimetimeScheduleReducer": {},
"tvMonthlyScheduleReducer": {},
"userAccountReducer": {
"user": {
"email": null,
"emailStatus": "EMAIL_UNVALIDATED",
"loggedStatus": "LOGGED_OUT",
"loggingChecked": false,
"articles": [],
"firstName": null,
"lastName": null,
"phoneNumber": null,
"fetchingMembership": false,
"membershipError": false,
"memberships": [
{
"id": null,
"startDate": null,
"firstName": null,
"lastName": null,
"familyNumber": null,
"memberNumber": null,
"memberSince": null,
"expirationDate": null,
"pfsEligible": false,
"isSustaining": false,
"membershipLevel": "Prospect",
"membershipStatus": "Non Member",
"lastGiftDate": null,
"renewalDate": null,
"lastDonationAmount": null
}
]
},
"authModal": {
"isOpen": false,
"view": "LANDING_VIEW"
},
"error": null
},
"youthMediaReducer": {},
"checkPleaseReducer": {
"filterData": {
"region": {
"key": "Restaurant Region",
"filters": [
"Any Region"
]
},
"cuisine": {
"key": "Restaurant Cuisine",
"filters": [
"Any Cuisine"
]
}
},
"restaurantDataById": {},
"restaurantIdsSorted": [],
"error": null
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
},
"requestOutcomesReducer": {
"notFound": []
},
"navPromosReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": true,
"promos": {
"news": {
"name": "2026 Voter Guide",
"link": "/voterguide",
"imageURL": "https://cdn.kqed.org/wp-content/uploads/2026/10/Nav-News-Nov2026ElectionCoverage@2x-7bd4aad4.png",
"description": "Get informed in minutes with our Voter Guide for California’s November 3 election."
},
"podcasts-radio": {},
"video-tv": {},
"events": {},
"support": {}
}
}
}
