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_11248910": {
"type": "attachments",
"id": "arts_11248910",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11248910",
"found": true
},
"parent": 11248909,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/paul-giamatti-as-chuck-rhoades-in-billions_wide-c3269adbdc8032f4b50355114ea3bc876c580b38-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/paul-giamatti-as-chuck-rhoades-in-billions_wide-c3269adbdc8032f4b50355114ea3bc876c580b38.jpg",
"width": 541,
"height": 304
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/paul-giamatti-as-chuck-rhoades-in-billions_wide-c3269adbdc8032f4b50355114ea3bc876c580b38-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/paul-giamatti-as-chuck-rhoades-in-billions_wide-c3269adbdc8032f4b50355114ea3bc876c580b38-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/paul-giamatti-as-chuck-rhoades-in-billions_wide-c3269adbdc8032f4b50355114ea3bc876c580b38-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/paul-giamatti-as-chuck-rhoades-in-billions_wide-c3269adbdc8032f4b50355114ea3bc876c580b38-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/paul-giamatti-as-chuck-rhoades-in-billions_wide-c3269adbdc8032f4b50355114ea3bc876c580b38-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1452888294,
"modified": 1452888294,
"caption": null,
"description": "Paul Giamatti plays a U.S. Attorney with ambitions of becoming governor in the Showtime series \u003cem>Billions, \u003c/em>which begins airing Jan. 17.",
"title": "Paul Giamatti plays a U.S. Attorney with ambitions of becoming governor in the Showtime series Billions, which begins airing Jan. 17.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11241010": {
"type": "attachments",
"id": "arts_11241010",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11241010",
"found": true
},
"parent": 11241009,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/6_wide-9cd9af190c72864727362958632b37864036ef1b-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/6_wide-9cd9af190c72864727362958632b37864036ef1b-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/6_wide-9cd9af190c72864727362958632b37864036ef1b-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/6_wide-9cd9af190c72864727362958632b37864036ef1b-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/6_wide-9cd9af190c72864727362958632b37864036ef1b-e1452630981250.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/6_wide-9cd9af190c72864727362958632b37864036ef1b-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/6_wide-9cd9af190c72864727362958632b37864036ef1b-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/6_wide-9cd9af190c72864727362958632b37864036ef1b-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/6_wide-9cd9af190c72864727362958632b37864036ef1b-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/6_wide-9cd9af190c72864727362958632b37864036ef1b-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/6_wide-9cd9af190c72864727362958632b37864036ef1b-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/6_wide-9cd9af190c72864727362958632b37864036ef1b-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/6_wide-9cd9af190c72864727362958632b37864036ef1b-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/6_wide-9cd9af190c72864727362958632b37864036ef1b-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/6_wide-9cd9af190c72864727362958632b37864036ef1b-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1452630830,
"modified": 1452631016,
"caption": "Saul (Géza Röhrig) is almost always seen in a near close-up in 'Son of Saul.'",
"description": null,
"title": "6_wide-9cd9af190c72864727362958632b37864036ef1b",
"credit": "Courtesy of Sony Pictures Classics",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11245563": {
"type": "attachments",
"id": "arts_11245563",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11245563",
"found": true
},
"parent": 11245562,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/ap_869237995190_wide-31056fa90eb6cee22e0f4f653e5c33dac8f272fe-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/ap_869237995190_wide-31056fa90eb6cee22e0f4f653e5c33dac8f272fe-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/ap_869237995190_wide-31056fa90eb6cee22e0f4f653e5c33dac8f272fe-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/ap_869237995190_wide-31056fa90eb6cee22e0f4f653e5c33dac8f272fe-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/ap_869237995190_wide-31056fa90eb6cee22e0f4f653e5c33dac8f272fe.jpg",
"width": 3000,
"height": 1687
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/ap_869237995190_wide-31056fa90eb6cee22e0f4f653e5c33dac8f272fe-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/ap_869237995190_wide-31056fa90eb6cee22e0f4f653e5c33dac8f272fe-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/ap_869237995190_wide-31056fa90eb6cee22e0f4f653e5c33dac8f272fe-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/ap_869237995190_wide-31056fa90eb6cee22e0f4f653e5c33dac8f272fe-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/ap_869237995190_wide-31056fa90eb6cee22e0f4f653e5c33dac8f272fe-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/ap_869237995190_wide-31056fa90eb6cee22e0f4f653e5c33dac8f272fe-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/ap_869237995190_wide-31056fa90eb6cee22e0f4f653e5c33dac8f272fe-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/ap_869237995190_wide-31056fa90eb6cee22e0f4f653e5c33dac8f272fe-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/ap_869237995190_wide-31056fa90eb6cee22e0f4f653e5c33dac8f272fe-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/ap_869237995190_wide-31056fa90eb6cee22e0f4f653e5c33dac8f272fe-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1452780493,
"modified": 1452780493,
"caption": null,
"description": "British actor Alan Rickman has died at age 69; he had reportedly been suffering from cancer. He's seen here in New York last June.",
"title": "British actor Alan Rickman has died at age 69; he had reportedly been suffering from cancer. He's seen here in New York last June.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11243659": {
"type": "attachments",
"id": "arts_11243659",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11243659",
"found": true
},
"parent": 11243652,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/ai-weiwei-studio-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/ai-weiwei-studio-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/ai-weiwei-studio.jpg",
"width": 800,
"height": 450
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/ai-weiwei-studio-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/ai-weiwei-studio-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/ai-weiwei-studio-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/ai-weiwei-studio-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/ai-weiwei-studio-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/ai-weiwei-studio-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/ai-weiwei-studio-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1452717438,
"modified": 1452717458,
"caption": "Ai Wei Wei in his Beijing Studio",
"description": "Ai Wei Wei in his Beijing Studio",
"title": "ai-weiwei-beijing-studio",
"credit": "Courtesy: alcatrazcruises.com",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11241005": {
"type": "attachments",
"id": "arts_11241005",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11241005",
"found": true
},
"parent": 11241004,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/ap_97010901405-edit_custom-378284d2d150a3fe85e93f1cf006f0fadc3b8472-e1452630594861-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/ap_97010901405-edit_custom-378284d2d150a3fe85e93f1cf006f0fadc3b8472-e1452630594861-400x226.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 226
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/ap_97010901405-edit_custom-378284d2d150a3fe85e93f1cf006f0fadc3b8472-e1452630594861-960x542.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 542
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/ap_97010901405-edit_custom-378284d2d150a3fe85e93f1cf006f0fadc3b8472-e1452630594861-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/ap_97010901405-edit_custom-378284d2d150a3fe85e93f1cf006f0fadc3b8472-e1452630594861.jpg",
"width": 1324,
"height": 747
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/ap_97010901405-edit_custom-378284d2d150a3fe85e93f1cf006f0fadc3b8472-e1452630594861-1180x666.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 666
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/ap_97010901405-edit_custom-378284d2d150a3fe85e93f1cf006f0fadc3b8472-e1452630594861-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/ap_97010901405-edit_custom-378284d2d150a3fe85e93f1cf006f0fadc3b8472-e1452630594861-800x451.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 451
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/ap_97010901405-edit_custom-378284d2d150a3fe85e93f1cf006f0fadc3b8472-e1452630594861-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/ap_97010901405-edit_custom-378284d2d150a3fe85e93f1cf006f0fadc3b8472-e1452630594861-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/ap_97010901405-edit_custom-378284d2d150a3fe85e93f1cf006f0fadc3b8472-e1452630594861-1180x666.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 666
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/ap_97010901405-edit_custom-378284d2d150a3fe85e93f1cf006f0fadc3b8472-e1452630594861-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/ap_97010901405-edit_custom-378284d2d150a3fe85e93f1cf006f0fadc3b8472-e1452630594861-768x433.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 433
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/ap_97010901405-edit_custom-378284d2d150a3fe85e93f1cf006f0fadc3b8472-e1452630594861-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1452630384,
"modified": 1452630574,
"caption": "David Bowie performs during a concert celebrating his 50th birthday, on Jan. 9, 1997, at Madison Square Garden in New York City.",
"description": "David Bowie performs during a concert celebrating his 50th birthday, on Jan. 9, 1997, at Madison Square Garden in New York City.",
"title": "David Bowie performs during a concert celebrating his 50th birthday, on Jan. 9, 1997, at Madison Square Garden in New York City.",
"credit": "Photo: Ron Frehm/AP",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11238570": {
"type": "attachments",
"id": "arts_11238570",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11238570",
"found": true
},
"parent": 11238569,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/man067ab_wide-7e2ec16e47ffe146ef9aeeba204c15741b940f46-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/man067ab_wide-7e2ec16e47ffe146ef9aeeba204c15741b940f46-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/man067ab_wide-7e2ec16e47ffe146ef9aeeba204c15741b940f46-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/man067ab_wide-7e2ec16e47ffe146ef9aeeba204c15741b940f46-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/man067ab_wide-7e2ec16e47ffe146ef9aeeba204c15741b940f46.jpg",
"width": 4337,
"height": 2439
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/man067ab_wide-7e2ec16e47ffe146ef9aeeba204c15741b940f46-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/man067ab_wide-7e2ec16e47ffe146ef9aeeba204c15741b940f46-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/man067ab_wide-7e2ec16e47ffe146ef9aeeba204c15741b940f46-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/man067ab_wide-7e2ec16e47ffe146ef9aeeba204c15741b940f46-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/man067ab_wide-7e2ec16e47ffe146ef9aeeba204c15741b940f46-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/man067ab_wide-7e2ec16e47ffe146ef9aeeba204c15741b940f46-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/man067ab_wide-7e2ec16e47ffe146ef9aeeba204c15741b940f46-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/man067ab_wide-7e2ec16e47ffe146ef9aeeba204c15741b940f46-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/man067ab_wide-7e2ec16e47ffe146ef9aeeba204c15741b940f46-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/man067ab_wide-7e2ec16e47ffe146ef9aeeba204c15741b940f46-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1452550427,
"modified": 1452550427,
"caption": null,
"description": "David Bowie showed off his acting chops as the British-accented alien in the 1976 film \u003cem>The Man Who Fell To Earth\u003c/em>.",
"title": "David Bowie showed off his acting chops as the British-accented alien in the 1976 film The Man Who Fell To Earth.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11238557": {
"type": "attachments",
"id": "arts_11238557",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11238557",
"found": true
},
"parent": 11238556,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/504409512_wide-c65a315db0e55f304d5cf5bac7d8c8389f67b6e8-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/504409512_wide-c65a315db0e55f304d5cf5bac7d8c8389f67b6e8-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/504409512_wide-c65a315db0e55f304d5cf5bac7d8c8389f67b6e8-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/504409512_wide-c65a315db0e55f304d5cf5bac7d8c8389f67b6e8-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/504409512_wide-c65a315db0e55f304d5cf5bac7d8c8389f67b6e8.jpg",
"width": 3000,
"height": 1687
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/504409512_wide-c65a315db0e55f304d5cf5bac7d8c8389f67b6e8-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/504409512_wide-c65a315db0e55f304d5cf5bac7d8c8389f67b6e8-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/504409512_wide-c65a315db0e55f304d5cf5bac7d8c8389f67b6e8-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/504409512_wide-c65a315db0e55f304d5cf5bac7d8c8389f67b6e8-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/504409512_wide-c65a315db0e55f304d5cf5bac7d8c8389f67b6e8-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/504409512_wide-c65a315db0e55f304d5cf5bac7d8c8389f67b6e8-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/504409512_wide-c65a315db0e55f304d5cf5bac7d8c8389f67b6e8-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/504409512_wide-c65a315db0e55f304d5cf5bac7d8c8389f67b6e8-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/504409512_wide-c65a315db0e55f304d5cf5bac7d8c8389f67b6e8-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/504409512_wide-c65a315db0e55f304d5cf5bac7d8c8389f67b6e8-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1452548111,
"modified": 1452548911,
"caption": "Host Ricky Gervais kept his drink close at hand during Sunday night's Golden Globes ceremony.",
"description": "Host Ricky Gervais kept his drink close at hand during Sunday night's Golden Globes ceremony.",
"title": "Host Ricky Gervais kept his drink close at hand during Sunday night's Golden Globes ceremony.",
"credit": "Photo: Paul Drinkwater/NBC Universal/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11227796": {
"type": "attachments",
"id": "arts_11227796",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11227796",
"found": true
},
"parent": 11227795,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/macaca_nigra_self-portrait_custom-9e834e877413ee5cb1da909a7a528c80db9beed9-e1452197947811-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/macaca_nigra_self-portrait_custom-9e834e877413ee5cb1da909a7a528c80db9beed9-e1452197947811-400x277.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 277
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/macaca_nigra_self-portrait_custom-9e834e877413ee5cb1da909a7a528c80db9beed9-e1452197947811-960x665.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 665
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/macaca_nigra_self-portrait_custom-9e834e877413ee5cb1da909a7a528c80db9beed9-e1452197947811-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/macaca_nigra_self-portrait_custom-9e834e877413ee5cb1da909a7a528c80db9beed9-e1452197947811.jpg",
"width": 1083,
"height": 750
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/macaca_nigra_self-portrait_custom-9e834e877413ee5cb1da909a7a528c80db9beed9-854x1180.jpg",
"width": 854,
"mimeType": "image/jpeg",
"height": 1180
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/macaca_nigra_self-portrait_custom-9e834e877413ee5cb1da909a7a528c80db9beed9-e1452197947811-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/macaca_nigra_self-portrait_custom-9e834e877413ee5cb1da909a7a528c80db9beed9-e1452197947811-800x554.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 554
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/macaca_nigra_self-portrait_custom-9e834e877413ee5cb1da909a7a528c80db9beed9-e1452197947811-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/macaca_nigra_self-portrait_custom-9e834e877413ee5cb1da909a7a528c80db9beed9-e1452197947811-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/macaca_nigra_self-portrait_custom-9e834e877413ee5cb1da909a7a528c80db9beed9-e1452197947811-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/macaca_nigra_self-portrait_custom-9e834e877413ee5cb1da909a7a528c80db9beed9-e1452197947811-768x532.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 532
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/macaca_nigra_self-portrait_custom-9e834e877413ee5cb1da909a7a528c80db9beed9-e1452197947811-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1452197285,
"modified": 1452198274,
"caption": "A macaque took this self-portrait in 2011 with a camera owned by photographer David Slater. PETA says the monkey owns the copyright; Slater says he does. The U.S. Copyright Office says no one can, and a federal judge has now said it would be up to Congress to extend copyright privileges to animals.",
"description": "A macaque took this self-portrait in 2011 with a camera owned by photographer David Slater. PETA says the monkey owns the copyright; Slater says he does. The U.S. Copyright Office says no one can, and a federal judge has now said it would be up to Congress to extend copyright privileges to animals.",
"title": "A macaque took this self-portrait in 2011 with a camera owned by photographer David Slater. PETA says the monkey owns the copyright; Slater says he does. The U.S. Copyright Office says no one can, and a federal judge has now said it would be up to Congress to extend copyright privileges to animals.",
"credit": "Photo: David Slater/Wikimedia Commons",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11225552": {
"type": "attachments",
"id": "arts_11225552",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11225552",
"found": true
},
"parent": 11225551,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/latino-movies_wide-8a302f9c92dd06495deef8f74300cbbb544be6fc-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/latino-movies_wide-8a302f9c92dd06495deef8f74300cbbb544be6fc-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/latino-movies_wide-8a302f9c92dd06495deef8f74300cbbb544be6fc-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/latino-movies_wide-8a302f9c92dd06495deef8f74300cbbb544be6fc-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/latino-movies_wide-8a302f9c92dd06495deef8f74300cbbb544be6fc.jpg",
"width": 2000,
"height": 1125
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/latino-movies_wide-8a302f9c92dd06495deef8f74300cbbb544be6fc-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/latino-movies_wide-8a302f9c92dd06495deef8f74300cbbb544be6fc-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/latino-movies_wide-8a302f9c92dd06495deef8f74300cbbb544be6fc-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/latino-movies_wide-8a302f9c92dd06495deef8f74300cbbb544be6fc-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/latino-movies_wide-8a302f9c92dd06495deef8f74300cbbb544be6fc-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/latino-movies_wide-8a302f9c92dd06495deef8f74300cbbb544be6fc-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/latino-movies_wide-8a302f9c92dd06495deef8f74300cbbb544be6fc-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/latino-movies_wide-8a302f9c92dd06495deef8f74300cbbb544be6fc-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/latino-movies_wide-8a302f9c92dd06495deef8f74300cbbb544be6fc-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/latino-movies_wide-8a302f9c92dd06495deef8f74300cbbb544be6fc-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1452123023,
"modified": 1452123338,
"caption": "At left, Jimmy Smits in 'My Family.' At right, Jennifer Lopez in 'Selena'",
"description": "At left, Jimmy Smits in 'My Family.' At right, Jennifer Lopez in 'Selena'",
"title": "At left, Jimmy Smits in My Family. At right, Jennifer Lopez in Selena.",
"credit": "Left: Zoetrope/New Line/Kobal Collection. Right: Scott Del Amo/AFP/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11225195": {
"type": "attachments",
"id": "arts_11225195",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11225195",
"found": true
},
"parent": 11225194,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/gettyimages-458328962_custom-fb5728678f7c980d2df20eefacd98c1dd5e6968d-e1452116190937-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/gettyimages-458328962_custom-fb5728678f7c980d2df20eefacd98c1dd5e6968d-e1452116190937-400x235.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 235
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/gettyimages-458328962_custom-fb5728678f7c980d2df20eefacd98c1dd5e6968d-e1452116190937-960x564.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 564
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/gettyimages-458328962_custom-fb5728678f7c980d2df20eefacd98c1dd5e6968d-e1452116190937-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/gettyimages-458328962_custom-fb5728678f7c980d2df20eefacd98c1dd5e6968d-e1452116190937.jpg",
"width": 4663,
"height": 2739
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/gettyimages-458328962_custom-fb5728678f7c980d2df20eefacd98c1dd5e6968d-e1452116190937-1180x693.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 693
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/gettyimages-458328962_custom-fb5728678f7c980d2df20eefacd98c1dd5e6968d-e1452116190937-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/gettyimages-458328962_custom-fb5728678f7c980d2df20eefacd98c1dd5e6968d-e1452116190937-800x470.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 470
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/gettyimages-458328962_custom-fb5728678f7c980d2df20eefacd98c1dd5e6968d-e1452116190937-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/gettyimages-458328962_custom-fb5728678f7c980d2df20eefacd98c1dd5e6968d-e1452116190937-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/gettyimages-458328962_custom-fb5728678f7c980d2df20eefacd98c1dd5e6968d-e1452116190937-1920x1128.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1128
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/gettyimages-458328962_custom-fb5728678f7c980d2df20eefacd98c1dd5e6968d-e1452116190937-1180x693.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 693
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/gettyimages-458328962_custom-fb5728678f7c980d2df20eefacd98c1dd5e6968d-e1452116190937-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/gettyimages-458328962_custom-fb5728678f7c980d2df20eefacd98c1dd5e6968d-e1452116190937-768x451.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 451
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/gettyimages-458328962_custom-fb5728678f7c980d2df20eefacd98c1dd5e6968d-e1452116190937-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1452112693,
"modified": 1452114305,
"caption": "French conductor and composer Pierre Boulez (right), seen here in 1984 with musician Frank Zappa (center) and French Minister of Culture Jack Lang, has died at age 90.",
"description": "French conductor and composer Pierre Boulez (right), seen here in 1984 with musician Frank Zappa (center) and French Minister of Culture Jack Lang, has died at age 90.",
"title": "French conductor and composer Pierre Boulez (right), seen here in 1984 with musician Frank Zappa (center) and French Minister of Culture Jack Lang, has died at age 90.",
"credit": "Photo: Joel Robine/AFP/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"pop_19731": {
"type": "attachments",
"id": "pop_19731",
"meta": {
"index": "attachments_1716263798",
"site": "pop",
"id": "19731",
"found": true
},
"parent": 19730,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/01/ep7_ia_10697_custom-94173b444b67959675c929e0ef92eb6ad18c2140-e1452113704252-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/01/ep7_ia_10697_custom-94173b444b67959675c929e0ef92eb6ad18c2140-e1452113704252-400x226.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 226
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/01/ep7_ia_10697_custom-94173b444b67959675c929e0ef92eb6ad18c2140-e1452113704252-960x541.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 541
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/01/ep7_ia_10697_custom-94173b444b67959675c929e0ef92eb6ad18c2140-e1452113704252-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/01/ep7_ia_10697_custom-94173b444b67959675c929e0ef92eb6ad18c2140-e1452113704252.jpg",
"width": 3271,
"height": 1845
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/01/ep7_ia_10697_custom-94173b444b67959675c929e0ef92eb6ad18c2140-e1452113704252-1440x812.jpg",
"width": 1440,
"mimeType": "image/jpeg",
"height": 812
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/01/ep7_ia_10697_custom-94173b444b67959675c929e0ef92eb6ad18c2140-e1452113704252-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/01/ep7_ia_10697_custom-94173b444b67959675c929e0ef92eb6ad18c2140-e1452113704252-800x451.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 451
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/01/ep7_ia_10697_custom-94173b444b67959675c929e0ef92eb6ad18c2140-e1452113704252-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/01/ep7_ia_10697_custom-94173b444b67959675c929e0ef92eb6ad18c2140-e1452113704252-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/01/ep7_ia_10697_custom-94173b444b67959675c929e0ef92eb6ad18c2140-e1452113704252-1920x1083.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1083
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/01/ep7_ia_10697_custom-94173b444b67959675c929e0ef92eb6ad18c2140-e1452113704252-1180x666.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 666
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/01/ep7_ia_10697_custom-94173b444b67959675c929e0ef92eb6ad18c2140-e1452113704252-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/01/ep7_ia_10697_custom-94173b444b67959675c929e0ef92eb6ad18c2140-e1452113704252-768x433.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 433
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/01/ep7_ia_10697_custom-94173b444b67959675c929e0ef92eb6ad18c2140-e1452113704252-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1452113460,
"modified": 1452114714,
"caption": "Rey, played by Daisy Ridley, was the central figure in Star Wars: The Force Awakens. But she was far from a central figurine when it came to the movie's tie-in toys and games.",
"description": "Rey, played by Daisy Ridley, was the central figure in Star Wars: The Force Awakens. But she was far from a central figurine when it came to the movie's tie-in toys and games.",
"title": "Rey, played by Daisy Ridley, was the central figure in Star Wars: The Force Awakens. But she was far from a central figurine when it came to the movie's tie-in toys and games.",
"credit": "Photo: David James/Lucasfilm",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11222928": {
"type": "attachments",
"id": "arts_11222928",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11222928",
"found": true
},
"parent": 11222927,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/makin_pds_005_h-3528e35074a87cb8ff7246dbe722f9fc6ceaf9cd-e1452040180954-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/makin_pds_005_h-3528e35074a87cb8ff7246dbe722f9fc6ceaf9cd-e1452040180954-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/makin_pds_005_h-3528e35074a87cb8ff7246dbe722f9fc6ceaf9cd-e1452040180954-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/makin_pds_005_h-3528e35074a87cb8ff7246dbe722f9fc6ceaf9cd-e1452040180954-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/makin_pds_005_h-3528e35074a87cb8ff7246dbe722f9fc6ceaf9cd-e1452040180954.jpg",
"width": 2795,
"height": 1572
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/makin_pds_005_h-3528e35074a87cb8ff7246dbe722f9fc6ceaf9cd-e1452040180954-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/makin_pds_005_h-3528e35074a87cb8ff7246dbe722f9fc6ceaf9cd-e1452040180954-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/makin_pds_005_h-3528e35074a87cb8ff7246dbe722f9fc6ceaf9cd-e1452040180954-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/makin_pds_005_h-3528e35074a87cb8ff7246dbe722f9fc6ceaf9cd-e1452040180954-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/makin_pds_005_h-3528e35074a87cb8ff7246dbe722f9fc6ceaf9cd-e1452040180954-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/makin_pds_005_h-3528e35074a87cb8ff7246dbe722f9fc6ceaf9cd-e1452040180954-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/makin_pds_005_h-3528e35074a87cb8ff7246dbe722f9fc6ceaf9cd-e1452040180954-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/makin_pds_005_h-3528e35074a87cb8ff7246dbe722f9fc6ceaf9cd-e1452040180954-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/makin_pds_005_h-3528e35074a87cb8ff7246dbe722f9fc6ceaf9cd-e1452040180954-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/makin_pds_005_h-3528e35074a87cb8ff7246dbe722f9fc6ceaf9cd-e1452040180954-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1452040111,
"modified": 1452040205,
"caption": "Steven Avery served 18 years in prison for sexual assault. He was exonerated by DNA evidence in 2003",
"description": "Steven Avery served 18 years in prison for sexual assault. He was exonerated by DNA evidence in 2003",
"title": "Steven Avery served 18 years in prison for sexual assault. He was exonerated by DNA evidence in 2003.",
"credit": "Courtesy: Netflix",
"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_11248909": {
"type": "authors",
"id": "byline_arts_11248909",
"meta": {
"override": true
},
"slug": "byline_arts_11248909",
"name": "John Powers",
"isLoading": false
},
"byline_arts_11241009": {
"type": "authors",
"id": "byline_arts_11241009",
"meta": {
"override": true
},
"slug": "byline_arts_11241009",
"name": "Bob Mondello",
"isLoading": false
},
"byline_arts_11245562": {
"type": "authors",
"id": "byline_arts_11245562",
"meta": {
"override": true
},
"slug": "byline_arts_11245562",
"name": "Bill Chappell",
"isLoading": false
},
"byline_arts_11243652": {
"type": "authors",
"id": "byline_arts_11243652",
"meta": {
"override": true
},
"slug": "byline_arts_11243652",
"name": "Jim Zarroli",
"isLoading": false
},
"byline_arts_11241004": {
"type": "authors",
"id": "byline_arts_11241004",
"meta": {
"override": true
},
"slug": "byline_arts_11241004",
"name": "Laura Sydell",
"isLoading": false
},
"byline_arts_11238569": {
"type": "authors",
"id": "byline_arts_11238569",
"meta": {
"override": true
},
"slug": "byline_arts_11238569",
"name": "Bob Mondello",
"isLoading": false
},
"byline_arts_11238556": {
"type": "authors",
"id": "byline_arts_11238556",
"meta": {
"override": true
},
"slug": "byline_arts_11238556",
"name": "Linda Holmes",
"isLoading": false
},
"byline_arts_11227795": {
"type": "authors",
"id": "byline_arts_11227795",
"meta": {
"override": true
},
"slug": "byline_arts_11227795",
"name": "Camila Domonoske",
"isLoading": false
},
"byline_arts_11225551": {
"type": "authors",
"id": "byline_arts_11225551",
"meta": {
"override": true
},
"slug": "byline_arts_11225551",
"name": "Adrian Florido",
"isLoading": false
},
"byline_arts_11225194": {
"type": "authors",
"id": "byline_arts_11225194",
"meta": {
"override": true
},
"slug": "byline_arts_11225194",
"name": "Bill Chappell",
"isLoading": false
},
"byline_pop_19730": {
"type": "authors",
"id": "byline_pop_19730",
"meta": {
"override": true
},
"slug": "byline_pop_19730",
"name": "Camila Domonoske",
"isLoading": false
},
"byline_arts_11222927": {
"type": "authors",
"id": "byline_arts_11222927",
"meta": {
"override": true
},
"slug": "byline_arts_11222927",
"name": "NPR Staff",
"isLoading": false
}
},
"pagesReducer": {
"arts_affiliate_npr": {
"type": "terms",
"id": "arts_137",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "137",
"score": 14.2583885
},
"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": 184
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?affiliate=npr",
"seeMore": false,
"paginated": true,
"page": 184
}
},
{
"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_11248909": {
"type": "posts",
"id": "arts_11248909",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11248909",
"score": null,
"sort": [
1452888517000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1452888517,
"format": "standard",
"title": "Showtime's Financial Drama 'Billions' Doubles Down on Machismo",
"headTitle": "Showtime’s Financial Drama ‘Billions’ Doubles Down on Machismo | KQED",
"content": "\u003cp>“Money doesn’t talk,” said Bob Dylan. “It swears.” This is almost literally true in the blizzard of books, movies and TV shows about our financial one-percenters. If our wolves of Wall Street love anything more than obscene wealth, it’s obscene language. These guys — and they \u003cem>are\u003c/em> mainly guys — don’t trust anyone who’s shy about dropping F-bombs.\u003c/p>\n\u003cp>Who’s effing who — and how — is one of the governing metaphors of \u003cem>Billions\u003c/em>, a new Showtime series whose opening shot features one of its lead characters trussed up and awaiting a dominatrix. Though my heart sank when I saw this, such an image is truth in advertising. This is a show about power relationships, one that’s positively shameless in its desire to grab you.\u003c/p>\n\u003cp>\u003cem>Billions\u003c/em> is built around the collision of two megalomaniacal power-brokers, both played by actors who specialize in characters you can’t trust. That Pavarotti of prickliness Paul Giamatti is Chuck Rhoades, a well-born U.S. Attorney with just enough conscience that he can’t completely enjoy his vaulting ambition.\u003c/p>\n\u003cp>The calculating Rhoades dreams of being governor, which will be easier if he takes the scalp of a financial high-flier. Enter Bobby “Axe” Axelrod, played by perma-slippery Damian Lewis, far different here than in \u003cem>Homeland\u003c/em>. He’s a hedge-fund maestro who presents himself as a regular guy, but is the kind of thug who remembers, and avenges, slights decades later.\u003c/p>\n\u003cp>At first, Rhoades worries about going after Axe, who’s popular because of his casual dress, blue-collar origins and canny post-9/11 donations. But when Axe courts bad publicity by deciding to buy a staggeringly expensive house, Rhoades thinks it safe to make his move.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But there are complications. For starters, Rhoades’ psychologist wife, Wendy — niftily played by Maggie Siff — is a long-time life coach at Axelrod’s firm. And naturally Axe fights back. His personal fixer, played with a mortician’s sangfroid by Terry Kinney, instantly starts targeting Rhoades’ staff and family.\u003c/p>\n\u003cp>\u003cem>Billions\u003c/em> was created by the screenwriting team of Brian Koppelman and David Levien — who wrote \u003cem>Oceans Thirteen\u003c/em>, among others — along with \u003cem>New York Times\u003c/em> financial columnist Andrew Ross Sorkin. Together they’ve come up with a plot that doesn’t even aspire to the earnestness of an old-fashioned Hollywood morality play. The show’s basically a glossy melodrama.\u003c/p>\n\u003cp>And it offers a melodrama’s pleasures. The action clips right along, with punchy dialogue, twists and machinations, gratuitous premium-cable nudity, and lots of prime acting moments — Lewis showing Axe’s affability melt into ruthlessness, Giamatti’s blend of righteousness and bullying when Rhoades yells at a stranger for not cleaning up after his dog. They’re really good.\u003c/p>\n\u003cp>But their effing machismo lacks inner dimension and often feels generic. We’ve heard these alpha dogs bark many times before. The female roles feel fresher. Axe’s wife, Lara — played by Malin Ackerman — seems like a perky nice girl but she’s a smiler with a knife.\u003c/p>\n\u003cp>The show’s juiciest and most original character is Wendy Rhoades, who hears everyone’s secret feelings. Loyal to both her husband and to Axe — to what extent we can’t be sure — this gifted psychologist plays the deepest game of all. Wendy uses her role as a confessor/advisor to nudge people into doing what she wants. She admits that such manipulation turns her on. It turns us on, too. The show perks up whenever she’s on-screen.\u003c/p>\n\u003cp>When I heard that Andrew Ross Sorkin was involved with \u003cem>Billions\u003c/em>, I hoped he would use his inside knowledge to depict the workings of money and power with the same precision that David Simon brought to \u003cem>The Wire\u003c/em>. In fact, the series doesn’t really care about such authenticity. In a way, this is hardly surprising. It’s hard to explain, for example, what hedge funds do without losing or boring the audience. The thing that’s done it best, \u003ca href=\"http://www.npr.org/2015/12/11/459344815/on-the-money-how-the-big-short-and-its-jerk-heroes-explain-finance\" target=\"_blank\" rel=\"noopener\">\u003cem>The Big Short\u003c/em>\u003c/a>, jumped through all sorts of stylistic hoops to demystify the 2008 sub-prime mortgage crisis and the financial instruments that helped spawn it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>You’ll find none of those hoops here. \u003cem> \u003c/em>The show is so eager to keep us watching that it can’t be bothered to show us how the world actually works. An entertaining fantasy, \u003cem>Billions\u003c/em> teaches you as much about the financial world as \u003cem>Empire\u003c/em> teaches you about the music business or \u003cem>House of Cards\u003c/em> does the road to the White House. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener\">\u003cem>Fresh Air\u003c/em>\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Showtime%27s+Financial+Drama+%27Billions%27+Doubles+Down+On+Melodrama+And+Machismo&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 817,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 14
},
"modified": 1705045423,
"excerpt": "Critic John Powers says viewers shouldn't expect to learn about the inner working of Wall Street from the glossy new series 'Billions.' Instead, the show offers clipping action and punchy dialogue.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Critic John Powers says viewers shouldn't expect to learn about the inner working of Wall Street from the glossy new series 'Billions.' Instead, the show offers clipping action and punchy dialogue.",
"title": "Showtime's Financial Drama 'Billions' Doubles Down on Machismo | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Showtime's Financial Drama 'Billions' Doubles Down on Machismo",
"datePublished": "2016-01-15T12:08:37-08:00",
"dateModified": "2024-01-11T23:43:43-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "showtimes-financial-drama-billions-doubles-down-on-machismo",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=463174839&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "John Powers",
"nprStoryDate": "Fri, 15 Jan 2016 14:07:32 -0500",
"nprLastModifiedDate": "Fri, 15 Jan 2016 14:07:32 -0500",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/2016/01/15/463174839/showtimes-financial-drama-billions-doubles-down-on-melodrama-and-machismo?ft=nprml&f=463174839",
"nprAudio": "http://pd.npr.org/anon.npr-mp3/npr/fa/2016/01/20160115_fa_02.mp3?orgId=427869011&topicId=1138&d=433&p=13&story=463174839&t=progseg&e=463163277&seg=2&ft=nprml&f=463174839",
"nprImageAgency": "Showtime",
"nprAudioM3u": "http://api.npr.org/m3u/1463208761-a47399.m3u?orgId=427869011&topicId=1138&d=433&p=13&story=463174839&t=progseg&e=463163277&seg=2&ft=nprml&f=463174839",
"nprStoryId": "463174839",
"nprRetrievedStory": "1",
"nprPubDate": "Fri, 15 Jan 2016 14:07:00 -0500",
"path": "/arts/11248909/showtimes-financial-drama-billions-doubles-down-on-machismo",
"audioUrl": "http://pd.npr.org/anon.npr-mp3/npr/fa/2016/01/20160115_fa_02.mp3?orgId=427869011&topicId=1138&d=433&p=13&story=463174839&t=progseg&e=463163277&seg=2&ft=nprml&f=463174839",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Money doesn’t talk,” said Bob Dylan. “It swears.” This is almost literally true in the blizzard of books, movies and TV shows about our financial one-percenters. If our wolves of Wall Street love anything more than obscene wealth, it’s obscene language. These guys — and they \u003cem>are\u003c/em> mainly guys — don’t trust anyone who’s shy about dropping F-bombs.\u003c/p>\n\u003cp>Who’s effing who — and how — is one of the governing metaphors of \u003cem>Billions\u003c/em>, a new Showtime series whose opening shot features one of its lead characters trussed up and awaiting a dominatrix. Though my heart sank when I saw this, such an image is truth in advertising. This is a show about power relationships, one that’s positively shameless in its desire to grab you.\u003c/p>\n\u003cp>\u003cem>Billions\u003c/em> is built around the collision of two megalomaniacal power-brokers, both played by actors who specialize in characters you can’t trust. That Pavarotti of prickliness Paul Giamatti is Chuck Rhoades, a well-born U.S. Attorney with just enough conscience that he can’t completely enjoy his vaulting ambition.\u003c/p>\n\u003cp>The calculating Rhoades dreams of being governor, which will be easier if he takes the scalp of a financial high-flier. Enter Bobby “Axe” Axelrod, played by perma-slippery Damian Lewis, far different here than in \u003cem>Homeland\u003c/em>. He’s a hedge-fund maestro who presents himself as a regular guy, but is the kind of thug who remembers, and avenges, slights decades later.\u003c/p>\n\u003cp>At first, Rhoades worries about going after Axe, who’s popular because of his casual dress, blue-collar origins and canny post-9/11 donations. But when Axe courts bad publicity by deciding to buy a staggeringly expensive house, Rhoades thinks it safe to make his move.\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>But there are complications. For starters, Rhoades’ psychologist wife, Wendy — niftily played by Maggie Siff — is a long-time life coach at Axelrod’s firm. And naturally Axe fights back. His personal fixer, played with a mortician’s sangfroid by Terry Kinney, instantly starts targeting Rhoades’ staff and family.\u003c/p>\n\u003cp>\u003cem>Billions\u003c/em> was created by the screenwriting team of Brian Koppelman and David Levien — who wrote \u003cem>Oceans Thirteen\u003c/em>, among others — along with \u003cem>New York Times\u003c/em> financial columnist Andrew Ross Sorkin. Together they’ve come up with a plot that doesn’t even aspire to the earnestness of an old-fashioned Hollywood morality play. The show’s basically a glossy melodrama.\u003c/p>\n\u003cp>And it offers a melodrama’s pleasures. The action clips right along, with punchy dialogue, twists and machinations, gratuitous premium-cable nudity, and lots of prime acting moments — Lewis showing Axe’s affability melt into ruthlessness, Giamatti’s blend of righteousness and bullying when Rhoades yells at a stranger for not cleaning up after his dog. They’re really good.\u003c/p>\n\u003cp>But their effing machismo lacks inner dimension and often feels generic. We’ve heard these alpha dogs bark many times before. The female roles feel fresher. Axe’s wife, Lara — played by Malin Ackerman — seems like a perky nice girl but she’s a smiler with a knife.\u003c/p>\n\u003cp>The show’s juiciest and most original character is Wendy Rhoades, who hears everyone’s secret feelings. Loyal to both her husband and to Axe — to what extent we can’t be sure — this gifted psychologist plays the deepest game of all. Wendy uses her role as a confessor/advisor to nudge people into doing what she wants. She admits that such manipulation turns her on. It turns us on, too. The show perks up whenever she’s on-screen.\u003c/p>\n\u003cp>When I heard that Andrew Ross Sorkin was involved with \u003cem>Billions\u003c/em>, I hoped he would use his inside knowledge to depict the workings of money and power with the same precision that David Simon brought to \u003cem>The Wire\u003c/em>. In fact, the series doesn’t really care about such authenticity. In a way, this is hardly surprising. It’s hard to explain, for example, what hedge funds do without losing or boring the audience. The thing that’s done it best, \u003ca href=\"http://www.npr.org/2015/12/11/459344815/on-the-money-how-the-big-short-and-its-jerk-heroes-explain-finance\" target=\"_blank\" rel=\"noopener\">\u003cem>The Big Short\u003c/em>\u003c/a>, jumped through all sorts of stylistic hoops to demystify the 2008 sub-prime mortgage crisis and the financial instruments that helped spawn it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>You’ll find none of those hoops here. \u003cem> \u003c/em>The show is so eager to keep us watching that it can’t be bothered to show us how the world actually works. An entertaining fantasy, \u003cem>Billions\u003c/em> teaches you as much about the financial world as \u003cem>Empire\u003c/em> teaches you about the music business or \u003cem>House of Cards\u003c/em> does the road to the White House. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener\">\u003cem>Fresh Air\u003c/em>\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Showtime%27s+Financial+Drama+%27Billions%27+Doubles+Down+On+Melodrama+And+Machismo&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11248909/showtimes-financial-drama-billions-doubles-down-on-machismo",
"authors": [
"byline_arts_11248909"
],
"categories": [
"arts_990"
],
"tags": [
"arts_596",
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11248910",
"label": "arts_137"
},
"arts_11241009": {
"type": "posts",
"id": "arts_11241009",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11241009",
"score": null,
"sort": [
1452873655000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1452873655,
"format": "standard",
"title": "Shallow Focus Creates Depth Of Feeling In 'Son Of Saul'",
"headTitle": "Shallow Focus Creates Depth Of Feeling In ‘Son Of Saul’ | KQED",
"content": "\u003cp>The camera stays tight on a gaunt, weathered face as we hear a train and the dull roar of exhausted travelers disembarking at the outset of \u003cem>Son of Saul\u003c/em>. The screen is narrow — almost square — so there’s very little space in the image around his head. As a result, we hear but don’t see a band playing as the train’s passengers are herded into a building, then to a large room with benches and wall pegs.\u003c/p>\n\u003cp>The camera stays tight on this man who’s ushering people silently. A red “X” painted on the back of his jacket marks him as a \u003cem>Sonderkommando\u003c/em>, a prisoner who’s being forced to work with the guards. He’s different from the other prisoners, but the rest are out of focus anyway, stripping off all their clothes as an off-screen voice tells them, “You’re exactly the kind of people we need in our workshops. After the shower and hot soup, come directly to me. Remember your hook number.”\u003c/p>\n\u003cp>Then the door clanks shut behind them, and the gaunt man with the “X” on his jacket starts pulling the clothing off all those hooks people were urged to remember.\u003c/p>\n\u003cp>And after a bit, the screaming starts.\u003c/p>\n\u003cp>First-time Hungarian director László Nemes has been telling interviewers that he’d wanted \u003cem>Son of Saul\u003c/em> to be an immersive experience, and it definitely is that. What he’s immersing you in is Auschwitz-Birkenau, \u003cem>\u003cstrong>the\u003c/strong>\u003c/em> Nazi concentration camp, so it’s not an easy sit, but it is a riveting, effective one, and a genuine change from the familiar conventions of most holocaust dramas.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The director’s technique is to shoot almost the entire film in severe close-up on his leading man (Géza Röhrig), which has the effect of putting you next to him in Auschwitz. It also, because the director uses very shallow focus, has the effect of making the atrocities around him blurry and indistinct — which sounds as if it would make the film easier to watch, but actually makes it all the more horrific because you can’t focus on what you’re hearing: German officers mocking those on their way to slaughter, ashes shoveled into swollen rivers, killing frenzies for no apparent reason.\u003c/p>\n\u003cp>And filling most of the frame, always, is the man with the “X” on his jacket, who is consumed while we watch him by a single obsession: Though he has been present for thousands of murders, seen many bodies burn in the camp’s crematoria, he is searching for a rabbi to give one body — that of a boy who died before his eyes — what he thinks is a proper Jewish burial.\u003c/p>\n\u003cp>“You’ve betrayed the living to help the dead,” he’s told when his single-mindedness puts a camp uprising in jeopardy. But that’s a moral quandary that doesn’t slow him for a second.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The character’s narrow focus, the director’s shallow focus, add up somehow to profound depth of feeling in \u003cem>Son of Saul\u003c/em>. If there has been a more powerful cinematic experience this year, I didn’t see it.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 568,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 11
},
"modified": 1705045427,
"excerpt": "24 hours in the life of one man trying to bury the body of a boy under the most dire of situations.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "24 hours in the life of one man trying to bury the body of a boy under the most dire of situations.",
"title": "Shallow Focus Creates Depth Of Feeling In 'Son Of Saul' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Shallow Focus Creates Depth Of Feeling In 'Son Of Saul'",
"datePublished": "2016-01-15T08:00:55-08:00",
"dateModified": "2024-01-11T23:43:47-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "shallow-focus-creates-depth-of-feeling-in-son-of-saul",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=460285985&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Bob Mondello",
"nprStoryDate": "Fri, 18 Dec 2015 16:29:00 -0500",
"nprLastModifiedDate": "Fri, 18 Dec 2015 17:10:32 -0500",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/2015/12/18/460285985/shallow-focus-creates-depth-of-feeling-in-son-of-saul?ft=nprml&f=460285985",
"nprAudio": "http://pd.npr.org/anon.npr-mp3/npr/atc/2015/12/20151218_atc_son_of_saul_shallow_focus_creates_depth_of_feeling.mp3?orgId=1&topicId=4467349&d=187&p=2&story=460285985&t=progseg&e=460241087&seg=9&ft=nprml&f=460285985",
"nprImageAgency": "Courtesy of Sony Pictures Classics",
"nprAudioM3u": "http://api.npr.org/m3u/1460312339-ae4a70.m3u?orgId=1&topicId=4467349&d=187&p=2&story=460285985&t=progseg&e=460241087&seg=9&ft=nprml&f=460285985",
"nprStoryId": "460285985",
"nprRetrievedStory": "1",
"nprPubDate": "Fri, 18 Dec 2015 19:19:00 -0500",
"path": "/arts/11241009/shallow-focus-creates-depth-of-feeling-in-son-of-saul",
"audioUrl": "http://pd.npr.org/anon.npr-mp3/npr/atc/2015/12/20151218_atc_son_of_saul_shallow_focus_creates_depth_of_feeling.mp3?orgId=1&topicId=4467349&d=187&p=2&story=460285985&t=progseg&e=460241087&seg=9&ft=nprml&f=460285985",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The camera stays tight on a gaunt, weathered face as we hear a train and the dull roar of exhausted travelers disembarking at the outset of \u003cem>Son of Saul\u003c/em>. The screen is narrow — almost square — so there’s very little space in the image around his head. As a result, we hear but don’t see a band playing as the train’s passengers are herded into a building, then to a large room with benches and wall pegs.\u003c/p>\n\u003cp>The camera stays tight on this man who’s ushering people silently. A red “X” painted on the back of his jacket marks him as a \u003cem>Sonderkommando\u003c/em>, a prisoner who’s being forced to work with the guards. He’s different from the other prisoners, but the rest are out of focus anyway, stripping off all their clothes as an off-screen voice tells them, “You’re exactly the kind of people we need in our workshops. After the shower and hot soup, come directly to me. Remember your hook number.”\u003c/p>\n\u003cp>Then the door clanks shut behind them, and the gaunt man with the “X” on his jacket starts pulling the clothing off all those hooks people were urged to remember.\u003c/p>\n\u003cp>And after a bit, the screaming starts.\u003c/p>\n\u003cp>First-time Hungarian director László Nemes has been telling interviewers that he’d wanted \u003cem>Son of Saul\u003c/em> to be an immersive experience, and it definitely is that. What he’s immersing you in is Auschwitz-Birkenau, \u003cem>\u003cstrong>the\u003c/strong>\u003c/em> Nazi concentration camp, so it’s not an easy sit, but it is a riveting, effective one, and a genuine change from the familiar conventions of most holocaust dramas.\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 director’s technique is to shoot almost the entire film in severe close-up on his leading man (Géza Röhrig), which has the effect of putting you next to him in Auschwitz. It also, because the director uses very shallow focus, has the effect of making the atrocities around him blurry and indistinct — which sounds as if it would make the film easier to watch, but actually makes it all the more horrific because you can’t focus on what you’re hearing: German officers mocking those on their way to slaughter, ashes shoveled into swollen rivers, killing frenzies for no apparent reason.\u003c/p>\n\u003cp>And filling most of the frame, always, is the man with the “X” on his jacket, who is consumed while we watch him by a single obsession: Though he has been present for thousands of murders, seen many bodies burn in the camp’s crematoria, he is searching for a rabbi to give one body — that of a boy who died before his eyes — what he thinks is a proper Jewish burial.\u003c/p>\n\u003cp>“You’ve betrayed the living to help the dead,” he’s told when his single-mindedness puts a camp uprising in jeopardy. But that’s a moral quandary that doesn’t slow him for a second.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The character’s narrow focus, the director’s shallow focus, add up somehow to profound depth of feeling in \u003cem>Son of Saul\u003c/em>. If there has been a more powerful cinematic experience this year, I didn’t see it.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11241009/shallow-focus-creates-depth-of-feeling-in-son-of-saul",
"authors": [
"byline_arts_11241009"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11241010",
"label": "arts_137"
},
"arts_11245562": {
"type": "posts",
"id": "arts_11245562",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11245562",
"score": null,
"sort": [
1452780601000
]
},
"guestAuthors": [],
"slug": "actor-alan-rickman-has-died-portrayed-snape-in-harry-potter-films",
"title": "Actor Alan Rickman Has Died; Portrayed Snape in Harry Potter Films",
"publishDate": 1452780601,
"format": "standard",
"headTitle": "Actor Alan Rickman Has Died; Portrayed Snape in Harry Potter Films | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>British actor Alan Rickman, a veteran of dozens of films, has died at age 69. Recently, Rickman was most well-known for portraying the complicated villain Severus Snape in the films based on J.K. Rowling’s Harry Potter books.\u003c/p>\n\u003cp>“Rickman had been suffering from cancer,” \u003ca href=\"http://www.theguardian.com/film/2016/jan/14/alan-rickman-giant-of-british-film-and-theatre-dies-at-69\" target=\"_blank\" rel=\"noopener\">The Guardian\u003c/a> reports.\u003c/p>\n\u003cp>Rickman appeared in many blockbuster films during his prolific career, from 1988’s \u003cem>Die Hard\u003c/em> with Bruce Willis to 2003’s \u003cem>Love Actually\u003c/em> and the Harry Potter films.\u003c/p>\n\u003cp>Blessed with a rich and deep voice, the actor brought intelligence and humanity to a wide spectrum of roles, judiciously deploying what seemed to be a bottomless supply of frowns and smirks that endeared him to his fans.\u003c/p>\n\u003cp>While his voice became something of a trademark, Rickman once said that he endured much criticism for it in drama school. One voice teacher, as \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=17424143\" target=\"_blank\" rel=\"noopener\">he recalled in 2007\u003c/a>, told Rickman that he sounded as if his voice was “coming out of the back end of a drain pipe.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Explaining his own opinion of his voice, Rickman said, “Well, it’s what I’m stuck with, so it’s not like I can go and get another one. And also, I don’t hear what anybody else hears. So it’s always a bit of a shock, you know. And it never goes away.”\u003c/p>\n\u003cp>While he might be famous for playing villains, Rickman once told NPR that those roles are “a very small part of whatever I’ve done. It’s like two or three parts, and they just happened to have big publicity budgets.”\u003c/p>\n\u003cp>Rickman also directed films and theatrical works, and he acted in plays from Shakespeare’s Antony and Cleopatra to Noel Coward’s Private Lives.\u003c/p>\n\u003cp>A former member of the Royal Shakespeare Company, Rickman \u003ca href=\"http://www.npr.org/2011/11/29/142903636/alan-rickman-from-shakespeare-to-snape\" target=\"_blank\" rel=\"noopener\">spoke to NPR in 2011 \u003c/a>about his stage work in the U.S.:\u003c/p>\n\u003cblockquote>\u003cp>\n“I love working in New York theater. … It is very demanding, but it’s good to be in a city where you feel that theater is actually part of the life of the city. You know, London is so sprawling, and you can sometimes forget that anybody else is on a stage anywhere else. But here, it’s, you know, your friends and neighbors.”\n\u003c/p>\u003c/blockquote>\n\u003cp>Three films from the 1990s help describe Rickman’s range.\u003c/p>\n\u003cp>In 1991, he turned in a memorable performance as the Sheriff of Nottingham in Robin Hood: Prince of Thieves — a film whose legacy these days isn’t helped by Kevin Costner’s hair, but which was the second-most popular film in theaters that year.\u003c/p>\n\u003cp>In 1995, he appeared in the director Ang Lee’s Sense and Sensibility, playing Colonel Brandon opposite Kate Winslet’s Marianne Dashwood.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And in 1999, he showed his willingness to camp it up onscreen, when he starred with Sigourney Weaver and Tim Allen in Galaxy Quest, a film that might best be described as a sci-fi romp.\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=Actor+Alan+Rickman+Has+Died%3B+Portrayed+Snape+In+Harry+Potter+Films&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "Rickman appeared in many blockbuster films during his prolific career, from 1988's 'Die Hard' with Bruce Willis to 2003's 'Love Actually' and the Harry Potter films.",
"status": "publish",
"parent": 0,
"modified": 1726710608,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 16,
"wordCount": 527
},
"headData": {
"title": "Actor Alan Rickman Has Died; Portrayed Snape in Harry Potter Films | KQED",
"description": "Rickman appeared in many blockbuster films during his prolific career, from 1988's 'Die Hard' with Bruce Willis to 2003's 'Love Actually' and the Harry Potter films.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Actor Alan Rickman Has Died; Portrayed Snape in Harry Potter Films",
"datePublished": "2016-01-14T06:10:01-08:00",
"dateModified": "2024-09-18T18:50:08-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprImageCredit": "Charles Sykes",
"nprByline": "Bill Chappell",
"nprImageAgency": "Charles Sykes/Invision/AP",
"nprStoryId": "463022272",
"nprApiLink": "http://api.npr.org/query?id=463022272&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "http://www.npr.org/sections/thetwo-way/2016/01/14/463022272/actor-alan-rickman-has-died-portrayed-snape-in-harry-potter-films?ft=nprml&f=463022272",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 14 Jan 2016 08:56:00 -0500",
"nprStoryDate": "Thu, 14 Jan 2016 08:08:00 -0500",
"nprLastModifiedDate": "Thu, 14 Jan 2016 08:56:34 -0500",
"path": "/arts/11245562/actor-alan-rickman-has-died-portrayed-snape-in-harry-potter-films",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>British actor Alan Rickman, a veteran of dozens of films, has died at age 69. Recently, Rickman was most well-known for portraying the complicated villain Severus Snape in the films based on J.K. Rowling’s Harry Potter books.\u003c/p>\n\u003cp>“Rickman had been suffering from cancer,” \u003ca href=\"http://www.theguardian.com/film/2016/jan/14/alan-rickman-giant-of-british-film-and-theatre-dies-at-69\" target=\"_blank\" rel=\"noopener\">The Guardian\u003c/a> reports.\u003c/p>\n\u003cp>Rickman appeared in many blockbuster films during his prolific career, from 1988’s \u003cem>Die Hard\u003c/em> with Bruce Willis to 2003’s \u003cem>Love Actually\u003c/em> and the Harry Potter films.\u003c/p>\n\u003cp>Blessed with a rich and deep voice, the actor brought intelligence and humanity to a wide spectrum of roles, judiciously deploying what seemed to be a bottomless supply of frowns and smirks that endeared him to his fans.\u003c/p>\n\u003cp>While his voice became something of a trademark, Rickman once said that he endured much criticism for it in drama school. One voice teacher, as \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=17424143\" target=\"_blank\" rel=\"noopener\">he recalled in 2007\u003c/a>, told Rickman that he sounded as if his voice was “coming out of the back end of a drain pipe.”\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>Explaining his own opinion of his voice, Rickman said, “Well, it’s what I’m stuck with, so it’s not like I can go and get another one. And also, I don’t hear what anybody else hears. So it’s always a bit of a shock, you know. And it never goes away.”\u003c/p>\n\u003cp>While he might be famous for playing villains, Rickman once told NPR that those roles are “a very small part of whatever I’ve done. It’s like two or three parts, and they just happened to have big publicity budgets.”\u003c/p>\n\u003cp>Rickman also directed films and theatrical works, and he acted in plays from Shakespeare’s Antony and Cleopatra to Noel Coward’s Private Lives.\u003c/p>\n\u003cp>A former member of the Royal Shakespeare Company, Rickman \u003ca href=\"http://www.npr.org/2011/11/29/142903636/alan-rickman-from-shakespeare-to-snape\" target=\"_blank\" rel=\"noopener\">spoke to NPR in 2011 \u003c/a>about his stage work in the U.S.:\u003c/p>\n\u003cblockquote>\u003cp>\n“I love working in New York theater. … It is very demanding, but it’s good to be in a city where you feel that theater is actually part of the life of the city. You know, London is so sprawling, and you can sometimes forget that anybody else is on a stage anywhere else. But here, it’s, you know, your friends and neighbors.”\n\u003c/p>\u003c/blockquote>\n\u003cp>Three films from the 1990s help describe Rickman’s range.\u003c/p>\n\u003cp>In 1991, he turned in a memorable performance as the Sheriff of Nottingham in Robin Hood: Prince of Thieves — a film whose legacy these days isn’t helped by Kevin Costner’s hair, but which was the second-most popular film in theaters that year.\u003c/p>\n\u003cp>In 1995, he appeared in the director Ang Lee’s Sense and Sensibility, playing Colonel Brandon opposite Kate Winslet’s Marianne Dashwood.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And in 1999, he showed his willingness to camp it up onscreen, when he starred with Sigourney Weaver and Tim Allen in Galaxy Quest, a film that might best be described as a sci-fi romp.\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=Actor+Alan+Rickman+Has+Died%3B+Portrayed+Snape+In+Harry+Potter+Films&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11245562/actor-alan-rickman-has-died-portrayed-snape-in-harry-potter-films",
"authors": [
"byline_arts_11245562"
],
"categories": [
"arts_74",
"arts_235",
"arts_990"
],
"tags": [
"arts_1118",
"arts_596",
"arts_1091"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11245563",
"label": "arts_137"
},
"arts_11243652": {
"type": "posts",
"id": "arts_11243652",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11243652",
"score": null,
"sort": [
1452717782000
]
},
"guestAuthors": [],
"slug": "lego-says-its-changing-its-policy-after-ai-weiwei-controversy",
"title": "Lego Says it's Changing its Policy After Ai Weiwei Controversy",
"publishDate": 1452717782,
"format": "standard",
"headTitle": "Lego Says it’s Changing its Policy After Ai Weiwei Controversy | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>Lego says it’s \u003ca href=\"http://www.lego.com/en-us/aboutus/news-room/2016/january/adjusted-guidelines-for-bulk-sales\" target=\"_blank\" rel=\"noopener\">changing its guidelines\u003c/a> for the purchase of large amounts of its iconic toy bricks, a policy that generated a social-media firestorm when used to block sales to \u003ca href=\"http://ww2.kqed.org/arts/series/ai-weiwei-on-alcatraz/\" target=\"_blank\" rel=\"noopener\">Chinese artist Ai Weiwei\u003c/a>.\u003c/p>\n\u003cp>[contextly_sidebar id=”EcodlGcbJMFUCS35XZ11YHYwKdDibnNE”]\u003c/p>\n\u003cp>The company said in a statement that it will no longer ask people who want to buy the bricks in bulk what they’re using them for:\u003c/p>\n\u003cblockquote>\n\u003cp>“Instead, the customers will be asked to make it clear — if they intend to display their LEGO creations in public — that the LEGO Group does not support or endorse the specific projects.”\u003c/p>\n\u003c/blockquote>\n\u003cp>In October, Ai said Lego had refused to sell him the bricks he needed for an exhibition on free speech at Australia’s National Gallery of Victoria. He intended to use the bricks to create portraits of freedom advocates.\u003c/p>\n\u003cp>A frequent critic of China who was imprisoned by the government, Ai accused the Danish company of censorship and said it was afraid to offend Beijing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After the company’s decision, supporters of Ai \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/10/26/451925443/fans-flood-artist-ai-weiwei-with-offers-of-legos\" target=\"_blank\" rel=\"noopener\">set up donation points around the world\u003c/a> for people to donate used bricks. Ai also told NPR that he was flooded with messages of support on social media:\u003c/p>\n\u003cblockquote>\n\u003cp>“They’re not necessarily museum goers, but they understand what is the most important meaning of art, which is to really express yourself successfully and to really defend the essential values.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>Ai said pressure from his supporters had pressured Lego to change its policy on bulk orders, and told The Associated Press that it was a “good move”:\u003c/p>\n\u003cblockquote>\n\u003cp>“Lego is a language which everybody can appreciate and should be able to use it according to their will, and that’s what all freedom of expression is about.”\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=Lego+Says+It%27s+Changing+Its+Policy+After+Ai+Weiwei+Controversy&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "The Danish company encountered a social-media backlash in October after refusing to sell bricks for a project by Chinese artist Ai Weiwei.",
"status": "publish",
"parent": 0,
"modified": 1726710624,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 12,
"wordCount": 317
},
"headData": {
"title": "Lego Says it's Changing its Policy After Ai Weiwei Controversy | KQED",
"description": "The Danish company encountered a social-media backlash in October after refusing to sell bricks for a project by Chinese artist Ai Weiwei.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Lego Says it's Changing its Policy After Ai Weiwei Controversy",
"datePublished": "2016-01-13T12:43:02-08:00",
"dateModified": "2024-09-18T18:50:24-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Jim Zarroli",
"nprStoryId": "462921776",
"nprApiLink": "http://api.npr.org/query?id=462921776&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "http://www.npr.org/sections/thetwo-way/2016/01/13/462921776/lego-says-its-changing-its-policy-after-ai-weiwei-controversy?ft=nprml&f=462921776",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 13 Jan 2016 14:05:00 -0500",
"nprStoryDate": "Wed, 13 Jan 2016 14:04:00 -0500",
"nprLastModifiedDate": "Wed, 13 Jan 2016 14:56:54 -0500",
"path": "/arts/11243652/lego-says-its-changing-its-policy-after-ai-weiwei-controversy",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Lego says it’s \u003ca href=\"http://www.lego.com/en-us/aboutus/news-room/2016/january/adjusted-guidelines-for-bulk-sales\" target=\"_blank\" rel=\"noopener\">changing its guidelines\u003c/a> for the purchase of large amounts of its iconic toy bricks, a policy that generated a social-media firestorm when used to block sales to \u003ca href=\"http://ww2.kqed.org/arts/series/ai-weiwei-on-alcatraz/\" target=\"_blank\" rel=\"noopener\">Chinese artist Ai Weiwei\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The company said in a statement that it will no longer ask people who want to buy the bricks in bulk what they’re using them for:\u003c/p>\n\u003cblockquote>\n\u003cp>“Instead, the customers will be asked to make it clear — if they intend to display their LEGO creations in public — that the LEGO Group does not support or endorse the specific projects.”\u003c/p>\n\u003c/blockquote>\n\u003cp>In October, Ai said Lego had refused to sell him the bricks he needed for an exhibition on free speech at Australia’s National Gallery of Victoria. He intended to use the bricks to create portraits of freedom advocates.\u003c/p>\n\u003cp>A frequent critic of China who was imprisoned by the government, Ai accused the Danish company of censorship and said it was afraid to offend Beijing.\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>After the company’s decision, supporters of Ai \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/10/26/451925443/fans-flood-artist-ai-weiwei-with-offers-of-legos\" target=\"_blank\" rel=\"noopener\">set up donation points around the world\u003c/a> for people to donate used bricks. Ai also told NPR that he was flooded with messages of support on social media:\u003c/p>\n\u003cblockquote>\n\u003cp>“They’re not necessarily museum goers, but they understand what is the most important meaning of art, which is to really express yourself successfully and to really defend the essential values.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>Ai said pressure from his supporters had pressured Lego to change its policy on bulk orders, and told The Associated Press that it was a “good move”:\u003c/p>\n\u003cblockquote>\n\u003cp>“Lego is a language which everybody can appreciate and should be able to use it according to their will, and that’s what all freedom of expression is about.”\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=Lego+Says+It%27s+Changing+Its+Policy+After+Ai+Weiwei+Controversy&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11243652/lego-says-its-changing-its-policy-after-ai-weiwei-controversy",
"authors": [
"byline_arts_11243652"
],
"categories": [
"arts_1",
"arts_75",
"arts_70"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11243659",
"label": "arts_137"
},
"arts_11241004": {
"type": "posts",
"id": "arts_11241004",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11241004",
"score": null,
"sort": [
1452632427000
]
},
"guestAuthors": [],
"slug": "david-bowie-the-internet-visionary",
"title": "David Bowie, the Internet Visionary",
"publishDate": 1452632427,
"format": "standard",
"headTitle": "David Bowie, the Internet Visionary | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>David Bowie’s death \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/01/11/462650669/tributes-pour-in-for-rock-legend-david-bowie\" target=\"_blank\" rel=\"noopener\">has a lot of communities mourning\u003c/a>. Though his greatest success was in music, he was admired as a trailblazer in fashion, film, gender politics and, as it turns out, technology. Here are just a few of his early forays into digital media.\u003c/p>\n\u003cp>In 1996, he released his single “Telling Lies” online and got 300,000 downloads at a time when most of the world barely understood what the Internet was.\u003c/p>\n\u003cp>In 1997, Bowie did a “cybercast” of his Earthling concert in Boston, though it was well before most people had a fast enough Internet connection to really experience it.\u003c/p>\n\u003cp>Then, in 1998 he launched \u003ca href=\"http://www.davidbowie.com/news/ultrastar-launches-bowienet-united-kingdom-47001\" target=\"_blank\" rel=\"noopener\">his own Internet service provider\u003c/a>, BowieNet, which offered global high-speed Internet service. (Well, high speed for its time.)\u003c/p>\n\u003cp>More than that, it was an early fan community. According to a 1998 press release, the service included a personal email address (yourname@davidbowie.com), access to exclusive music from \u003cem>Rolling Stone\u003c/em> and, of course, exclusive content from Bowie and his friends, including live chats with the artist. (BowieNet quietly shut down in 2006.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In 1999, Bowie made a foray into \u003ca href=\"http://www.pastemagazine.com/articles/2016/01/time-may-change-me-david-bowie-and-omikron-the-nom-1.html\" target=\"_blank\" rel=\"noopener\">the video game world\u003c/a>. He worked on the soundtrack for Omikron: The Nomad Soul with French game developer Quantic Dream and made an appearance in the game itself.\u003c/p>\n\u003cp>Bowie’s endeavors proved ahead of their time. Though launching new Internet services may not have become commonplace for artists, the rest has: Musicians write music for video games, live-stream concerts, share music digitally and engage with fans online.\u003c/p>\n\u003cp>Bowie understood before most of his compatriots in the music business that the Internet would change everything. \u003ca href=\"https://www.youtube.com/watch?time_continue=397&v=FiK7s_0tGsg\" target=\"_blank\" rel=\"noopener\">In an interview from late 1999\u003c/a>, Bowie spouted off about the revolutionary qualities of the Internet to the largely skeptical BBC interviewer Jeremy Paxman.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FiK7s_0tGsg\u003c/p>\n\u003cp>Bowie told Paxman that if he were 19 at the time of their chat, he wouldn’t have gone into music, which he thought had lost its place as the flag-bearer of rebellion. “The Internet carries the flag of being subversive and possibly rebellious and chaotic, nihilistic,” Bowie said.\u003c/p>\n\u003cp>What Bowie seemed to know in his gut was the Internet was fundamentally shifting the relationship between artist and audience. And while so many musicians and music business insiders reacted to the changes with fear, Bowie was filled with curiosity, inspired by technology.\u003c/p>\n\u003cp>“It’s becoming more about the audience,” he said. “So from my standpoint, being an artist, I want to see what the new construction is between artist and audience. There is a breakdown.”\u003c/p>\n\u003cp>Bowie cited rave culture “where the audience is at least as important as whoever is playing at the rave,” as if the artist accompanies the audience.\u003c/p>\n\u003cp>“I don’t think we’ve seen the tip of the iceberg,” Bowie told Paxman. “It’s almost if we’re on the cusp of something both exhilarating and terrifying.”\u003c/p>\n\u003cp>Bowie mentioned the French-American artist Marcel Duchamp, whom he called prescient on the idea that a piece of work is not finished until the audience adds its interpretation — “and what the piece of art is about is the gray space in the middle.”\u003c/p>\n\u003cp>To Bowie, the 21st century was all going to be about the gray space in the middle. The place where artist and audience meet and improvise — a kind of ongoing live performance. With a little bit of irony, he called the Internet “an alien life form.”\u003c/p>\n\u003cp>Of course, some thought Bowie himself was a bit of an alien life form. His first starring \u003ca href=\"http://www.npr.org/2016/01/11/462691030/ziggy-stardust-was-a-star-on-screen-too\">film role\u003c/a> was as an alien in \u003cem>The Man Who Fell To Earth\u003c/em>. And it was one of so many roles he played on stage and on screen — Ziggy Stardust, Aladdin Sane, the Thin White Duke, Jareth the Goblin King, Major Tom.\u003c/p>\n\u003cp>Bowie was an explorer of what it meant to be human. He took us places with his music and creativity. And he was curious and interested to find out how new technology would shape him and us. Sadly, he won’t be here to help us continue this exploration of “the gray space in the middle.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For my part, I say thank you, David Bowie, for helping to launch us into the 21st century. I have faith that your music will be very much alive online. \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=David+Bowie%2C+The+Internet+Visionary&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "Bowie was an explorer of what it meant to be human. In a 1999 interview, he predicted the power of the Internet — \"an alien life form\" — to break down the divisions between artists and the audience.",
"status": "publish",
"parent": 0,
"modified": 1726771303,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 20,
"wordCount": 768
},
"headData": {
"title": "David Bowie, the Internet Visionary | KQED",
"description": "Bowie was an explorer of what it meant to be human. In a 1999 interview, he predicted the power of the Internet — "an alien life form" — to break down the divisions between artists and the audience.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "David Bowie, the Internet Visionary",
"datePublished": "2016-01-12T13:00:27-08:00",
"dateModified": "2024-09-19T11:41:43-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprImageCredit": "Ron Frehm",
"nprByline": "Laura Sydell",
"nprImageAgency": "AP",
"nprStoryId": "462744754",
"nprApiLink": "http://api.npr.org/query?id=462744754&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "http://www.npr.org/sections/alltechconsidered/2016/01/12/462744754/david-bowie-the-internet-visionary?ft=nprml&f=462744754",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 12 Jan 2016 12:23:00 -0500",
"nprStoryDate": "Tue, 12 Jan 2016 11:21:00 -0500",
"nprLastModifiedDate": "Tue, 12 Jan 2016 12:23:47 -0500",
"path": "/arts/11241004/david-bowie-the-internet-visionary",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>David Bowie’s death \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/01/11/462650669/tributes-pour-in-for-rock-legend-david-bowie\" target=\"_blank\" rel=\"noopener\">has a lot of communities mourning\u003c/a>. Though his greatest success was in music, he was admired as a trailblazer in fashion, film, gender politics and, as it turns out, technology. Here are just a few of his early forays into digital media.\u003c/p>\n\u003cp>In 1996, he released his single “Telling Lies” online and got 300,000 downloads at a time when most of the world barely understood what the Internet was.\u003c/p>\n\u003cp>In 1997, Bowie did a “cybercast” of his Earthling concert in Boston, though it was well before most people had a fast enough Internet connection to really experience it.\u003c/p>\n\u003cp>Then, in 1998 he launched \u003ca href=\"http://www.davidbowie.com/news/ultrastar-launches-bowienet-united-kingdom-47001\" target=\"_blank\" rel=\"noopener\">his own Internet service provider\u003c/a>, BowieNet, which offered global high-speed Internet service. (Well, high speed for its time.)\u003c/p>\n\u003cp>More than that, it was an early fan community. According to a 1998 press release, the service included a personal email address (yourname@davidbowie.com), access to exclusive music from \u003cem>Rolling Stone\u003c/em> and, of course, exclusive content from Bowie and his friends, including live chats with the artist. (BowieNet quietly shut down in 2006.)\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 1999, Bowie made a foray into \u003ca href=\"http://www.pastemagazine.com/articles/2016/01/time-may-change-me-david-bowie-and-omikron-the-nom-1.html\" target=\"_blank\" rel=\"noopener\">the video game world\u003c/a>. He worked on the soundtrack for Omikron: The Nomad Soul with French game developer Quantic Dream and made an appearance in the game itself.\u003c/p>\n\u003cp>Bowie’s endeavors proved ahead of their time. Though launching new Internet services may not have become commonplace for artists, the rest has: Musicians write music for video games, live-stream concerts, share music digitally and engage with fans online.\u003c/p>\n\u003cp>Bowie understood before most of his compatriots in the music business that the Internet would change everything. \u003ca href=\"https://www.youtube.com/watch?time_continue=397&v=FiK7s_0tGsg\" target=\"_blank\" rel=\"noopener\">In an interview from late 1999\u003c/a>, Bowie spouted off about the revolutionary qualities of the Internet to the largely skeptical BBC interviewer Jeremy Paxman.\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/FiK7s_0tGsg'\n title='//www.youtube.com/embed/FiK7s_0tGsg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Bowie told Paxman that if he were 19 at the time of their chat, he wouldn’t have gone into music, which he thought had lost its place as the flag-bearer of rebellion. “The Internet carries the flag of being subversive and possibly rebellious and chaotic, nihilistic,” Bowie said.\u003c/p>\n\u003cp>What Bowie seemed to know in his gut was the Internet was fundamentally shifting the relationship between artist and audience. And while so many musicians and music business insiders reacted to the changes with fear, Bowie was filled with curiosity, inspired by technology.\u003c/p>\n\u003cp>“It’s becoming more about the audience,” he said. “So from my standpoint, being an artist, I want to see what the new construction is between artist and audience. There is a breakdown.”\u003c/p>\n\u003cp>Bowie cited rave culture “where the audience is at least as important as whoever is playing at the rave,” as if the artist accompanies the audience.\u003c/p>\n\u003cp>“I don’t think we’ve seen the tip of the iceberg,” Bowie told Paxman. “It’s almost if we’re on the cusp of something both exhilarating and terrifying.”\u003c/p>\n\u003cp>Bowie mentioned the French-American artist Marcel Duchamp, whom he called prescient on the idea that a piece of work is not finished until the audience adds its interpretation — “and what the piece of art is about is the gray space in the middle.”\u003c/p>\n\u003cp>To Bowie, the 21st century was all going to be about the gray space in the middle. The place where artist and audience meet and improvise — a kind of ongoing live performance. With a little bit of irony, he called the Internet “an alien life form.”\u003c/p>\n\u003cp>Of course, some thought Bowie himself was a bit of an alien life form. His first starring \u003ca href=\"http://www.npr.org/2016/01/11/462691030/ziggy-stardust-was-a-star-on-screen-too\">film role\u003c/a> was as an alien in \u003cem>The Man Who Fell To Earth\u003c/em>. And it was one of so many roles he played on stage and on screen — Ziggy Stardust, Aladdin Sane, the Thin White Duke, Jareth the Goblin King, Major Tom.\u003c/p>\n\u003cp>Bowie was an explorer of what it meant to be human. He took us places with his music and creativity. And he was curious and interested to find out how new technology would shape him and us. Sadly, he won’t be here to help us continue this exploration of “the gray space in the middle.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For my part, I say thank you, David Bowie, for helping to launch us into the 21st century. I have faith that your music will be very much alive online. \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=David+Bowie%2C+The+Internet+Visionary&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11241004/david-bowie-the-internet-visionary",
"authors": [
"byline_arts_11241004"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_1119",
"arts_1118",
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11241005",
"label": "arts_137"
},
"arts_11238569": {
"type": "posts",
"id": "arts_11238569",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11238569",
"score": null,
"sort": [
1452550696000
]
},
"guestAuthors": [],
"slug": "ziggy-stardust-was-a-star-on-screen-too",
"title": "Ziggy Stardust Was A Star On-Screen, Too",
"publishDate": 1452550696,
"format": "standard",
"headTitle": "Ziggy Stardust Was A Star On-Screen, Too | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>David Bowie, who died Sunday at the age of 69, is best-known for his music — but he was also an actor of considerable gifts.\u003c/p>\n\u003cp>When he fell to Earth in 1976, an extraterrestrial seeking water for a dying planet, Bowie was persuasively otherworldly. One eye blue, the other green, hair a flaming auburn, his never-aging, British-accented alien was the first glimpse movie audiences got of a rock star who had already been a “Space Oddity,” sung about a Starman, and become internationally recognized as the glammed-up Ziggy Stardust.\u003c/p>\n\u003cp>His casting by director Nicholas Roeg was regarded by many at the time as a stunt — it would be his look, his androgyny, his weirdness audiences would be coming for. But then they saw his Man Who Fell to Earth, struggling to appear normal, to not attract suspicion, and audiences realized this enigmatic, infinitely changeable musician had acting chops as well.\u003c/p>\n\u003cp>Bowie, had, in fact, studied avant-garde theater and mime in the early 1960s before his music career took off. And as in his music, he was attracted to dramatic material that let him be a chameleon. Four years after appearing in \u003cem>The Man Who Fell To Earth,\u003c/em> he stepped into the title role on Broadway of \u003cem>The Elephant Man,\u003c/em> earning excellent reviews as Joseph Merrick, grotesque of body, eloquent of spirit. “Sometimes I think my head is so big,” Bowie keened in-character, “because it is so full of dreams.”\u003c/p>\n\u003cp>Bowie’s film choices inspired dreams. He was a vampire’s lover in \u003cem>The Hunger,\u003c/em> both a prisoner of war and an object of desire in \u003cem>Merry Christmas Mr. Lawrence,\u003c/em> the prize catch in Marlene Dietrich’s stable of escorts in \u003cem>Just a Gigolo,\u003c/em> the goblin king in \u003cem>Labyrinth,\u003c/em> and a soft-spoken Pontius Pilate in Martin Scorsese’s \u003cem>The Last Temptation of Chris\u003c/em>t. And if none of those roles required him to sing, he brought a knowing expertise to one role that did — a record exec grooming a young recording artist in \u003cem>Absolute Beginners\u003c/em>. “Why am I so exciting?” he sings. “What makes me dramatic?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Who better to ask those questions than this man who had made a career of reinvention: David Bowie, enigmatic artist who fell — all too briefly — to Earth. \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=Ziggy+Stardust+Was+A+Star+On-Screen%2C+Too&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "David Bowie may have been best-known for his music, but NPR's movie critic Bob Mondello points out that he was also a gifted actor, both onstage and in movies like 'The Man Who Fell To Earth.'",
"status": "publish",
"parent": 0,
"modified": 1726771309,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 8,
"wordCount": 408
},
"headData": {
"title": "Ziggy Stardust Was A Star On-Screen, Too | KQED",
"description": "David Bowie may have been best-known for his music, but NPR's movie critic Bob Mondello points out that he was also a gifted actor, both onstage and in movies like 'The Man Who Fell To Earth.'",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Ziggy Stardust Was A Star On-Screen, Too",
"datePublished": "2016-01-11T14:18:16-08:00",
"dateModified": "2024-09-19T11:41:49-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Bob Mondello",
"nprImageAgency": "Studiocanal Films Ltd./The Kobal Collection",
"nprStoryId": "462691030",
"nprApiLink": "http://api.npr.org/query?id=462691030&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "http://www.npr.org/2016/01/11/462691030/ziggy-stardust-was-a-star-on-screen-too?ft=nprml&f=462691030",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 11 Jan 2016 16:50:00 -0500",
"nprStoryDate": "Mon, 11 Jan 2016 16:03:00 -0500",
"nprLastModifiedDate": "Mon, 11 Jan 2016 16:45:31 -0500",
"path": "/arts/11238569/ziggy-stardust-was-a-star-on-screen-too",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>David Bowie, who died Sunday at the age of 69, is best-known for his music — but he was also an actor of considerable gifts.\u003c/p>\n\u003cp>When he fell to Earth in 1976, an extraterrestrial seeking water for a dying planet, Bowie was persuasively otherworldly. One eye blue, the other green, hair a flaming auburn, his never-aging, British-accented alien was the first glimpse movie audiences got of a rock star who had already been a “Space Oddity,” sung about a Starman, and become internationally recognized as the glammed-up Ziggy Stardust.\u003c/p>\n\u003cp>His casting by director Nicholas Roeg was regarded by many at the time as a stunt — it would be his look, his androgyny, his weirdness audiences would be coming for. But then they saw his Man Who Fell to Earth, struggling to appear normal, to not attract suspicion, and audiences realized this enigmatic, infinitely changeable musician had acting chops as well.\u003c/p>\n\u003cp>Bowie, had, in fact, studied avant-garde theater and mime in the early 1960s before his music career took off. And as in his music, he was attracted to dramatic material that let him be a chameleon. Four years after appearing in \u003cem>The Man Who Fell To Earth,\u003c/em> he stepped into the title role on Broadway of \u003cem>The Elephant Man,\u003c/em> earning excellent reviews as Joseph Merrick, grotesque of body, eloquent of spirit. “Sometimes I think my head is so big,” Bowie keened in-character, “because it is so full of dreams.”\u003c/p>\n\u003cp>Bowie’s film choices inspired dreams. He was a vampire’s lover in \u003cem>The Hunger,\u003c/em> both a prisoner of war and an object of desire in \u003cem>Merry Christmas Mr. Lawrence,\u003c/em> the prize catch in Marlene Dietrich’s stable of escorts in \u003cem>Just a Gigolo,\u003c/em> the goblin king in \u003cem>Labyrinth,\u003c/em> and a soft-spoken Pontius Pilate in Martin Scorsese’s \u003cem>The Last Temptation of Chris\u003c/em>t. And if none of those roles required him to sing, he brought a knowing expertise to one role that did — a record exec grooming a young recording artist in \u003cem>Absolute Beginners\u003c/em>. “Why am I so exciting?” he sings. “What makes me dramatic?\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>Who better to ask those questions than this man who had made a career of reinvention: David Bowie, enigmatic artist who fell — all too briefly — to Earth. \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=Ziggy+Stardust+Was+A+Star+On-Screen%2C+Too&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11238569/ziggy-stardust-was-a-star-on-screen-too",
"authors": [
"byline_arts_11238569"
],
"categories": [
"arts_1"
],
"tags": [
"arts_1341"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11238570",
"label": "arts_137"
},
"arts_11238556": {
"type": "posts",
"id": "arts_11238556",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11238556",
"score": null,
"sort": [
1452549290000
]
},
"guestAuthors": [],
"slug": "even-bears-martians-and-robots-cant-perk-up-the-dull-golden-globes",
"title": "Even Bears, Martians and Robots Can't Perk Up the Dull Golden Globes",
"publishDate": 1452549290,
"format": "standard",
"headTitle": "Even Bears, Martians and Robots Can’t Perk Up the Dull Golden Globes | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>In recent years, the Golden Globes have been picking up steam as a less stuffy, less predictable awards show than most others. From the marvelous hosting of Tina Fey and Amy Poehler for the past three years to glorious little moments like Emma Thompson \u003ca href=\"http://big.assets.huffingtonpost.com/martini.gif\" target=\"_blank\" rel=\"noopener\">tossing her shoes in the air\u003c/a>, the Globes were starting to get a little bit of air under them — a fun diversion during awards season.\u003c/p>\n\u003cp>It was not to remain so. Sunday night, Ricky Gervais, who hosted the three ceremonies before the Fey/Poehler years, returned. What distinguished Gervais’ previous appearances was the attempt to position him as a dangerous, rebellious, take-no-prisoners host — a tough sell when he was making jokes about things like Hugh Hefner being really old. But for the most part, the Hollywood Foreign Press Association (which gives out these awards) has successfully sold the narrative of Gervais as fearless provocateur, and from the minute he stepped on stage Sunday, it was clear he was going to ride that horse as far as it would take him.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=v3JQf-WTLo8\u003c/p>\n\u003cp>His early targets included Caitlyn Jenner (one joke about her car accident followed one that was basically just “transgender people, right?”), Jeffrey Tambor for playing a transgender woman, NBC for having no nominations (true, but there are far more daring things to say about network TV than that NBC didn’t get nominated for any Golden Globes), and the Globes themselves, which he ribbed with a tamer version of a joke he made years ago about how the awards are all bought and paid for. It’s a joke that doesn’t feel particularly daring since he’s basically already made it and been invited back. They clearly don’t mind and he’s already said the same thing years ago, so where’s the risk?\u003c/p>\n\u003cp>Unfortunately, Gervais’ weak monologue was followed by a weird appearance by Channing Tatum and Jonah Hill, who — OK, look. The whole reputation of the Globes is that everybody is bombed the entire time. Either bombed in practice or in spirit — that’s part of the charm. And I would never comment on who is bombed and who is not as a matter of science, but I can say that Hill, wearing a bear head, threw himself into the bombed \u003cem>feeling \u003c/em>of the ceremony in the “some drunk people are hostile and nonsensical” fashion rather than the more enjoyable “some drunk people burble delightfully with enthusiasm” fashion. Whether he was actually bombed or not, you see.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The bear bit was also the beginning of a recurring problem over the course of the evening: at some point, people seemed to forget entirely that they were on network television, and they swore so gratuitously that big chunks of things said on stage were silenced by the censor button, rendering certain appearances rather difficult to interpret. Swearing isn’t necessarily bad in and of itself, but the way it leaves giant gaps in the audio doesn’t make for a very good show at home.\u003c/p>\n\u003cp>One of the most striking things about the evening was that the low points brought out the ability of some of the presenters to instantly lift audience spirits. Andy Samberg, who hosted the Emmys, has become a reliably lovely and funny presence at events like this, and America Ferrera and Eva Longoria did a really funny bit about being confused with other Latina actresses: “Hi, I’m Eva Longoria, not Eva Mendes.” “And hi, I’m America Ferrera, not Gina Rodriguez.” (Ferrera and Rodriguez actually were mistaken for each other by the Globes themselves during the nominations. Mentioning that? That’s a little daring.) It ended with the women addressing each other as “Salma” and “Charo.” Funny!\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SHBijKSOI8U\u003c/p>\n\u003cp>At times, though, these awards just seemed a little snakebit, having trouble getting joy where joy should have been easy: What should have been a great moment for Sylvester Stallone (who won a supporting award for \u003cem>Creed\u003c/em>) was marred by his forgetting to thank writer-director Ryan Coogler or anyone in the cast, which he reportedly ran back on stage to correct, but after the TV coverage had already cut away. Aziz Ansari had a very funny bit where he was in the audience reading \u003cem>How to Lose to Jeffrey Tambor with Dignity\u003c/em> when the lead TV comedy actors were announced, but his joke fell victim to the unexpected victory of Gael Garcia Bernal for \u003cem>Mozart in the Jungle\u003c/em> — a very low-profile Amazon show that was also named the best TV comedy.\u003c/p>\n\u003cp>Of course, the advantage that awards shows have is that when you put enough charismatic, enjoyable people on stage, you’ll get good moments. Rachel Bloom of the CW’s \u003cem>Crazy Ex-Girlfriend \u003c/em>was an excited delight as the winning TV comic actress, Oscar Isaac was charming accepting an award for the HBO miniseries \u003cem>Show Me a Hero\u003c/em>, Taraji P. Henson was luminous accepting for \u003cem>Empire\u003c/em>, and Tom Hanks made a predictably fine presenter of the Cecil B. DeMille Award to his \u003cem>Philadelphia \u003c/em>co-star, Denzel Washington, who got a very good career montage out of the deal.\u003c/p>\n\u003cp>Other winners included \u003cem>The Revenant\u003c/em> for outstanding dramatic movie and \u003cem>The Martian \u003c/em>for outstanding comedy/musical (another moment marred by a side issue: in this case, whether \u003cem>The Martian \u003c/em>is actually comedic), Leonardo DiCaprio (\u003cem>The Revenant\u003c/em>) and Brie Larson (\u003cem>Room\u003c/em>) for their lead dramatic roles in film, Jennifer Lawrence (\u003cem>Joy\u003c/em>) and Matt Damon (\u003cem>The Martian\u003c/em>) for their lead roles in comedies (or comedies-ish), and the terrific USA show \u003cem>Mr. Robot \u003c/em>for TV drama series — exactly the kind of slightly offbeat winner the Globes redeem themselves by sometimes crowning.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There have been worse awards shows, certainly. But Gervais’ ancient-feeling shtick about Mel Gibson and Brad Pitt and Angelina Jolie’s adopted kids was enough to put the evening at a disadvantage that the awards themselves struggled to overcome.\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=Even+Bears%2C+Martians+And+Robots+Can%27t+Perk+Up+The+Dull+Golden+Globes&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\" alt=\"\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "The Golden Globes ceremony has been on an upswing for the past several years. Unfortunately, Sunday night, that came to an end.",
"status": "publish",
"parent": 0,
"modified": 1726710646,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 12,
"wordCount": 1047
},
"headData": {
"title": "Even Bears, Martians and Robots Can't Perk Up the Dull Golden Globes | KQED",
"description": "The Golden Globes ceremony has been on an upswing for the past several years. Unfortunately, Sunday night, that came to an end.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Even Bears, Martians and Robots Can't Perk Up the Dull Golden Globes",
"datePublished": "2016-01-11T13:54:50-08:00",
"dateModified": "2024-09-18T18:50:46-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprImageCredit": "Paul Drinkwater",
"nprByline": "Linda Holmes",
"nprImageAgency": "NBC Universal/Getty Images",
"nprStoryId": "462646471",
"nprApiLink": "http://api.npr.org/query?id=462646471&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "http://www.npr.org/sections/monkeysee/2016/01/11/462646471/even-bears-martians-and-robots-cant-perk-up-the-dull-golden-globes?ft=nprml&f=462646471",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 11 Jan 2016 10:51:00 -0500",
"nprStoryDate": "Mon, 11 Jan 2016 09:58:00 -0500",
"nprLastModifiedDate": "Mon, 11 Jan 2016 10:51:16 -0500",
"path": "/arts/11238556/even-bears-martians-and-robots-cant-perk-up-the-dull-golden-globes",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In recent years, the Golden Globes have been picking up steam as a less stuffy, less predictable awards show than most others. From the marvelous hosting of Tina Fey and Amy Poehler for the past three years to glorious little moments like Emma Thompson \u003ca href=\"http://big.assets.huffingtonpost.com/martini.gif\" target=\"_blank\" rel=\"noopener\">tossing her shoes in the air\u003c/a>, the Globes were starting to get a little bit of air under them — a fun diversion during awards season.\u003c/p>\n\u003cp>It was not to remain so. Sunday night, Ricky Gervais, who hosted the three ceremonies before the Fey/Poehler years, returned. What distinguished Gervais’ previous appearances was the attempt to position him as a dangerous, rebellious, take-no-prisoners host — a tough sell when he was making jokes about things like Hugh Hefner being really old. But for the most part, the Hollywood Foreign Press Association (which gives out these awards) has successfully sold the narrative of Gervais as fearless provocateur, and from the minute he stepped on stage Sunday, it was clear he was going to ride that horse as far as it would take him.\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/v3JQf-WTLo8'\n title='//www.youtube.com/embed/v3JQf-WTLo8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>His early targets included Caitlyn Jenner (one joke about her car accident followed one that was basically just “transgender people, right?”), Jeffrey Tambor for playing a transgender woman, NBC for having no nominations (true, but there are far more daring things to say about network TV than that NBC didn’t get nominated for any Golden Globes), and the Globes themselves, which he ribbed with a tamer version of a joke he made years ago about how the awards are all bought and paid for. It’s a joke that doesn’t feel particularly daring since he’s basically already made it and been invited back. They clearly don’t mind and he’s already said the same thing years ago, so where’s the risk?\u003c/p>\n\u003cp>Unfortunately, Gervais’ weak monologue was followed by a weird appearance by Channing Tatum and Jonah Hill, who — OK, look. The whole reputation of the Globes is that everybody is bombed the entire time. Either bombed in practice or in spirit — that’s part of the charm. And I would never comment on who is bombed and who is not as a matter of science, but I can say that Hill, wearing a bear head, threw himself into the bombed \u003cem>feeling \u003c/em>of the ceremony in the “some drunk people are hostile and nonsensical” fashion rather than the more enjoyable “some drunk people burble delightfully with enthusiasm” fashion. Whether he was actually bombed or not, you see.\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 bear bit was also the beginning of a recurring problem over the course of the evening: at some point, people seemed to forget entirely that they were on network television, and they swore so gratuitously that big chunks of things said on stage were silenced by the censor button, rendering certain appearances rather difficult to interpret. Swearing isn’t necessarily bad in and of itself, but the way it leaves giant gaps in the audio doesn’t make for a very good show at home.\u003c/p>\n\u003cp>One of the most striking things about the evening was that the low points brought out the ability of some of the presenters to instantly lift audience spirits. Andy Samberg, who hosted the Emmys, has become a reliably lovely and funny presence at events like this, and America Ferrera and Eva Longoria did a really funny bit about being confused with other Latina actresses: “Hi, I’m Eva Longoria, not Eva Mendes.” “And hi, I’m America Ferrera, not Gina Rodriguez.” (Ferrera and Rodriguez actually were mistaken for each other by the Globes themselves during the nominations. Mentioning that? That’s a little daring.) It ended with the women addressing each other as “Salma” and “Charo.” Funny!\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/SHBijKSOI8U'\n title='//www.youtube.com/embed/SHBijKSOI8U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>At times, though, these awards just seemed a little snakebit, having trouble getting joy where joy should have been easy: What should have been a great moment for Sylvester Stallone (who won a supporting award for \u003cem>Creed\u003c/em>) was marred by his forgetting to thank writer-director Ryan Coogler or anyone in the cast, which he reportedly ran back on stage to correct, but after the TV coverage had already cut away. Aziz Ansari had a very funny bit where he was in the audience reading \u003cem>How to Lose to Jeffrey Tambor with Dignity\u003c/em> when the lead TV comedy actors were announced, but his joke fell victim to the unexpected victory of Gael Garcia Bernal for \u003cem>Mozart in the Jungle\u003c/em> — a very low-profile Amazon show that was also named the best TV comedy.\u003c/p>\n\u003cp>Of course, the advantage that awards shows have is that when you put enough charismatic, enjoyable people on stage, you’ll get good moments. Rachel Bloom of the CW’s \u003cem>Crazy Ex-Girlfriend \u003c/em>was an excited delight as the winning TV comic actress, Oscar Isaac was charming accepting an award for the HBO miniseries \u003cem>Show Me a Hero\u003c/em>, Taraji P. Henson was luminous accepting for \u003cem>Empire\u003c/em>, and Tom Hanks made a predictably fine presenter of the Cecil B. DeMille Award to his \u003cem>Philadelphia \u003c/em>co-star, Denzel Washington, who got a very good career montage out of the deal.\u003c/p>\n\u003cp>Other winners included \u003cem>The Revenant\u003c/em> for outstanding dramatic movie and \u003cem>The Martian \u003c/em>for outstanding comedy/musical (another moment marred by a side issue: in this case, whether \u003cem>The Martian \u003c/em>is actually comedic), Leonardo DiCaprio (\u003cem>The Revenant\u003c/em>) and Brie Larson (\u003cem>Room\u003c/em>) for their lead dramatic roles in film, Jennifer Lawrence (\u003cem>Joy\u003c/em>) and Matt Damon (\u003cem>The Martian\u003c/em>) for their lead roles in comedies (or comedies-ish), and the terrific USA show \u003cem>Mr. Robot \u003c/em>for TV drama series — exactly the kind of slightly offbeat winner the Globes redeem themselves by sometimes crowning.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There have been worse awards shows, certainly. But Gervais’ ancient-feeling shtick about Mel Gibson and Brad Pitt and Angelina Jolie’s adopted kids was enough to put the evening at a disadvantage that the awards themselves struggled to overcome.\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=Even+Bears%2C+Martians+And+Robots+Can%27t+Perk+Up+The+Dull+Golden+Globes&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\" alt=\"\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11238556/even-bears-martians-and-robots-cant-perk-up-the-dull-golden-globes",
"authors": [
"byline_arts_11238556"
],
"categories": [
"arts_968",
"arts_74",
"arts_75",
"arts_990"
],
"tags": [
"arts_596",
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11238557",
"label": "arts_137"
},
"arts_11227795": {
"type": "posts",
"id": "arts_11227795",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11227795",
"score": null,
"sort": [
1452198881000
]
},
"guestAuthors": [],
"slug": "monkey-cant-own-copyright-to-his-selfie-federal-judge-says",
"title": "Monkey Can't Own Copyright to his Selfie, Federal Judge Says",
"publishDate": 1452198881,
"format": "standard",
"headTitle": "Monkey Can’t Own Copyright to his Selfie, Federal Judge Says | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>The legal saga of the monkey selfie continues: On Wednesday, a federal judge said the macaque who famously snapped a picture of himself cannot be declared the owner of the image’s copyright.\u003c/p>\n\u003cp>At least, until Congress says otherwise.\u003c/p>\n\u003cp>There’s “no indication” that the Copyright Act extends to animals, U.S. District Judge William Orrick wrote in a tentative opinion issued Wednesday in federal court in San Francisco.\u003c/p>\n\u003cp>“I’m not the person to weigh into this. This is an issue for Congress and the president,” Orrick said from the bench, \u003ca href=\"http://arstechnica.com/tech-policy/2016/01/judge-says-monkey-cannot-own-copyright-to-famous-selfies/\">according to Ars Technica\u003c/a>. “If they think animals should have the right of copyright they’re free, I think, under the Constitution, to do that.”\u003c/p>\n\u003cp>The photo in question was taken in 2011 on the Indonesian island of Sulawesi, with a camera owned by nature photographer David Slater. But Slater didn’t trip the shutter: the macaque did.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As a result, some outlets — including Wikipedia — maintain that no one owns the copyright to the photo and have been using it as an image \u003ca href=\"https://commons.wikimedia.org/wiki/Macaca#/media/File:Macaca_nigra_self-portrait.jpg\">in the public domain\u003c/a>.\u003c/p>\n\u003cp>The People for the Ethical Treatment of Animals filed a lawsuit last year on behalf of the monkey — which it calls Naruto — arguing that, in fact, Naruto owns the copyright (which PETA is offering to administer on the monkey’s behalf).\u003c/p>\n\u003cp>The U.S. Copyright Office, since the dispute began, has specifically listed “a photograph taken by a monkey” as an example of an item that \u003ca href=\"http://www.npr.org/sections/thetwo-way/2014/08/22/342419651/who-owns-a-monkey-s-selfie-no-one-can-u-s-says\">cannot be copyrighted\u003c/a>.\u003c/p>\n\u003cp>Slater, meanwhile, has a British copyright for the photo, which he says should be honored worldwide, The Associated Press reports.\u003c/p>\n\u003cp>He asked the court to dismiss PETA’s claim.\u003c/p>\n\u003cp>“The only pertinent fact in this case is that Plaintiff is a monkey suing for copyright infringement,” Slater’s lawyer wrote. “[I]magining a monkey as the copyright ‘author’ in Title 17 of the United States Code is a farcical journey Dr. Seuss might have written.”\u003c/p>\n\u003cp>(The whole motion, filed on behalf of Slater and his company, is an entertaining read. “Monkey see, monkey sue.”)\u003c/p>\n\u003cdiv id=\"res461483149\" class=\"bucketwrap statichtml\" align=\"left\" style=\"padding-left:100px\">\u003c/div>\n\u003cp>“If the humans purporting to act on Plaintiff’s behalf wish for copyright to be among the areas of law where non-human animals have standing, they should make that dubious case to Congress — not the federal courts,” the lawyer continued.\u003c/p>\n\u003cp>And Judge Orrick appears to agree — not necessarily with the Seussian nature of the claim, but with the argument that it’s up to Congress to make this call.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Naruto’s supporters aren’t giving up, the AP reports:\u003c/p>\n\u003cblockquote>\n\u003cp>“Jeff Kerr, general counsel for PETA, said the organization will continue fighting for the monkey’s rights.\u003c/p>\n\u003cp>” ‘Despite this setback, legal history was made today because we argued to a federal court why Naruto should be the owner of the copyright rather than been seen as a piece of property himself,’ Kerr said. ‘This case is also exposing the hypocrisy of those who exploit animals for their own gain.’ ”\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=Monkey+Can%27t+Own+Copyright+To+His+Selfie%2C+Federal+Judge+Says+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "A district judge in San Francisco said that Congress and the president can choose to \"extend the protection of law to animals as well as humans\" — but that for now, no, monkeys can't own copyrights.",
"status": "publish",
"parent": 0,
"modified": 1726771315,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 19,
"wordCount": 548
},
"headData": {
"title": "Monkey Can't Own Copyright to his Selfie, Federal Judge Says | KQED",
"description": "A district judge in San Francisco said that Congress and the president can choose to "extend the protection of law to animals as well as humans" — but that for now, no, monkeys can't own copyrights.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Monkey Can't Own Copyright to his Selfie, Federal Judge Says",
"datePublished": "2016-01-07T12:34:41-08:00",
"dateModified": "2024-09-19T11:41:55-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Camila Domonoske",
"nprImageAgency": "David Slater via Wikimedia Commons",
"nprStoryId": "462245189",
"nprApiLink": "http://api.npr.org/query?id=462245189&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "http://www.npr.org/sections/thetwo-way/2016/01/07/462245189/federal-judge-says-monkey-cant-own-copyright-to-his-selfie?ft=nprml&f=462245189",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 07 Jan 2016 11:49:00 -0500",
"nprStoryDate": "Thu, 07 Jan 2016 10:34:00 -0500",
"nprLastModifiedDate": "Thu, 07 Jan 2016 11:49:12 -0500",
"path": "/arts/11227795/monkey-cant-own-copyright-to-his-selfie-federal-judge-says",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The legal saga of the monkey selfie continues: On Wednesday, a federal judge said the macaque who famously snapped a picture of himself cannot be declared the owner of the image’s copyright.\u003c/p>\n\u003cp>At least, until Congress says otherwise.\u003c/p>\n\u003cp>There’s “no indication” that the Copyright Act extends to animals, U.S. District Judge William Orrick wrote in a tentative opinion issued Wednesday in federal court in San Francisco.\u003c/p>\n\u003cp>“I’m not the person to weigh into this. This is an issue for Congress and the president,” Orrick said from the bench, \u003ca href=\"http://arstechnica.com/tech-policy/2016/01/judge-says-monkey-cannot-own-copyright-to-famous-selfies/\">according to Ars Technica\u003c/a>. “If they think animals should have the right of copyright they’re free, I think, under the Constitution, to do that.”\u003c/p>\n\u003cp>The photo in question was taken in 2011 on the Indonesian island of Sulawesi, with a camera owned by nature photographer David Slater. But Slater didn’t trip the shutter: the macaque did.\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>As a result, some outlets — including Wikipedia — maintain that no one owns the copyright to the photo and have been using it as an image \u003ca href=\"https://commons.wikimedia.org/wiki/Macaca#/media/File:Macaca_nigra_self-portrait.jpg\">in the public domain\u003c/a>.\u003c/p>\n\u003cp>The People for the Ethical Treatment of Animals filed a lawsuit last year on behalf of the monkey — which it calls Naruto — arguing that, in fact, Naruto owns the copyright (which PETA is offering to administer on the monkey’s behalf).\u003c/p>\n\u003cp>The U.S. Copyright Office, since the dispute began, has specifically listed “a photograph taken by a monkey” as an example of an item that \u003ca href=\"http://www.npr.org/sections/thetwo-way/2014/08/22/342419651/who-owns-a-monkey-s-selfie-no-one-can-u-s-says\">cannot be copyrighted\u003c/a>.\u003c/p>\n\u003cp>Slater, meanwhile, has a British copyright for the photo, which he says should be honored worldwide, The Associated Press reports.\u003c/p>\n\u003cp>He asked the court to dismiss PETA’s claim.\u003c/p>\n\u003cp>“The only pertinent fact in this case is that Plaintiff is a monkey suing for copyright infringement,” Slater’s lawyer wrote. “[I]magining a monkey as the copyright ‘author’ in Title 17 of the United States Code is a farcical journey Dr. Seuss might have written.”\u003c/p>\n\u003cp>(The whole motion, filed on behalf of Slater and his company, is an entertaining read. “Monkey see, monkey sue.”)\u003c/p>\n\u003cdiv id=\"res461483149\" class=\"bucketwrap statichtml\" align=\"left\" style=\"padding-left:100px\">\u003c/div>\n\u003cp>“If the humans purporting to act on Plaintiff’s behalf wish for copyright to be among the areas of law where non-human animals have standing, they should make that dubious case to Congress — not the federal courts,” the lawyer continued.\u003c/p>\n\u003cp>And Judge Orrick appears to agree — not necessarily with the Seussian nature of the claim, but with the argument that it’s up to Congress to make this call.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Naruto’s supporters aren’t giving up, the AP reports:\u003c/p>\n\u003cblockquote>\n\u003cp>“Jeff Kerr, general counsel for PETA, said the organization will continue fighting for the monkey’s rights.\u003c/p>\n\u003cp>” ‘Despite this setback, legal history was made today because we argued to a federal court why Naruto should be the owner of the copyright rather than been seen as a piece of property himself,’ Kerr said. ‘This case is also exposing the hypocrisy of those who exploit animals for their own gain.’ ”\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=Monkey+Can%27t+Own+Copyright+To+His+Selfie%2C+Federal+Judge+Says+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11227795/monkey-cant-own-copyright-to-his-selfie-federal-judge-says",
"authors": [
"byline_arts_11227795"
],
"categories": [
"arts_70"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11227796",
"label": "arts_137"
},
"arts_11225551": {
"type": "posts",
"id": "arts_11225551",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11225551",
"score": null,
"sort": [
1452123359000
]
},
"guestAuthors": [],
"slug": "mi-familia-in-movies-films-mexican-american-millennials-grew-up-on",
"title": "'Mi Familia' in Movies: Films Mexican-American Millennials Grew Up On",
"publishDate": 1452123359,
"format": "standard",
"headTitle": "‘Mi Familia’ in Movies: Films Mexican-American Millennials Grew Up On | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>At Code Switch, we like movies. We like to talk about movies. (Apologies to the newscast folks who have to sit near us.) Recently, we got into this big discussion about movies we watched over and over again growing up — not just because they’re good, but also because, in one way or another, they reflected our lives as people of color in the United States.\u003c/p>\n\u003cp>When I was a kid in Southern California, there were several films that helped me make sense of what it meant to grow up Mexican in the States. If you’re Latino and have seen these, you probably quote from them liberally. If you haven’t, go watch them this weekend!\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Born in East L.A.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>When I was growing up, my family often visited Tijuana, a two-hour drive south of our house in Orange County. I knew we were getting close when \u003ca href=\"http://articles.latimes.com/1991-08-31/local/me-1096_1_illegal-immigrants\" target=\"_blank\" rel=\"noopener\">the freeway divider suddenly shot up 6 feet\u003c/a>, a barrier to discourage migrants who’d already hopped the fence from making it across Interstate 5. It let us know we were entering the borderlands.\u003c/p>\n\u003cp>Right around this point, my mom would turn to the back seat and say something like, “You know, your dad came through here.” Then my dad would tell us stories of crossing into the U.S. in the ’70s, hiding from Border Patrol under bridges or curled up in the trunk of a car. In his retelling of these cat-and-mouse chases, he was always just a little bit cannier than his pursuers. He wanted to get into the U.S. more than they wanted to keep him out.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>His stories always reminded me of \u003cem>Born in East L.A\u003c/em>. The film, written, directed by and starring Cheech Marin, is a satire about a Los Angeles-born Chicano named Rudy who gets mistakenly rounded up during an immigration raid at a factory and deported. He ends up stuck in Tijuana because immigration officers don’t believe he’s a U.S. citizen. Hilarity ensues as Rudy tries again and again to get home.\u003c/p>\n\u003cp>In one scene, after hopping the border fence, Rudy is trekking through the hills of southern San Diego County with a bush strapped to his back. When he spots a Border Patrol agent, he crouches down like a desert scrub. Thinking he’s in the clear, he ditches the disguise. Then he sees another agent. He ducks behind some nearby foliage in the nick of time. But it turns out he’s dived right into a Border Patrol truck that’s also in disguise — as a much larger bush. Back to Mexico!\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KQXR3AeuN5g\u003c/p>\n\u003cp>\u003cem>Born in East L.A.\u003c/em> was made at a time when illegal immigration into the U.S. was on the rise, and so was border enforcement. By 1987, when the movie hit theaters, crossing at San Diego was a lot harder than when my 15-year-old dad first tried it in 1975 (though not nearly as hard as it is today). Rudy’s repeated failures to cross reflected this. But the movie’s more incisive point was the absurdity of Rudy’s dilemma: He’d been deported from his own country, and then had to sneak back in.\u003c/p>\n\u003cp>Marin’s movie was hilarious, but also a warning about how anti-immigrant sentiment can become a convenient proxy for anti-Latino racism. That’s one reason \u003cem>Born in East L.A.\u003c/em> remains as relevant today as it was in 1987.\u003c/p>\n\u003cp>Over the holidays, I drove my dad (a U.S. citizen since the early ’90s) to the Tijuana airport. Today, whenever we’re near the border, we often remark on how tall the fence has gotten. Could he have crossed if it had been like this back then? I asked him.\u003c/p>\n\u003cp>“Oooh, no, no, no.”\u003c/p>\n\u003cp>As my dad got out of the car to cross into Mexico, I double-checked to make sure he had his passport.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>My Family, Mi Familia \u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003cem>My Family, Mi Familia\u003c/em> tells the story of the Sanchez family over three generations. It starts with the patriarch’s migration from Mexico to Los Angeles in the early 20th century and tracks the Sanchezes through the 1980s, by which point the family is undeniably American, yet still struggling with the complexities of what it means to call yourself American if you aren’t white.\u003c/p>\n\u003cp>Along the way, the Sanchezes deal with illegal deportations during the Depression, police brutality and racial tension during the ’50s, and anxieties around assimilation when one of the Sanchez sons is engaged to a white woman in the ’80s.\u003c/p>\n\u003cp>There is nothing remarkable about my favorite scene in the movie. It has no bearing on the plot. But I love it because it captured a detail of bicultural Mexican-American life so small, so seemingly perfunctory, that only a writer who lived it would have cared, let alone had the cultural knowledge, to write it into a screenplay. (Director and co-writer Gregory Nava \u003ca href=\"http://www.mediumraretv.org/2013/04/interview-with-gregory-nava-2/\" target=\"_blank\" rel=\"noopener\">grew up in San Diego but regularly crossed the border\u003c/a> to visit family in Tijuana).\u003c/p>\n\u003cp>In my favorite scene, it’s 1950s Los Angeles and the Sanchez family is sitting in their living room, its walls painted a bright pink common in Mexican-American households. They realize \u003cem>I Love Lucy\u003c/em> is starting — “Hey, it’s time for Lucy!” “I love that show, \u003cem>mamá\u003c/em>!”\u003cstrong> —\u003c/strong> and they flip on the TV. A little later, they’ll hear gunshots outside, leading to the film’s most tragic scene, but my favorite part of the whole movie is when they tune in to watch that zany redhead and her antics.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xsX7TKRZwmI\u003c/p>\n\u003cp>Why? Because growing up, “Put on Lucy!” was a constant refrain in our house, too — most recently on Christmas Day, in fact. \u003cem>I Love Lucy\u003c/em> has been my mom’s favorite show since she was a girl growing up in the \u003cem>barrios\u003c/em> of Orange County. Lucy was hysterical, and she and Ricky Ricardo \u003ca href=\"http://www.npr.org/sections/codeswitch/2014/02/15/276526212/love-in-technicolor-interracial-families-on-television\" target=\"_blank\" rel=\"noopener\">were network television’s first mixed-race couple\u003c/a>. For most Americans, his hot-blooded, and, yes, stereotypical, fits of anger, spewed in Spanish, were meaningless gibberish. But unlike many viewers, my mom actually understood what he was saying, which made it even funnier.\u003cstrong>\u003cbr>\u003c/strong>\u003c/p>\n\u003cp>Nava pumped the film full of these seemingly insignificant details. And the cumulative effect was that \u003cem>My Family\u003c/em> \u003cstrong>\u003c/strong>became a richly textured film in which many Mexicans and Mexican-Americans could see bits and pieces of their own families, even if not every aspect of its story mirrored their own.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Selena\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Selena’s music was the soundtrack of our Sunday mornings. Actually, it was our alarm clock. When “Amor Prohibido” started blasting from the dining room stereo — and I mean really blasting, with my mom singing along — my brother and I knew it was time to get up and do our chores.\u003c/p>\n\u003cp>When the Tejano music pop star was shot and killed at age 23 in 1995, it’s not a stretch to say it felt like losing family. A few years ago, a friend and I were talking about where we were when we learned that Yolanda Saldívar, the president of Selena’s fan club, had shot her. I remembered sitting in the living room with my parents watching coverage of the standoff between Saldívar and police on a Spanish-language news channel.\u003c/p>\n\u003cp>The memory was vivid: Saldívar had barricaded herself in her truck, tears flowing, a gun in one hand, a phone in the other as she spoke to a police negotiator. “Look at what I’ve done to my best friend!” she sobbed. “I want to talk to my mother!”\u003c/p>\n\u003cp>I told my friend I remembered Saldívar’s shaky, miserable words like it was yesterday.\u003c/p>\n\u003cp>“They didn’t show that on the news,” she said.\u003c/p>\n\u003cp>“Yeah, they did,” I said.\u003c/p>\n\u003cp>“No, that was only in the movie.”\u003c/p>\n\u003cp>It hit me. She was right. The camera crews that showed up the day Selena died were far from the action. There’s no way they could have picked up what Saldívar was saying to the cops. How had I misremembered that?\u003c/p>\n\u003cp>\u003cem>Selena\u003c/em> the movie, which came out in 1997, two years after the singer’s death, cemented her legacy as Mexican America’s darling. It told the story of her childhood and her rise to fame. It painted a portrait of a talented, sexy yet wholesome, humble, almost flawless star cut down in the prime of her life. As kids, we watched the movie constantly. And at some point, \u003cem>Selena\u003c/em> the movie imprinted on my childhood in a way that became almost indistinguishable from Selena in real life.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_e-w4GB0AZ8\u003c/p>\n\u003cp>This was true for a lot of Mexican- and Latino-Americans. The late Lupe Ontiveros, who portrayed Yolanda Saldívar in the movie, once said that for years after the film came out, \u003ca href=\"http://www.nytimes.com/2012/07/28/arts/television/lupe-ontiveros-69-desperate-housewives-actress-dies.html?_r=2\" target=\"_blank\" rel=\"noopener\">Selena’s fans would hiss at her when she was in public places\u003c/a>. She would have to explain that she shared their feelings.\u003c/p>\n\u003cp>A friend of mine in college had a picture of Selena on his desk — except it wasn’t Selena. It was a picture of Jennifer Lopez as Selena in the movie. I never asked whether he knew that, although now I wonder.\u003cstrong>\u003cbr>\u003c/strong>\u003c/p>\n\u003cp>Today, many of the references we make to Selena when talking about her come from the movie, not from her own mouth or things that actually happened. Say this line to any U.S.-raised Mexican child of the ’90s — “Anything for Salinas!” — and he or she will tell you it was spoken \u003ca href=\"https://www.youtube.com/watch?v=ZwDlsyOL_Kg\" target=\"_blank\" rel=\"noopener\">by two awestruck and sheepish \u003cem>cholos\u003c/em> who helped out\u003c/a> when Selena’s tour bus got stuck in a ditch.\u003c/p>\n\u003cp>Did that even really happen? I have no idea. And I guess I don’t really care. For young fans like us, \u003cem>Selena\u003c/em> the movie mattered almost as much as Selena’s music because it gave us a way to connect with her story. When Selena died, we were old enough to love her, but too young to fully grasp her importance to our community. Then the movie came out, and we understood.\u003c/p>\n\u003cp>—\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>These are only a few of the Mexican-American movies I watched growing up. There are a bunch more — \u003cem>La Bamba, El Norte, Stand and Deliver\u003c/em>. What movies did you watch as a little person of color, and why were they important for you? Let us know in the comments or tweet us \u003ca href=\"https://twitter.com/NPRCodeSwitch/\">@nprcodeswitch\u003c/a>. \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=%27Mi+Familia%27+In+Movies%3A+Films+Mexican-American+Millennials+Grew+Up+On&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "The bush-disguise bit in 'Born in East L.A.' The murder scene in 'Selena.' I watched these dozens of times as a kid, but as an adult, they've come to mean more.",
"status": "publish",
"parent": 0,
"modified": 1726788260,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 37,
"wordCount": 1856
},
"headData": {
"title": "'Mi Familia' in Movies: Films Mexican-American Millennials Grew Up On | KQED",
"description": "The bush-disguise bit in 'Born in East L.A.' The murder scene in 'Selena.' I watched these dozens of times as a kid, but as an adult, they've come to mean more.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Mi Familia' in Movies: Films Mexican-American Millennials Grew Up On",
"datePublished": "2016-01-06T15:35:59-08:00",
"dateModified": "2024-09-19T16:24:20-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Adrian Florido",
"nprImageAgency": "Left: Zoetrope/New Line/Kobal Collection. Right: Scott Del Amo/AFP/Getty Images",
"nprStoryId": "461380315",
"nprApiLink": "http://api.npr.org/query?id=461380315&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "http://www.npr.org/sections/codeswitch/2016/01/06/461380315/mi-familia-in-movies-films-mexican-american-millennials-grew-up-on?ft=nprml&f=461380315",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 06 Jan 2016 13:00:00 -0500",
"nprStoryDate": "Wed, 06 Jan 2016 07:00:00 -0500",
"nprLastModifiedDate": "Wed, 06 Jan 2016 13:00:47 -0500",
"path": "/arts/11225551/mi-familia-in-movies-films-mexican-american-millennials-grew-up-on",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At Code Switch, we like movies. We like to talk about movies. (Apologies to the newscast folks who have to sit near us.) Recently, we got into this big discussion about movies we watched over and over again growing up — not just because they’re good, but also because, in one way or another, they reflected our lives as people of color in the United States.\u003c/p>\n\u003cp>When I was a kid in Southern California, there were several films that helped me make sense of what it meant to grow up Mexican in the States. If you’re Latino and have seen these, you probably quote from them liberally. If you haven’t, go watch them this weekend!\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Born in East L.A.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>When I was growing up, my family often visited Tijuana, a two-hour drive south of our house in Orange County. I knew we were getting close when \u003ca href=\"http://articles.latimes.com/1991-08-31/local/me-1096_1_illegal-immigrants\" target=\"_blank\" rel=\"noopener\">the freeway divider suddenly shot up 6 feet\u003c/a>, a barrier to discourage migrants who’d already hopped the fence from making it across Interstate 5. It let us know we were entering the borderlands.\u003c/p>\n\u003cp>Right around this point, my mom would turn to the back seat and say something like, “You know, your dad came through here.” Then my dad would tell us stories of crossing into the U.S. in the ’70s, hiding from Border Patrol under bridges or curled up in the trunk of a car. In his retelling of these cat-and-mouse chases, he was always just a little bit cannier than his pursuers. He wanted to get into the U.S. more than they wanted to keep him out.\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>His stories always reminded me of \u003cem>Born in East L.A\u003c/em>. The film, written, directed by and starring Cheech Marin, is a satire about a Los Angeles-born Chicano named Rudy who gets mistakenly rounded up during an immigration raid at a factory and deported. He ends up stuck in Tijuana because immigration officers don’t believe he’s a U.S. citizen. Hilarity ensues as Rudy tries again and again to get home.\u003c/p>\n\u003cp>In one scene, after hopping the border fence, Rudy is trekking through the hills of southern San Diego County with a bush strapped to his back. When he spots a Border Patrol agent, he crouches down like a desert scrub. Thinking he’s in the clear, he ditches the disguise. Then he sees another agent. He ducks behind some nearby foliage in the nick of time. But it turns out he’s dived right into a Border Patrol truck that’s also in disguise — as a much larger bush. Back to Mexico!\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/KQXR3AeuN5g'\n title='//www.youtube.com/embed/KQXR3AeuN5g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Born in East L.A.\u003c/em> was made at a time when illegal immigration into the U.S. was on the rise, and so was border enforcement. By 1987, when the movie hit theaters, crossing at San Diego was a lot harder than when my 15-year-old dad first tried it in 1975 (though not nearly as hard as it is today). Rudy’s repeated failures to cross reflected this. But the movie’s more incisive point was the absurdity of Rudy’s dilemma: He’d been deported from his own country, and then had to sneak back in.\u003c/p>\n\u003cp>Marin’s movie was hilarious, but also a warning about how anti-immigrant sentiment can become a convenient proxy for anti-Latino racism. That’s one reason \u003cem>Born in East L.A.\u003c/em> remains as relevant today as it was in 1987.\u003c/p>\n\u003cp>Over the holidays, I drove my dad (a U.S. citizen since the early ’90s) to the Tijuana airport. Today, whenever we’re near the border, we often remark on how tall the fence has gotten. Could he have crossed if it had been like this back then? I asked him.\u003c/p>\n\u003cp>“Oooh, no, no, no.”\u003c/p>\n\u003cp>As my dad got out of the car to cross into Mexico, I double-checked to make sure he had his passport.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>My Family, Mi Familia \u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003cem>My Family, Mi Familia\u003c/em> tells the story of the Sanchez family over three generations. It starts with the patriarch’s migration from Mexico to Los Angeles in the early 20th century and tracks the Sanchezes through the 1980s, by which point the family is undeniably American, yet still struggling with the complexities of what it means to call yourself American if you aren’t white.\u003c/p>\n\u003cp>Along the way, the Sanchezes deal with illegal deportations during the Depression, police brutality and racial tension during the ’50s, and anxieties around assimilation when one of the Sanchez sons is engaged to a white woman in the ’80s.\u003c/p>\n\u003cp>There is nothing remarkable about my favorite scene in the movie. It has no bearing on the plot. But I love it because it captured a detail of bicultural Mexican-American life so small, so seemingly perfunctory, that only a writer who lived it would have cared, let alone had the cultural knowledge, to write it into a screenplay. (Director and co-writer Gregory Nava \u003ca href=\"http://www.mediumraretv.org/2013/04/interview-with-gregory-nava-2/\" target=\"_blank\" rel=\"noopener\">grew up in San Diego but regularly crossed the border\u003c/a> to visit family in Tijuana).\u003c/p>\n\u003cp>In my favorite scene, it’s 1950s Los Angeles and the Sanchez family is sitting in their living room, its walls painted a bright pink common in Mexican-American households. They realize \u003cem>I Love Lucy\u003c/em> is starting — “Hey, it’s time for Lucy!” “I love that show, \u003cem>mamá\u003c/em>!”\u003cstrong> —\u003c/strong> and they flip on the TV. A little later, they’ll hear gunshots outside, leading to the film’s most tragic scene, but my favorite part of the whole movie is when they tune in to watch that zany redhead and her antics.\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/xsX7TKRZwmI'\n title='//www.youtube.com/embed/xsX7TKRZwmI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Why? Because growing up, “Put on Lucy!” was a constant refrain in our house, too — most recently on Christmas Day, in fact. \u003cem>I Love Lucy\u003c/em> has been my mom’s favorite show since she was a girl growing up in the \u003cem>barrios\u003c/em> of Orange County. Lucy was hysterical, and she and Ricky Ricardo \u003ca href=\"http://www.npr.org/sections/codeswitch/2014/02/15/276526212/love-in-technicolor-interracial-families-on-television\" target=\"_blank\" rel=\"noopener\">were network television’s first mixed-race couple\u003c/a>. For most Americans, his hot-blooded, and, yes, stereotypical, fits of anger, spewed in Spanish, were meaningless gibberish. But unlike many viewers, my mom actually understood what he was saying, which made it even funnier.\u003cstrong>\u003cbr>\u003c/strong>\u003c/p>\n\u003cp>Nava pumped the film full of these seemingly insignificant details. And the cumulative effect was that \u003cem>My Family\u003c/em> \u003cstrong>\u003c/strong>became a richly textured film in which many Mexicans and Mexican-Americans could see bits and pieces of their own families, even if not every aspect of its story mirrored their own.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Selena\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Selena’s music was the soundtrack of our Sunday mornings. Actually, it was our alarm clock. When “Amor Prohibido” started blasting from the dining room stereo — and I mean really blasting, with my mom singing along — my brother and I knew it was time to get up and do our chores.\u003c/p>\n\u003cp>When the Tejano music pop star was shot and killed at age 23 in 1995, it’s not a stretch to say it felt like losing family. A few years ago, a friend and I were talking about where we were when we learned that Yolanda Saldívar, the president of Selena’s fan club, had shot her. I remembered sitting in the living room with my parents watching coverage of the standoff between Saldívar and police on a Spanish-language news channel.\u003c/p>\n\u003cp>The memory was vivid: Saldívar had barricaded herself in her truck, tears flowing, a gun in one hand, a phone in the other as she spoke to a police negotiator. “Look at what I’ve done to my best friend!” she sobbed. “I want to talk to my mother!”\u003c/p>\n\u003cp>I told my friend I remembered Saldívar’s shaky, miserable words like it was yesterday.\u003c/p>\n\u003cp>“They didn’t show that on the news,” she said.\u003c/p>\n\u003cp>“Yeah, they did,” I said.\u003c/p>\n\u003cp>“No, that was only in the movie.”\u003c/p>\n\u003cp>It hit me. She was right. The camera crews that showed up the day Selena died were far from the action. There’s no way they could have picked up what Saldívar was saying to the cops. How had I misremembered that?\u003c/p>\n\u003cp>\u003cem>Selena\u003c/em> the movie, which came out in 1997, two years after the singer’s death, cemented her legacy as Mexican America’s darling. It told the story of her childhood and her rise to fame. It painted a portrait of a talented, sexy yet wholesome, humble, almost flawless star cut down in the prime of her life. As kids, we watched the movie constantly. And at some point, \u003cem>Selena\u003c/em> the movie imprinted on my childhood in a way that became almost indistinguishable from Selena in real life.\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/_e-w4GB0AZ8'\n title='//www.youtube.com/embed/_e-w4GB0AZ8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This was true for a lot of Mexican- and Latino-Americans. The late Lupe Ontiveros, who portrayed Yolanda Saldívar in the movie, once said that for years after the film came out, \u003ca href=\"http://www.nytimes.com/2012/07/28/arts/television/lupe-ontiveros-69-desperate-housewives-actress-dies.html?_r=2\" target=\"_blank\" rel=\"noopener\">Selena’s fans would hiss at her when she was in public places\u003c/a>. She would have to explain that she shared their feelings.\u003c/p>\n\u003cp>A friend of mine in college had a picture of Selena on his desk — except it wasn’t Selena. It was a picture of Jennifer Lopez as Selena in the movie. I never asked whether he knew that, although now I wonder.\u003cstrong>\u003cbr>\u003c/strong>\u003c/p>\n\u003cp>Today, many of the references we make to Selena when talking about her come from the movie, not from her own mouth or things that actually happened. Say this line to any U.S.-raised Mexican child of the ’90s — “Anything for Salinas!” — and he or she will tell you it was spoken \u003ca href=\"https://www.youtube.com/watch?v=ZwDlsyOL_Kg\" target=\"_blank\" rel=\"noopener\">by two awestruck and sheepish \u003cem>cholos\u003c/em> who helped out\u003c/a> when Selena’s tour bus got stuck in a ditch.\u003c/p>\n\u003cp>Did that even really happen? I have no idea. And I guess I don’t really care. For young fans like us, \u003cem>Selena\u003c/em> the movie mattered almost as much as Selena’s music because it gave us a way to connect with her story. When Selena died, we were old enough to love her, but too young to fully grasp her importance to our community. Then the movie came out, and we understood.\u003c/p>\n\u003cp>—\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>These are only a few of the Mexican-American movies I watched growing up. There are a bunch more — \u003cem>La Bamba, El Norte, Stand and Deliver\u003c/em>. What movies did you watch as a little person of color, and why were they important for you? Let us know in the comments or tweet us \u003ca href=\"https://twitter.com/NPRCodeSwitch/\">@nprcodeswitch\u003c/a>. \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=%27Mi+Familia%27+In+Movies%3A+Films+Mexican-American+Millennials+Grew+Up+On&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11225551/mi-familia-in-movies-films-mexican-american-millennials-grew-up-on",
"authors": [
"byline_arts_11225551"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11225552",
"label": "arts_137"
},
"arts_11225194": {
"type": "posts",
"id": "arts_11225194",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11225194",
"score": null,
"sort": [
1452114806000
]
},
"guestAuthors": [],
"slug": "composer-pierre-boulez-a-revered-iconoclast-has-died-at-90",
"title": "Composer Pierre Boulez, a Revered Iconoclast, has Died at 90",
"publishDate": 1452114806,
"format": "standard",
"headTitle": "Composer Pierre Boulez, a Revered Iconoclast, has Died at 90 | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>Pierre Boulez, the French composer and conductor whose career spanned from the avant-garde post-World War II era to the computer age, has died, according to the French culture ministry. He was 90. Boulez famously challenged his peers and his audience to rethink their ideas of sound and harmony.\u003c/p>\n\u003cp>In his music, Boulez often created rich and contrasting layers that were built on musical traditions from Asia and Africa, and on the 12-tone technique pioneered by Arnold Schoenberg — as in his 1955 work, \u003cem>Le Marteau sans maître\u003c/em> (The Hammer Without a Master).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MS82nF85_gA\u003c/p>\n\u003cp>“I see music as a kind of continuity, like a big tree,” Boulez told NPR in 2000. “Of course there are many branches, many different directions. I think music is in constant evolution, and there is nothing absolutely fixed and rigidly determined.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/sections/deceptivecadence/2015/03/26/395318157/the-sensuous-radical-pierre-boulez-at-90\" target=\"_blank\" rel=\"noopener\">NPR’s Tom Huizenga cited the quote\u003c/a> in a piece last year examining the composer’s rebellious roots: Boulez once disrupted a Stravinsky concert, and later said that opera’s problems could be solved by blowing up opera houses.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Boulez also had a knack for polemics — for instance, \u003ca href=\"http://www.theguardian.com/music/tomserviceblog/2012/jul/16/pierre-boulez-contemporary-music-guide\">The Guardian\u003c/a> referenced this quote: “anyone who has not felt… the necessity of the dodecaphonic [12-tone] language is OF NO USE.”\u003c/p>\n\u003cp>But the oft-repeated idea that his music was centered in mathematics is a bit overblown, Boulez \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=4649345\" target=\"_blank\" rel=\"noopener\">told Fresh Air host Terry Gross in 2005\u003c/a>.\u003c/p>\n\u003cp>Saying that a musical language always includes both rational and irrational parts, he noted, “What I tried to find, that’s freedom — but a freedom which is based on discipline.”\u003c/p>\n\u003cp>Boulez, who won 26 Grammy awards, had a prodigiously broad musical reach. In the 1970s, he founded the IRCAM music and science research center at the Pompidou Center in Paris. That’s where, in 1984, he \u003ca href=\"http://www.nytimes.com/1984/09/30/arts/meeting-of-musical-extremes.html?pagewanted=all\" target=\"_blank\" rel=\"noopener\">conducted music from Frank Zappa’s album \u003c/a>\u003ca href=\"http://www.nytimes.com/1984/09/30/arts/meeting-of-musical-extremes.html?pagewanted=all\" target=\"_blank\" rel=\"noopener\">The Perfect Stranger\u003c/a>.\u003c/p>\n\u003cp>Born in 1925, Boulez studied at the Paris Conservatory under Olivier Messiaen and René Leibowitz, before embarking on a career that perpetually sought new and modern approaches to music.\u003c/p>\n\u003cp>He emerged as a conductor in the late 1950s, and for a stretch of years in the 1970s, he served as both the chief conductor of the BBC Symphony Orchestra and as the music director of the New York Philharmonic. He also had a long relationship with the Chicago Symphony Orchestra, which in 2006 named him conductor emeritus.\u003c/p>\n\u003cp>Discussing Boulez’s work on the podium back in 2010, \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=126668117\" target=\"_blank\" rel=\"noopener\">Fresh Air’s Lloyd Schwartz wrote\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“Boulez is famous for his amazing ear. He lets you hear every detail. But there are two other Boulez qualities he isn’t often given credit for. One is his innate and effortless sense of the right style. In Boulez’s hands, Haydn’s symphony — for a change — actually sounds Viennese.”\u003c/p>\n\u003c/blockquote>\n\u003cp>As for his famous statement that opera houses should be blown up, Boulez told \u003cem>Fresh Air\u003c/em> in 2005 that he was only joking. The headlines that followed, he said, missed the humor in the statement.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“That was very funny to me,” Boulez said. “A number of times I have heard this quote. I thought I would have said only one sentence in my life.” \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=Composer+Pierre+Boulez%2C+A+Revered+Iconoclast%2C+Has+Died+At+90&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "Saying that a musical language always includes both rational and irrational parts, Boulez told \u003cem>Fresh Air \u003c/em>in 2005, \"What I tried to find, that's freedom — but a freedom which is based on discipline.\"",
"status": "publish",
"parent": 0,
"modified": 1726710686,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 16,
"wordCount": 579
},
"headData": {
"title": "Composer Pierre Boulez, a Revered Iconoclast, has Died at 90 | KQED",
"description": "Saying that a musical language always includes both rational and irrational parts, Boulez told Fresh Air in 2005, "What I tried to find, that's freedom — but a freedom which is based on discipline."",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Composer Pierre Boulez, a Revered Iconoclast, has Died at 90",
"datePublished": "2016-01-06T13:13:26-08:00",
"dateModified": "2024-09-18T18:51:26-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprImageCredit": "Joel Robine",
"nprByline": "Bill Chappell",
"nprImageAgency": "AFP/Getty Images",
"nprStoryId": "462126224",
"nprApiLink": "http://api.npr.org/query?id=462126224&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "http://www.npr.org/sections/thetwo-way/2016/01/06/462126224/composer-pierre-boulez-a-revered-iconoclast-has-died-at-90?ft=nprml&f=462126224",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 06 Jan 2016 11:39:00 -0500",
"nprStoryDate": "Wed, 06 Jan 2016 09:42:00 -0500",
"nprLastModifiedDate": "Wed, 06 Jan 2016 11:39:50 -0500",
"path": "/arts/11225194/composer-pierre-boulez-a-revered-iconoclast-has-died-at-90",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Pierre Boulez, the French composer and conductor whose career spanned from the avant-garde post-World War II era to the computer age, has died, according to the French culture ministry. He was 90. Boulez famously challenged his peers and his audience to rethink their ideas of sound and harmony.\u003c/p>\n\u003cp>In his music, Boulez often created rich and contrasting layers that were built on musical traditions from Asia and Africa, and on the 12-tone technique pioneered by Arnold Schoenberg — as in his 1955 work, \u003cem>Le Marteau sans maître\u003c/em> (The Hammer Without a Master).\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/MS82nF85_gA'\n title='//www.youtube.com/embed/MS82nF85_gA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I see music as a kind of continuity, like a big tree,” Boulez told NPR in 2000. “Of course there are many branches, many different directions. I think music is in constant evolution, and there is nothing absolutely fixed and rigidly determined.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/sections/deceptivecadence/2015/03/26/395318157/the-sensuous-radical-pierre-boulez-at-90\" target=\"_blank\" rel=\"noopener\">NPR’s Tom Huizenga cited the quote\u003c/a> in a piece last year examining the composer’s rebellious roots: Boulez once disrupted a Stravinsky concert, and later said that opera’s problems could be solved by blowing up opera houses.\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>Boulez also had a knack for polemics — for instance, \u003ca href=\"http://www.theguardian.com/music/tomserviceblog/2012/jul/16/pierre-boulez-contemporary-music-guide\">The Guardian\u003c/a> referenced this quote: “anyone who has not felt… the necessity of the dodecaphonic [12-tone] language is OF NO USE.”\u003c/p>\n\u003cp>But the oft-repeated idea that his music was centered in mathematics is a bit overblown, Boulez \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=4649345\" target=\"_blank\" rel=\"noopener\">told Fresh Air host Terry Gross in 2005\u003c/a>.\u003c/p>\n\u003cp>Saying that a musical language always includes both rational and irrational parts, he noted, “What I tried to find, that’s freedom — but a freedom which is based on discipline.”\u003c/p>\n\u003cp>Boulez, who won 26 Grammy awards, had a prodigiously broad musical reach. In the 1970s, he founded the IRCAM music and science research center at the Pompidou Center in Paris. That’s where, in 1984, he \u003ca href=\"http://www.nytimes.com/1984/09/30/arts/meeting-of-musical-extremes.html?pagewanted=all\" target=\"_blank\" rel=\"noopener\">conducted music from Frank Zappa’s album \u003c/a>\u003ca href=\"http://www.nytimes.com/1984/09/30/arts/meeting-of-musical-extremes.html?pagewanted=all\" target=\"_blank\" rel=\"noopener\">The Perfect Stranger\u003c/a>.\u003c/p>\n\u003cp>Born in 1925, Boulez studied at the Paris Conservatory under Olivier Messiaen and René Leibowitz, before embarking on a career that perpetually sought new and modern approaches to music.\u003c/p>\n\u003cp>He emerged as a conductor in the late 1950s, and for a stretch of years in the 1970s, he served as both the chief conductor of the BBC Symphony Orchestra and as the music director of the New York Philharmonic. He also had a long relationship with the Chicago Symphony Orchestra, which in 2006 named him conductor emeritus.\u003c/p>\n\u003cp>Discussing Boulez’s work on the podium back in 2010, \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=126668117\" target=\"_blank\" rel=\"noopener\">Fresh Air’s Lloyd Schwartz wrote\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“Boulez is famous for his amazing ear. He lets you hear every detail. But there are two other Boulez qualities he isn’t often given credit for. One is his innate and effortless sense of the right style. In Boulez’s hands, Haydn’s symphony — for a change — actually sounds Viennese.”\u003c/p>\n\u003c/blockquote>\n\u003cp>As for his famous statement that opera houses should be blown up, Boulez told \u003cem>Fresh Air\u003c/em> in 2005 that he was only joking. The headlines that followed, he said, missed the humor in the statement.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“That was very funny to me,” Boulez said. “A number of times I have heard this quote. I thought I would have said only one sentence in my life.” \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=Composer+Pierre+Boulez%2C+A+Revered+Iconoclast%2C+Has+Died+At+90&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11225194/composer-pierre-boulez-a-revered-iconoclast-has-died-at-90",
"authors": [
"byline_arts_11225194"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_1254",
"arts_1091"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11225195",
"label": "arts_137"
},
"pop_19730": {
"type": "posts",
"id": "pop_19730",
"meta": {
"index": "posts_1716263798",
"site": "pop",
"id": "19730",
"score": null,
"sort": [
1452113820000
]
},
"parent": 0,
"labelTerm": {
"site": "pop"
},
"blocks": [],
"publishDate": 1452113820,
"format": "standard",
"disqusTitle": "#WhereIsRey? She's On Her Way, Says Hasbro",
"title": "#WhereIsRey? She's On Her Way, Says Hasbro",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>\u003cem>Star Wars: The Force Awakens\u003c/em> revolves around the story of staff-wielding scavenger Rey.\u003c/p>\n\u003cp>(That's hardly a spoiler; she's \u003ca href=\"http://www.eonline.com/news/707676/star-wars-the-force-awakens-new-poster-revealed-before-first-trailer-find-out-which-major-star-is-missing\" target=\"_blank\">front-and-center in the movie poster\u003c/a>, after all.)\u003c/p>\n\u003cp>But in the world of \u003cem>Star Wars \u003c/em>toys, Rey's been hard to find — and fans took to social media, under the hashtags #WheresRey and #WhereisRey, to complain about all the movie merchandise that left her out.\u003c/p>\n\u003cp>Target's \u003cem>Star Wars \u003c/em>figurine 6-pack? Finn, Chewbacca, Poe, Kylo Ren and two unnamed characters: a Stormtrooper officer and a First Order TIE fighter.\u003c/p>\n\u003cp>Central heroine: \u003ca href=\"http://www.target.com/p/star-wars-the-force-awakens-6-action-figure-pack/-/A-17294971\" target=\"_blank\">Nowhere in sight\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/JamieFord/status/664824284938809345\u003c/p>\n\u003cp>Hasbro's \"Battle Action\" Millennium Falcon? Comes with \u003ca href=\"http://www.hasbro.com/en-us/product/star-wars-the-force-awakens-battle-action-millennium-falcon:4C779CBB-5056-9047-F500-253B7076D3FF\" target=\"_blank\">Chewie, Finn and BB-8\u003c/a>: Rey's gotta hitch another ride.\u003c/p>\n\u003cp>\"The soccer ball gets more love,\" complained one fan \u003ca href=\"https://twitter.com/CorporateMalice/status/681893309372076032\">on Twitter.\u003c/a>\u003c/p>\n\u003cp>Bedspread? \u003ca href=\"https://twitter.com/HKhug/status/681311984873160705\" target=\"_blank\">No Rey\u003c/a>. Disney store display? \u003ca href=\"https://twitter.com/acnally/status/681502669219971072\" target=\"_blank\">No Rey\u003c/a>. Barnes and Noble bobbleheads? \u003ca href=\"https://twitter.com/shanegreer/status/681138520023547904\" target=\"_blank\">No Rey\u003c/a>. Walgreens shelves? \u003ca href=\"https://twitter.com/laflaneuse/status/682366514016595968\" target=\"_blank\">No Rey\u003c/a>.\u003c/p>\n\u003cp>In some of the Rey-less displays, \u003ca href=\"http://thenerdybird.com/more-star-wars-force-awakens-rey-merchandise-than-you-can-shake-a-staff-at/\" target=\"_blank\">her products\u003c/a> might not have been stocked by individual stores — or may have sold out.\u003c/p>\n\u003cp>But in many other cases, \u003ca href=\"http://www.gq.com/story/star-wars-toys-wheres-rey\" target=\"_blank\">toys featuring her simply hadn't been released\u003c/a>.\u003c/p>\n\u003cp>https://twitter.com/holden/status/679126771472531458\u003c/p>\n\u003cp>The new Star Wars Monopoly game was one of the most egregious offenders. It features four characters: Finn, Luke Skywalker, Kylo Ren and Darth Vader.\u003c/p>\n\u003cp>That's two characters from the new films, and two from the classic trilogy, says Hasbro. Or to look at it another way, that's — OK, OK, \u003cem>now \u003c/em>it's time for a \u003cstrong>spoiler warning\u003c/strong> from here on out — two key characters from \u003cem>The Force Awakens\u003c/em>, one dude who's on screen for, like, a minute tops, and one character who is literally \u003cem>dead \u003c/em>and appears only as a crumpled helmet and a super unhealthy hero-obsession.\u003c/p>\n\u003cp>And no Rey, the star of the film.\u003c/p>\n\u003cp>The Monopoly game was targeted by many #WheresRey tweets — and by a letter from an 8-year-old fan who pointed out Rey's essential role in the film's plot.\u003c/p>\n\u003cp>https://twitter.com/CarrieMGoldman/status/684112303806111745\u003c/p>\n\u003cp>After the backlash, Hasbro has set a new course.\u003c/p>\n\u003cp>\"We love the passion fans have for Rey, and are happy to announce that we will be making a running change to include her in the Monopoly: Star Wars game available later this year,\" the game company said in a statement. The news was \u003ca href=\"http://www.ew.com/article/2016/01/05/star-wars-monopoly-game-adding-rey\" target=\"_blank\">first announced by EW on Tuesday night\u003c/a>.\u003c/p>\n\u003cp>Hasbro said Rey was not initially included in the game to \"avoid revealing a key plotline\" — an argument some found specious, since she was clearly going to be a central character based solely on early promotional materials.\u003c/p>\n\u003cp>(And as \u003cem>The Guardian \u003c/em>pointed out, Hasbro's explanatory note was clearly not written by a true fan: \u003ca href=\"http://www.theguardian.com/film/2016/jan/06/hasbro-monopoly-rey-star-wars-the-force-awakens-spoilers\" target=\"_blank\">They confused the Rebel Alliance and The Resistance in their statement\u003c/a>.)\u003c/p>\n\u003cp>Hasbro also points out that Rey is featured in \u003cem>Star Wars\u003c/em>-branded games of Hands Down, Guess Who and Chess, and that two new Rey action figures will be arriving in stores this month.\u003c/p>\n\u003cp>Meanwhile, Lego featured Rey in its line from the start — as a \u003ca href=\"http://shop.lego.com/en-US/Rey-75113\" target=\"_blank\">standalone figure\u003c/a>, \u003ca href=\"http://shop.lego.com/en-US/Rey-s-Speeder-75099\" target=\"_blank\">with her speeder\u003c/a> and as part of the \u003ca href=\"http://shop.lego.com/en-US/Millennium-Falcon-75105\" target=\"_blank\">Millennium Falcon set\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All three products are currently out of stock.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%23WhereIsRey%3F+She%27s+On+Her+Way%2C+Says+Hasbro&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\" alt=\"\">\u003c/div>\n\n",
"disqusIdentifier": "19730 http://ww2.kqed.org/pop/?p=19730",
"disqusUrl": "https://ww2.kqed.org/pop/2016/01/06/whereisrey-shes-on-her-way-says-hasbro/",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 552,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 23
},
"modified": 1452114720,
"excerpt": "The newest Star Wars Monopoly game featured Finn, Kylo Ren, Luke Skywalker and Darth Vader — but not the latest film's heroine, Rey. Hasbro says it will add her to the game this year.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The newest Star Wars Monopoly game featured Finn, Kylo Ren, Luke Skywalker and Darth Vader — but not the latest film's heroine, Rey. Hasbro says it will add her to the game this year.",
"title": "#WhereIsRey? She's On Her Way, Says Hasbro | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "#WhereIsRey? She's On Her Way, Says Hasbro",
"datePublished": "2016-01-06T12:57:00-08:00",
"dateModified": "2016-01-06T13:12:00-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "whereisrey-shes-on-her-way-says-hasbro",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=462144156&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Camila Domonoske",
"nprStoryDate": "Wed, 06 Jan 2016 14:33:00 -0500",
"nprLastModifiedDate": "Wed, 06 Jan 2016 15:22:26 -0500",
"nprHtmlLink": "http://www.npr.org/sections/thetwo-way/2016/01/06/462144156/-whereisrey-shes-on-her-way-says-hasbro?ft=nprml&f=462144156",
"nprImageAgency": "Lucasfilm",
"nprImageCredit": "David James",
"nprStoryId": "462144156",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 06 Jan 2016 15:22:00 -0500",
"path": "/pop/19730/whereisrey-shes-on-her-way-says-hasbro",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Star Wars: The Force Awakens\u003c/em> revolves around the story of staff-wielding scavenger Rey.\u003c/p>\n\u003cp>(That's hardly a spoiler; she's \u003ca href=\"http://www.eonline.com/news/707676/star-wars-the-force-awakens-new-poster-revealed-before-first-trailer-find-out-which-major-star-is-missing\" target=\"_blank\">front-and-center in the movie poster\u003c/a>, after all.)\u003c/p>\n\u003cp>But in the world of \u003cem>Star Wars \u003c/em>toys, Rey's been hard to find — and fans took to social media, under the hashtags #WheresRey and #WhereisRey, to complain about all the movie merchandise that left her out.\u003c/p>\n\u003cp>Target's \u003cem>Star Wars \u003c/em>figurine 6-pack? Finn, Chewbacca, Poe, Kylo Ren and two unnamed characters: a Stormtrooper officer and a First Order TIE fighter.\u003c/p>\n\u003cp>Central heroine: \u003ca href=\"http://www.target.com/p/star-wars-the-force-awakens-6-action-figure-pack/-/A-17294971\" target=\"_blank\">Nowhere in sight\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "664824284938809345"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Hasbro's \"Battle Action\" Millennium Falcon? Comes with \u003ca href=\"http://www.hasbro.com/en-us/product/star-wars-the-force-awakens-battle-action-millennium-falcon:4C779CBB-5056-9047-F500-253B7076D3FF\" target=\"_blank\">Chewie, Finn and BB-8\u003c/a>: Rey's gotta hitch another ride.\u003c/p>\n\u003cp>\"The soccer ball gets more love,\" complained one fan \u003ca href=\"https://twitter.com/CorporateMalice/status/681893309372076032\">on Twitter.\u003c/a>\u003c/p>\n\u003cp>Bedspread? \u003ca href=\"https://twitter.com/HKhug/status/681311984873160705\" target=\"_blank\">No Rey\u003c/a>. Disney store display? \u003ca href=\"https://twitter.com/acnally/status/681502669219971072\" target=\"_blank\">No Rey\u003c/a>. Barnes and Noble bobbleheads? \u003ca href=\"https://twitter.com/shanegreer/status/681138520023547904\" target=\"_blank\">No Rey\u003c/a>. Walgreens shelves? \u003ca href=\"https://twitter.com/laflaneuse/status/682366514016595968\" target=\"_blank\">No Rey\u003c/a>.\u003c/p>\n\u003cp>In some of the Rey-less displays, \u003ca href=\"http://thenerdybird.com/more-star-wars-force-awakens-rey-merchandise-than-you-can-shake-a-staff-at/\" target=\"_blank\">her products\u003c/a> might not have been stocked by individual stores — or may have sold out.\u003c/p>\n\u003cp>But in many other cases, \u003ca href=\"http://www.gq.com/story/star-wars-toys-wheres-rey\" target=\"_blank\">toys featuring her simply hadn't been released\u003c/a>.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "679126771472531458"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The new Star Wars Monopoly game was one of the most egregious offenders. It features four characters: Finn, Luke Skywalker, Kylo Ren and Darth Vader.\u003c/p>\n\u003cp>That's two characters from the new films, and two from the classic trilogy, says Hasbro. Or to look at it another way, that's — OK, OK, \u003cem>now \u003c/em>it's time for a \u003cstrong>spoiler warning\u003c/strong> from here on out — two key characters from \u003cem>The Force Awakens\u003c/em>, one dude who's on screen for, like, a minute tops, and one character who is literally \u003cem>dead \u003c/em>and appears only as a crumpled helmet and a super unhealthy hero-obsession.\u003c/p>\n\u003cp>And no Rey, the star of the film.\u003c/p>\n\u003cp>The Monopoly game was targeted by many #WheresRey tweets — and by a letter from an 8-year-old fan who pointed out Rey's essential role in the film's plot.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "684112303806111745"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>After the backlash, Hasbro has set a new course.\u003c/p>\n\u003cp>\"We love the passion fans have for Rey, and are happy to announce that we will be making a running change to include her in the Monopoly: Star Wars game available later this year,\" the game company said in a statement. The news was \u003ca href=\"http://www.ew.com/article/2016/01/05/star-wars-monopoly-game-adding-rey\" target=\"_blank\">first announced by EW on Tuesday night\u003c/a>.\u003c/p>\n\u003cp>Hasbro said Rey was not initially included in the game to \"avoid revealing a key plotline\" — an argument some found specious, since she was clearly going to be a central character based solely on early promotional materials.\u003c/p>\n\u003cp>(And as \u003cem>The Guardian \u003c/em>pointed out, Hasbro's explanatory note was clearly not written by a true fan: \u003ca href=\"http://www.theguardian.com/film/2016/jan/06/hasbro-monopoly-rey-star-wars-the-force-awakens-spoilers\" target=\"_blank\">They confused the Rebel Alliance and The Resistance in their statement\u003c/a>.)\u003c/p>\n\u003cp>Hasbro also points out that Rey is featured in \u003cem>Star Wars\u003c/em>-branded games of Hands Down, Guess Who and Chess, and that two new Rey action figures will be arriving in stores this month.\u003c/p>\n\u003cp>Meanwhile, Lego featured Rey in its line from the start — as a \u003ca href=\"http://shop.lego.com/en-US/Rey-75113\" target=\"_blank\">standalone figure\u003c/a>, \u003ca href=\"http://shop.lego.com/en-US/Rey-s-Speeder-75099\" target=\"_blank\">with her speeder\u003c/a> and as part of the \u003ca href=\"http://shop.lego.com/en-US/Millennium-Falcon-75105\" target=\"_blank\">Millennium Falcon set\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All three products are currently out of stock.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%23WhereIsRey%3F+She%27s+On+Her+Way%2C+Says+Hasbro&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\" alt=\"\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/pop/19730/whereisrey-shes-on-her-way-says-hasbro",
"authors": [
"byline_pop_19730"
],
"categories": [
"pop_51"
],
"featImg": "pop_19731",
"label": "pop"
},
"arts_11222927": {
"type": "posts",
"id": "arts_11222927",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11222927",
"score": null,
"sort": [
1452040425000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1452040425,
"format": "standard",
"title": "Over 10 Years, 2 Filmmakers Documented the 'Making' of a Murderer",
"headTitle": "Over 10 Years, 2 Filmmakers Documented the ‘Making’ of a Murderer | KQED",
"content": "\u003cp>The era of the real-life whodunit\u003csup>\u003c/sup> series is upon us. The podcast \u003ca href=\"https://serialpodcast.org/season-one/1/the-alibi\" target=\"_blank\" rel=\"noopener\">Serial\u003c/a> first attracted legions of listeners drawn to the question of whether a young man should have been put in prison for the murder of his former high school girlfriend. HBO’s documentary \u003ca href=\"http://www.thejinxhbo.com/\" target=\"_blank\" rel=\"noopener\">The Jinx\u003c/a> focused on a trail of murdered and missing intimates of a troubled scion of a wealthy family.\u003c/p>\n\u003cp>Now, there’s the new Netflix series, \u003cem>Making a Murderer, \u003c/em>about a man named Steven Avery. In 2003, after 18 years in prison, DNA evidence proved Avery didn’t commit the brutal sexual assault he’d been accused of. Avery was freed, and it appeared that a long injustice had finally come to end.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/461908092/461997787\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>In the 10 years Moira Demos and Laura Ricciardi spent making this 10-part series, they came to know Avery and his world in rural Manitowoc County, Wis.\u003c/p>\n\u003cp>“This is a part of the country that’s dominated by dairy farms, and his family ran the junkyard,” Demos tells NPR’s Renee Montagne. “He grew up working on his family’s salvage yard, he did not graduate high school. … They were sort of the marginalized folk from the wrong side of the tracks.”\u003c/p>\n\u003cfigure id=\"attachment_11222929\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/makin_bts_004_h_enl-f7ba9d7e6eaf063dee5ad7be3acde4b56434317b.jpg\" rel=\"attachment wp-att-11222929\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/makin_bts_004_h_enl-f7ba9d7e6eaf063dee5ad7be3acde4b56434317b-400x266.jpg\" alt=\"Filmmakers Laura Ricciardi (left) and Moira Demos (right) work alongside Iris Ng on the set of 'Making a Murderer.'\" width=\"400\" height=\"266\" class=\"size-thumbnail wp-image-11222929\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/makin_bts_004_h_enl-f7ba9d7e6eaf063dee5ad7be3acde4b56434317b-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/makin_bts_004_h_enl-f7ba9d7e6eaf063dee5ad7be3acde4b56434317b-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/makin_bts_004_h_enl-f7ba9d7e6eaf063dee5ad7be3acde4b56434317b-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/makin_bts_004_h_enl-f7ba9d7e6eaf063dee5ad7be3acde4b56434317b-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/makin_bts_004_h_enl-f7ba9d7e6eaf063dee5ad7be3acde4b56434317b-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/makin_bts_004_h_enl-f7ba9d7e6eaf063dee5ad7be3acde4b56434317b-960x639.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Filmmakers Laura Ricciardi (left) and Moira Demos (right) work alongside Iris Ng on the set of ‘Making a Murderer.’ \u003ccite>(Courtesy: Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a teenager, Demos says, Avery made a series of bad choices — for example, burglarizing a local tavern with his friends. “These are felonies, but when you look at the actual report, it’s about breaking in and making a cheese sandwich and stealing some beer,” Demos says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But the accusations against Avery were about to get much more serious. A feud with his own cousin escalated to the point that she was spreading nasty and humiliating rumors about him. Avery had had enough, and one night he ran her off a country road and pointed a gun at her. He says the gun wasn’t loaded, but she was the wrong person to intimidate. “She was married to a sheriff’s deputy, and there’s certainly a line that he crossed there, that it became personal,” Demos says.\u003c/p>\n\u003cp>Not long after, a prominent woman in the town was sexually attacked and badly beaten while jogging along the lake. Avery was arrested just hours later. The documentary follows in great detail how detectives went about making the charges stick, even ignoring the suggestion by one officer that a known violent sex offender was responsible.\u003c/p>\n\u003cp>When Avery was exonerated by DNA evidence in 2003, he returned home to a crush of cameras and a family who always believed he was innocent. A series of damning news reports detailed how Avery had been railroaded, and he sued the county sheriff’s department.\u003c/p>\n\u003cp>Kim Ducat — a family member — believes that came back to haunt him. “They weren’t going to hand that man $36 million,” she says. “They weren’t going to be made a laughing stock — that’s for sure. … Something in my gut said: They’re not done with him. Something’s going to happen.”\u003c/p>\n\u003cp>Ducat was right. One of the most compelling elements of the series is how quickly Avery goes from being a local celebrity for his long-overdue release to someone who — just two years later — goes on trial for a grisly murder.\u003c/p>\n\u003cp>“We read the \u003cem>New York Times\u003c/em> headline \u003ca href=\"http://www.nytimes.com/2005/11/23/us/freed-by-dna-now-charged-in-new-crime.html\" target=\"_blank\" rel=\"noopener\">‘Freed by DNA, Now Charged in New Crime’\u003c/a> and immediately we recognized this as an unprecedented story,” Demos says. “But what we really recognized in Steven’s story was this valuable window through which to look at our system.”\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On parallels between the first and second case\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Ricciardi:\u003c/strong> We were trying really to explore the extent to which history might have been repeating itself here. Steven in the first case was arrested the very same day the victim was attacked, in just a matter of hours. … He had a pretty ironclad alibi — he was accounted for every minute of the day before the victim was attacked all the way through the time that law enforcement arrives at his house to arrest him.\u003c/p>\n\u003cp>So there was an interesting parallel between the arc of the first case and the arc of the second case and how law enforcement arguably handled both cases. And that got back to our original question of: Has the system evolved, and, if it has evolved, is anything now in place that wasn’t 20 years prior to stop a wrongful conviction from occurring?\u003c/p>\n\u003cp>\u003cstrong>On how the filmmakers got access \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Ricciardi:\u003c/strong> The way we reached out to potential subjects was to write letters to them. Letters of introduction to tell them why we thought they would have a valuable place in the story. We were really interested in hearing people’s firsthand accounts.\u003c/p>\n\u003cp>\u003cstrong>Demos:\u003c/strong> We were graduate film students at the time we started this, and we had no money, but what we did have was time. So we moved to Wisconsin. We lived there for nearly two years. So, you know, we were on the ground, there to cover anything that was happening, but also there to do research and to build relationships.\u003c/p>\n\u003cp>\u003cstrong>On whether they think Avery is innocent\u003c/strong>\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Ricciardi:\u003c/strong> My opinion is: We don’t know. There were so many questions about the quality of the investigation itself here. There was a glaring conflict of interest in this particular case, as we talked about earlier: Steven Avery had a $36 million lawsuit pending against … this county and former members of law enforcement. And here he was, back in the same system, charged with a serious crime.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Demos: \u003c/strong>One of the things I learned from making this film is — through all of this and all of these different points of view — the humility to accept that I don’t know. And what seems more important to me is to be able to trust the process. \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=Over+10+Years%2C+2+Filmmakers+Documented+The+%27Making%27+Of+A+Murderer+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1054,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 23
},
"modified": 1705045523,
"excerpt": "Moira Demos and Laura Ricciardi were film students when they started working on their 10-part Netflix series about Steven Avery. \"We had no money, but what we did have was time,\" Demos says.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Moira Demos and Laura Ricciardi were film students when they started working on their 10-part Netflix series about Steven Avery. "We had no money, but what we did have was time," Demos says.",
"title": "Over 10 Years, 2 Filmmakers Documented the 'Making' of a Murderer | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Over 10 Years, 2 Filmmakers Documented the 'Making' of a Murderer",
"datePublished": "2016-01-05T16:33:45-08:00",
"dateModified": "2024-01-11T23:45:23-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "over-10-years-2-filmmakers-documented-the-making-of-a-murderer",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=461908092&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "NPR Staff",
"nprStoryDate": "Tue, 05 Jan 2016 04:38:00 -0500",
"nprLastModifiedDate": "Tue, 05 Jan 2016 15:57:08 -0500",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/2016/01/05/461908092/over-10-years-two-filmmakers-documented-the-making-of-a-murderer?ft=nprml&f=461908092",
"nprAudio": "http://pd.npr.org/anon.npr-mp3/npr/me/2016/01/20160105_me_over_10_years_two_filmmakers_documented_the_making_of_a_murderer_.mp3?orgId=1&topicId=1138&d=431&p=3&story=461908092&t=progseg&e=461990212&seg=10&ft=nprml&f=461908092",
"nprImageAgency": "Netflix",
"nprAudioM3u": "http://api.npr.org/m3u/1461997787-9e9966.m3u?orgId=1&topicId=1138&d=431&p=3&story=461908092&t=progseg&e=461990212&seg=10&ft=nprml&f=461908092",
"nprStoryId": "461908092",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 05 Jan 2016 15:57:00 -0500",
"path": "/arts/11222927/over-10-years-2-filmmakers-documented-the-making-of-a-murderer",
"audioUrl": "http://pd.npr.org/anon.npr-mp3/npr/me/2016/01/20160105_me_over_10_years_two_filmmakers_documented_the_making_of_a_murderer_.mp3?orgId=1&topicId=1138&d=431&p=3&story=461908092&t=progseg&e=461990212&seg=10&ft=nprml&f=461908092",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The era of the real-life whodunit\u003csup>\u003c/sup> series is upon us. The podcast \u003ca href=\"https://serialpodcast.org/season-one/1/the-alibi\" target=\"_blank\" rel=\"noopener\">Serial\u003c/a> first attracted legions of listeners drawn to the question of whether a young man should have been put in prison for the murder of his former high school girlfriend. HBO’s documentary \u003ca href=\"http://www.thejinxhbo.com/\" target=\"_blank\" rel=\"noopener\">The Jinx\u003c/a> focused on a trail of murdered and missing intimates of a troubled scion of a wealthy family.\u003c/p>\n\u003cp>Now, there’s the new Netflix series, \u003cem>Making a Murderer, \u003c/em>about a man named Steven Avery. In 2003, after 18 years in prison, DNA evidence proved Avery didn’t commit the brutal sexual assault he’d been accused of. Avery was freed, and it appeared that a long injustice had finally come to end.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/461908092/461997787\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>In the 10 years Moira Demos and Laura Ricciardi spent making this 10-part series, they came to know Avery and his world in rural Manitowoc County, Wis.\u003c/p>\n\u003cp>“This is a part of the country that’s dominated by dairy farms, and his family ran the junkyard,” Demos tells NPR’s Renee Montagne. “He grew up working on his family’s salvage yard, he did not graduate high school. … They were sort of the marginalized folk from the wrong side of the tracks.”\u003c/p>\n\u003cfigure id=\"attachment_11222929\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/makin_bts_004_h_enl-f7ba9d7e6eaf063dee5ad7be3acde4b56434317b.jpg\" rel=\"attachment wp-att-11222929\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/makin_bts_004_h_enl-f7ba9d7e6eaf063dee5ad7be3acde4b56434317b-400x266.jpg\" alt=\"Filmmakers Laura Ricciardi (left) and Moira Demos (right) work alongside Iris Ng on the set of 'Making a Murderer.'\" width=\"400\" height=\"266\" class=\"size-thumbnail wp-image-11222929\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/makin_bts_004_h_enl-f7ba9d7e6eaf063dee5ad7be3acde4b56434317b-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/makin_bts_004_h_enl-f7ba9d7e6eaf063dee5ad7be3acde4b56434317b-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/makin_bts_004_h_enl-f7ba9d7e6eaf063dee5ad7be3acde4b56434317b-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/makin_bts_004_h_enl-f7ba9d7e6eaf063dee5ad7be3acde4b56434317b-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/makin_bts_004_h_enl-f7ba9d7e6eaf063dee5ad7be3acde4b56434317b-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/makin_bts_004_h_enl-f7ba9d7e6eaf063dee5ad7be3acde4b56434317b-960x639.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Filmmakers Laura Ricciardi (left) and Moira Demos (right) work alongside Iris Ng on the set of ‘Making a Murderer.’ \u003ccite>(Courtesy: Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a teenager, Demos says, Avery made a series of bad choices — for example, burglarizing a local tavern with his friends. “These are felonies, but when you look at the actual report, it’s about breaking in and making a cheese sandwich and stealing some beer,” Demos says.\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>But the accusations against Avery were about to get much more serious. A feud with his own cousin escalated to the point that she was spreading nasty and humiliating rumors about him. Avery had had enough, and one night he ran her off a country road and pointed a gun at her. He says the gun wasn’t loaded, but she was the wrong person to intimidate. “She was married to a sheriff’s deputy, and there’s certainly a line that he crossed there, that it became personal,” Demos says.\u003c/p>\n\u003cp>Not long after, a prominent woman in the town was sexually attacked and badly beaten while jogging along the lake. Avery was arrested just hours later. The documentary follows in great detail how detectives went about making the charges stick, even ignoring the suggestion by one officer that a known violent sex offender was responsible.\u003c/p>\n\u003cp>When Avery was exonerated by DNA evidence in 2003, he returned home to a crush of cameras and a family who always believed he was innocent. A series of damning news reports detailed how Avery had been railroaded, and he sued the county sheriff’s department.\u003c/p>\n\u003cp>Kim Ducat — a family member — believes that came back to haunt him. “They weren’t going to hand that man $36 million,” she says. “They weren’t going to be made a laughing stock — that’s for sure. … Something in my gut said: They’re not done with him. Something’s going to happen.”\u003c/p>\n\u003cp>Ducat was right. One of the most compelling elements of the series is how quickly Avery goes from being a local celebrity for his long-overdue release to someone who — just two years later — goes on trial for a grisly murder.\u003c/p>\n\u003cp>“We read the \u003cem>New York Times\u003c/em> headline \u003ca href=\"http://www.nytimes.com/2005/11/23/us/freed-by-dna-now-charged-in-new-crime.html\" target=\"_blank\" rel=\"noopener\">‘Freed by DNA, Now Charged in New Crime’\u003c/a> and immediately we recognized this as an unprecedented story,” Demos says. “But what we really recognized in Steven’s story was this valuable window through which to look at our system.”\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On parallels between the first and second case\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Ricciardi:\u003c/strong> We were trying really to explore the extent to which history might have been repeating itself here. Steven in the first case was arrested the very same day the victim was attacked, in just a matter of hours. … He had a pretty ironclad alibi — he was accounted for every minute of the day before the victim was attacked all the way through the time that law enforcement arrives at his house to arrest him.\u003c/p>\n\u003cp>So there was an interesting parallel between the arc of the first case and the arc of the second case and how law enforcement arguably handled both cases. And that got back to our original question of: Has the system evolved, and, if it has evolved, is anything now in place that wasn’t 20 years prior to stop a wrongful conviction from occurring?\u003c/p>\n\u003cp>\u003cstrong>On how the filmmakers got access \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Ricciardi:\u003c/strong> The way we reached out to potential subjects was to write letters to them. Letters of introduction to tell them why we thought they would have a valuable place in the story. We were really interested in hearing people’s firsthand accounts.\u003c/p>\n\u003cp>\u003cstrong>Demos:\u003c/strong> We were graduate film students at the time we started this, and we had no money, but what we did have was time. So we moved to Wisconsin. We lived there for nearly two years. So, you know, we were on the ground, there to cover anything that was happening, but also there to do research and to build relationships.\u003c/p>\n\u003cp>\u003cstrong>On whether they think Avery is innocent\u003c/strong>\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Ricciardi:\u003c/strong> My opinion is: We don’t know. There were so many questions about the quality of the investigation itself here. There was a glaring conflict of interest in this particular case, as we talked about earlier: Steven Avery had a $36 million lawsuit pending against … this county and former members of law enforcement. And here he was, back in the same system, charged with a serious crime.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Demos: \u003c/strong>One of the things I learned from making this film is — through all of this and all of these different points of view — the humility to accept that I don’t know. And what seems more important to me is to be able to trust the process. \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=Over+10+Years%2C+2+Filmmakers+Documented+The+%27Making%27+Of+A+Murderer+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11222927/over-10-years-2-filmmakers-documented-the-making-of-a-murderer",
"authors": [
"byline_arts_11222927"
],
"categories": [
"arts_235",
"arts_990"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11222928",
"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": 2196,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 2513,
"relation": "eq"
},
"items": [
"arts_11248909",
"arts_11241009",
"arts_11245562",
"arts_11243652",
"arts_11241004",
"arts_11238569",
"arts_11238556",
"arts_11227795",
"arts_11225551",
"arts_11225194",
"pop_19730",
"arts_11222927"
],
"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_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_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_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_74": {
"type": "terms",
"id": "arts_74",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "74",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Movies",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Movies Archives | KQED Arts",
"ogDescription": null
},
"ttid": 75,
"slug": "movies",
"isLoading": false,
"link": "/arts/category/movies"
},
"arts_1118": {
"type": "terms",
"id": "arts_1118",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1118",
"found": true
},
"relationships": {},
"featImg": null,
"name": "featured",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "featured Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1135,
"slug": "featured",
"isLoading": false,
"link": "/arts/tag/featured"
},
"arts_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_1091": {
"type": "terms",
"id": "arts_1091",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1091",
"found": true
},
"relationships": {},
"featImg": null,
"name": "obit",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "obit Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1108,
"slug": "obit",
"isLoading": false,
"link": "/arts/tag/obit"
},
"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_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_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_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_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_1341": {
"type": "terms",
"id": "arts_1341",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1341",
"found": true
},
"relationships": {},
"featImg": null,
"name": "David Bowie",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "David Bowie Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1353,
"slug": "david-bowie",
"isLoading": false,
"link": "/arts/tag/david-bowie"
},
"arts_968": {
"type": "terms",
"id": "arts_968",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "968",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Comedy",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Comedy Archives | KQED Arts",
"ogDescription": null
},
"ttid": 986,
"slug": "comedy",
"isLoading": false,
"link": "/arts/category/comedy"
},
"arts_1254": {
"type": "terms",
"id": "arts_1254",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1254",
"found": true
},
"relationships": {},
"featImg": null,
"name": "exclude",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "exclude Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1266,
"slug": "exclude",
"isLoading": false,
"link": "/arts/tag/exclude"
},
"pop_51": {
"type": "terms",
"id": "pop_51",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "51",
"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": 51,
"slug": "movies",
"isLoading": false,
"link": "/pop/category/movies"
}
},
"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": {}
}
}
}
