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_10339327": {
"type": "attachments",
"id": "arts_10339327",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10339327",
"found": true
},
"parent": 10339326,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/zombie-e18e183f2341f51be11ccecb9dada6576eea1922-e1422391031377-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/zombie-e18e183f2341f51be11ccecb9dada6576eea1922-e1422391031377-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/zombie-e18e183f2341f51be11ccecb9dada6576eea1922-e1422391031377-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/zombie-e18e183f2341f51be11ccecb9dada6576eea1922-e1422391044365.jpg",
"width": 800,
"height": 450
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/zombie-e18e183f2341f51be11ccecb9dada6576eea1922-e1422391031377-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/zombie-e18e183f2341f51be11ccecb9dada6576eea1922-e1422391031377-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/zombie-e18e183f2341f51be11ccecb9dada6576eea1922-e1422391031377-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/zombie-e18e183f2341f51be11ccecb9dada6576eea1922-e1422391031377-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/zombie-e18e183f2341f51be11ccecb9dada6576eea1922-e1422391031377-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/zombie-e18e183f2341f51be11ccecb9dada6576eea1922-e1422391031377-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/zombie-e18e183f2341f51be11ccecb9dada6576eea1922-e1422391031377-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1422390756,
"modified": 1422390980,
"caption": "Many NPR readers wrote in lamenting the possible loss of the \"Zombie of Montclair Moors\" statue.",
"description": "Many NPR readers wrote in lamenting the possible loss of the \"Zombie of Montclair Moors\" statue.",
"title": "Many NPR readers wrote in lamenting the possible loss of the \"Zombie of Montclair Moors\" statue.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10326059": {
"type": "attachments",
"id": "arts_10326059",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10326059",
"found": true
},
"parent": 10326056,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/Red-Army-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/Red-Army-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/Red-Army.jpg",
"width": 800,
"height": 449
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/Red-Army-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/Red-Army-800x449.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 449
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/Red-Army-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/Red-Army-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/Red-Army-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/Red-Army-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1421980210,
"modified": 1421980361,
"caption": "Red Army",
"description": "Red Army",
"title": "Red Army",
"credit": "Slava Fetisov/Sony Pictures Classics",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10326054": {
"type": "attachments",
"id": "arts_10326054",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10326054",
"found": true
},
"parent": 10326051,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/Duke-of-Burgundy-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/Duke-of-Burgundy-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/Duke-of-Burgundy.jpg",
"width": 800,
"height": 449
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/Duke-of-Burgundy-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/Duke-of-Burgundy-800x449.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 449
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/Duke-of-Burgundy-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/Duke-of-Burgundy-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/Duke-of-Burgundy-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/Duke-of-Burgundy-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1421979931,
"modified": 1421979951,
"caption": "Cynthia (Sidse Babett Knudsen) and Evelyn (Chiara D'Anna) in The Duke of Burgundy",
"description": "Cynthia (Sidse Babett Knudsen) and Evelyn (Chiara D'Anna) in The Duke of Burgundy ",
"title": "Duke of Burgundy",
"credit": "IFC Midnight",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10309046": {
"type": "attachments",
"id": "arts_10309046",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10309046",
"found": true
},
"parent": 10308924,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/Bill-Cosby-face-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/Bill-Cosby-face-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/Bill-Cosby-face.jpg",
"width": 800,
"height": 450
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/Bill-Cosby-face-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/Bill-Cosby-face-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/Bill-Cosby-face-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/Bill-Cosby-face-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/Bill-Cosby-face-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1421450802,
"modified": 1421450821,
"caption": "Bill Cosby",
"description": "Bill Cosby",
"title": "ap686074409615",
"credit": "Matt Rourke/AP",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10306890": {
"type": "attachments",
"id": "arts_10306890",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10306890",
"found": true
},
"parent": 10306887,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/Paddington-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/Paddington-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/Paddington.jpg",
"width": 800,
"height": 450
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/Paddington-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/Paddington-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/Paddington-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/Paddington-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/Paddington-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1421388230,
"modified": 1421388269,
"caption": "Based on the popular children's book character, Paddington follows the misadventures of a bear (voiced by Ben Whishaw) who travels to London in search of a home.",
"description": "Based on the popular children's book character, Paddington follows the misadventures of a bear (voiced by Ben Whishaw) who travels to London in search of a home.",
"title": "Paddington",
"credit": "The Weinstein Co.",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10306884": {
"type": "attachments",
"id": "arts_10306884",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10306884",
"found": true
},
"parent": 10306881,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/Still-Alice-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/Still-Alice-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/Still-Alice.jpg",
"width": 800,
"height": 450
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/Still-Alice-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/Still-Alice-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/Still-Alice-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/Still-Alice-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/Still-Alice-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1421387090,
"modified": 1421387165,
"caption": "Julianne Moore plays Alice Howland, a linguistics professor diagnosed with early-onset Alzheimer's disease.",
"description": "Julianne Moore plays Alice Howland, a linguistics professor diagnosed with early-onset Alzheimer's disease.",
"title": "Still Alice",
"credit": "Linda Kallerus/Sony Pictures Classics",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_129141": {
"type": "attachments",
"id": "arts_129141",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "129141",
"found": true
},
"parent": 129140,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/woodyallen-360-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/woodyallen-360.jpg",
"width": 640,
"height": 360
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/woodyallen-360-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/woodyallen-360-300x168.jpg",
"width": 300,
"mimeType": "image/jpeg",
"height": 168
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/woodyallen-360-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/woodyallen-360-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/woodyallen-360-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/woodyallen-360-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1396565265,
"modified": 1396565265,
"caption": "Woody Allen",
"description": "Woody Allen",
"title": "woodyallen-360",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10292830": {
"type": "attachments",
"id": "arts_10292830",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10292830",
"found": true
},
"parent": 10292824,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/Ali-Farzat-400x224.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 224
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/Ali-Farzat-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/Ali-Farzat.jpg",
"width": 800,
"height": 449
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/Ali-Farzat-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/Ali-Farzat-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/Ali-Farzat-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/Ali-Farzat-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/Ali-Farzat-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1420967253,
"modified": 1420967293,
"caption": "Syrian political cartoonist Ali Farzat sits at his desk at a Kuwaiti newspaper on Dec. 14, 2011. Earlier that year, Farzat was badly beaten in retaliation for cartoons that mocked Syrian President Bashar Assad.",
"description": "Syrian political cartoonist Ali Farzat sits at his desk at a Kuwaiti newspaper on Dec. 14, 2011. Earlier that year, Farzat was badly beaten in retaliation for cartoons that mocked Syrian President Bashar Assad.",
"title": "Ali Farzat",
"credit": "Yasser al-Zayyat/AFP/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10286278": {
"type": "attachments",
"id": "arts_10286278",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10286278",
"found": true
},
"parent": 10286277,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/predestination_wide-b81e2adc48784530076f710b241a55275f71d100-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/predestination_wide-b81e2adc48784530076f710b241a55275f71d100-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/predestination_wide-b81e2adc48784530076f710b241a55275f71d100-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/predestination_wide-b81e2adc48784530076f710b241a55275f71d100-e1420761987274.jpg",
"width": 800,
"height": 450
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/predestination_wide-b81e2adc48784530076f710b241a55275f71d100-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/predestination_wide-b81e2adc48784530076f710b241a55275f71d100-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/predestination_wide-b81e2adc48784530076f710b241a55275f71d100-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/predestination_wide-b81e2adc48784530076f710b241a55275f71d100-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/predestination_wide-b81e2adc48784530076f710b241a55275f71d100-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/predestination_wide-b81e2adc48784530076f710b241a55275f71d100-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/predestination_wide-b81e2adc48784530076f710b241a55275f71d100-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1420761767,
"modified": 1420761767,
"caption": null,
"description": "Ethan Hawke in \u003cem>Predestination\u003c/em>.",
"title": "Ethan Hawke in Predestination.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10283299": {
"type": "attachments",
"id": "arts_10283299",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10283299",
"found": true
},
"parent": 10283284,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/Charlie-Hebdo1-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/Charlie-Hebdo1-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/Charlie-Hebdo1.jpg",
"width": 800,
"height": 450
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/Charlie-Hebdo1-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/Charlie-Hebdo1-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/Charlie-Hebdo1-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/Charlie-Hebdo1-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/Charlie-Hebdo1-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1420667819,
"modified": 1420667833,
"caption": "Stephane Charbonnier, the editor of Charlie Hebdo, poses with his magazine on Sept. 19, 2012. The magazine, which was attacked today, is part of a long tradition of French satire.",
"description": "Stephane Charbonnier, the editor of Charlie Hebdo, poses with his magazine on Sept. 19, 2012. The magazine, which was attacked today, is part of a long tradition of French satire.",
"title": "Charlie Hebdo",
"credit": "Michel Euler/AP",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10269950": {
"type": "attachments",
"id": "arts_10269950",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10269950",
"found": true
},
"parent": 10269946,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/Two-Days-400x224.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 224
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/Two-Days-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/Two-Days.jpg",
"width": 800,
"height": 449
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/Two-Days-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/Two-Days-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/Two-Days-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/Two-Days-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/Two-Days-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1420241983,
"modified": 1420424786,
"caption": "Marion Cotillard is Sandra, who must convince her factory co-workers to vote against giving themselves a bonus in order to preserve her job, in \u003cem>Two Days, One Night\u003c/em>.",
"description": "Marion Cotillard is Sandra, who must convince her factory co-workers to vote against giving themselves a bonus in order to preserve her job, in \u003cem>Two Days, One Night\u003c/em>.",
"title": "Two Days",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10269959": {
"type": "attachments",
"id": "arts_10269959",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10269959",
"found": true
},
"parent": 10269958,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/quinquin_wide-3c7741ee23d9fa9debb5e960aed22a24de5d1ec4-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/quinquin_wide-3c7741ee23d9fa9debb5e960aed22a24de5d1ec4-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/quinquin_wide-3c7741ee23d9fa9debb5e960aed22a24de5d1ec4-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/quinquin_wide-3c7741ee23d9fa9debb5e960aed22a24de5d1ec4-e1420243385524.jpg",
"width": 800,
"height": 450
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/quinquin_wide-3c7741ee23d9fa9debb5e960aed22a24de5d1ec4-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/quinquin_wide-3c7741ee23d9fa9debb5e960aed22a24de5d1ec4-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/quinquin_wide-3c7741ee23d9fa9debb5e960aed22a24de5d1ec4-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/quinquin_wide-3c7741ee23d9fa9debb5e960aed22a24de5d1ec4-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/quinquin_wide-3c7741ee23d9fa9debb5e960aed22a24de5d1ec4-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/quinquin_wide-3c7741ee23d9fa9debb5e960aed22a24de5d1ec4-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/quinquin_wide-3c7741ee23d9fa9debb5e960aed22a24de5d1ec4-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1420243326,
"modified": 1420243402,
"caption": null,
"description": "Quinquin.",
"title": "Quinquin.",
"credit": "Kino Lorber",
"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_10339326": {
"type": "authors",
"id": "byline_arts_10339326",
"meta": {
"override": true
},
"slug": "byline_arts_10339326",
"name": "Elise Hu",
"isLoading": false
},
"byline_arts_10326056": {
"type": "authors",
"id": "byline_arts_10326056",
"meta": {
"override": true
},
"slug": "byline_arts_10326056",
"name": "Andrew Lapin",
"isLoading": false
},
"byline_arts_10326051": {
"type": "authors",
"id": "byline_arts_10326051",
"meta": {
"override": true
},
"slug": "byline_arts_10326051",
"name": "Tomas Hachard",
"isLoading": false
},
"byline_arts_10308924": {
"type": "authors",
"id": "byline_arts_10308924",
"meta": {
"override": true
},
"slug": "byline_arts_10308924",
"name": "Krishnadev Calamur",
"isLoading": false
},
"byline_arts_10306887": {
"type": "authors",
"id": "byline_arts_10306887",
"meta": {
"override": true
},
"slug": "byline_arts_10306887",
"name": "Andrew Lapin",
"isLoading": false
},
"byline_arts_10306881": {
"type": "authors",
"id": "byline_arts_10306881",
"meta": {
"override": true
},
"slug": "byline_arts_10306881",
"name": "Mark Jenkins",
"isLoading": false
},
"byline_arts_10301001": {
"type": "authors",
"id": "byline_arts_10301001",
"meta": {
"override": true
},
"slug": "byline_arts_10301001",
"name": "Eric Deggans",
"isLoading": false
},
"byline_arts_10292824": {
"type": "authors",
"id": "byline_arts_10292824",
"meta": {
"override": true
},
"slug": "byline_arts_10292824",
"name": "Neda Ulaby",
"isLoading": false
},
"byline_arts_10286277": {
"type": "authors",
"id": "byline_arts_10286277",
"meta": {
"override": true
},
"slug": "byline_arts_10286277",
"name": "Andrew Lapin",
"isLoading": false
},
"byline_arts_10283284": {
"type": "authors",
"id": "byline_arts_10283284",
"meta": {
"override": true
},
"slug": "byline_arts_10283284",
"name": "Krishnadev Calamur",
"isLoading": false
},
"byline_arts_10269946": {
"type": "authors",
"id": "byline_arts_10269946",
"meta": {
"override": true
},
"slug": "byline_arts_10269946",
"name": "Bob Mondello",
"isLoading": false
},
"byline_arts_10269958": {
"type": "authors",
"id": "byline_arts_10269958",
"meta": {
"override": true
},
"slug": "byline_arts_10269958",
"name": "Mark Jenkins",
"isLoading": false
}
},
"pagesReducer": {
"arts_affiliate_npr": {
"type": "terms",
"id": "arts_137",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "137",
"score": 14.262148
},
"featImg": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/logo-npr-lg1.png",
"name": "NPR",
"description": null,
"taxonomy": "affiliate",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "NPR Archives | KQED Arts",
"ogDescription": null
},
"ttid": 138,
"slug": "npr",
"isLoading": false,
"title": "NPR",
"pageMeta": {
"site": "arts",
"WpPageTemplate": "page-topic-editorial",
"currentPage": 195
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?affiliate=npr",
"seeMore": false,
"paginated": true,
"page": 195
}
},
{
"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_10339326": {
"type": "posts",
"id": "arts_10339326",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10339326",
"score": null,
"sort": [
1422392441000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1422392441,
"format": "standard",
"title": "Just Plane Sad: A Show of Support for SkyMall",
"headTitle": "Just Plane Sad: A Show of Support for SkyMall | KQED",
"content": "\u003cp>Whether it was the $85,000 personal submarine craft, the telepathic obstacle course or the yeti yard ornaments we could never quite afford, in-flight catalog \u003cem>SkyMall\u003c/em> — and the kitschy items sold inside its pages — are going to be hard to forget.\u003c/p>\n\u003cp>On Friday, \u003cem>SkyMall\u003c/em>‘s parent company filed for bankruptcy protection and announced that its assets would go up for auction in late March. So in preparation for the catalog’s possible disappearance from our seatback pockets, we asked people how they’d remember \u003cem>SkyMall\u003c/em>. Some of you wrote heartfelt testimonials. A few made it into \u003ca href=\"http://www.npr.org/blogs/thetwo-way/2015/01/23/379334220/goodbye-garden-yeti-in-flight-catalog-skymall-files-for-bankruptcy\" target=\"_blank\" rel=\"noopener\">this post\u003c/a>, but there were many more. Here’s a sampling:\u003c/p>\n\u003cp>\u003cem>SkyMall\u003c/em>‘s write-on map inspired an entire math education program in New Mexico, as Martha Riecks explains:\u003c/p>\n\u003cblockquote>\n\u003cp>“While on a flight to an education conference in 2003, Scott Laidlaw, a middle school math teacher, opened up a \u003cem>Skymall\u003c/em> Catalog and saw the ‘World’s Largest Write On Map.’ He immediately envisioned his students trading merchandise while exploring the world in the 1600s.\u003c/p>\n\u003cp>“When the map arrived, it took up his entire classroom when spread out, and was soon covered with over 3,000 sticky notes. Students made small wooden ships, learning ratios and proportions as they enacted the spice trade. For six more years, Laidlaw developed and implemented new semester-long historical fiction math games.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Laurie Harari of Delray Beach, Fla., considers \u003cem>SkyMall\u003c/em> items such as the doggy stairs aspirational:\u003c/p>\n\u003cblockquote>\n\u003cp>“\u003cem>SkyMall\u003c/em> has kept me going on my journey to get a real job someday. Since I was a small girl, I envisioned one day graduating from college, making a lot of money at my job, and having a really really tall bed. Beside that tall bed, I would have those doggy stairs that \u003cem>SkyMall\u003c/em> sold in its catalog.”\u003c/p>\n\u003c/blockquote>\n\u003cp>This blogger may be partial to \u003ca href=\"http://www.npr.org/blogs/thetwo-way/2015/01/23/379334220/goodbye-garden-yeti-in-flight-catalog-skymall-files-for-bankruptcy\" target=\"_blank\" rel=\"noopener\">the garden yeti,\u003c/a> but a lot of you professed your love for the zombie yard ornament (seen above). Medical school student Mehwish Farooqi wrote:\u003c/p>\n\u003cblockquote>\n\u003cp>“I am disappointed that someday after medical school and my eventual pay off of my student loans, I will no longer have the opportunity to purchase a zombie yard ornament such as this. It was something to look forward to.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003cem>SkyMall\u003c/em>‘s demise also is a financial hit for those vendors whose wares are featured in the catalog, as Car-Dek President Joe Volpe shares:\u003c/p>\n\u003cblockquote>\n\u003cp>“We are one of the suppliers that is going to take a big financial hit by this bankruptcy. Our product, the Petdek, was sold by [\u003cem>SkyMall\u003c/em>] as the ‘All in one carrier’ for carrying pets and cargo in the back seat of vehicles. It was one of the most successful products they have ever sold and were averaging over 130 a month for retail sales of $165,000 last year. We manufacture in the US so quite a few people are going to be affected by this. Luckily we have many other vendors for our product, but this loss caught us completely off guard as they kept telling me they were financially solvent.”\u003c/p>\n\u003c/blockquote>\n\u003cp>And what happens to all the in-flight guerrilla art projects that \u003cem>SkyMall\u003c/em> inspired? Miles Taylor of Austin, Texas, explains:\u003c/p>\n\u003cfigure id=\"attachment_10339329\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/skymall_custom-4e44304ed62f847b01b5bad474edd50ea16e8dbc.jpg\" alt=\"SkyMall inspired a running guerrilla art project.\" width=\"200\" height=\"243\" class=\"size-full wp-image-10339329\">\u003cfigcaption class=\"wp-caption-text\">\u003cem>SkyMall\u003c/em> inspired a running guerrilla art project.\u003c/figcaption>\u003c/figure>\n\u003cblockquote>\n\u003cp>“We would take \u003cem>SkyMall\u003c/em> magazine (which I remind you is ‘yours to keep’) and we would alter the images using various markers and pens. After filling the magazine with our little gags, we would take pictures on our phones and return the magazines to the seat pockets in front of us. Did any of you every come across our altered \u003cem>SkyMall\u003c/em> magazines on your flights?”\u003c/p>\n\u003c/blockquote>\n\u003cp>Not to by outdone, Paul Madore of St. Paul, Minn., sent in a poem with stanzas full of actual \u003cem>SkyMall\u003c/em> items available for purchase. This is called “Poem #18: Random Crap”:\u003c/p>\n\u003cblockquote>\n\u003cp>\u003cem>A grill cleaning robot\u003c/em>\u003c/p>\n\u003cp>\u003cem>video screen microscopes,\u003c/em>\u003c/p>\n\u003cp>\u003cem>a “Snow Joe” brand snow broom\u003c/em>\u003c/p>\n\u003cp>\u003cem>with handle that telescopes,\u003c/em>\u003c/p>\n\u003cp>\u003cem>An electric blue corkscrew,\u003c/em>\u003c/p>\n\u003cp>\u003cem>personalized wine stopper,\u003c/em>\u003c/p>\n\u003cp>\u003cem>a “Sheng Kwong” metal gong,\u003c/em>\u003c/p>\n\u003cp>\u003cem>an old-time corn popper,\u003c/em>\u003c/p>\n\u003cp>\u003cem>An illuminated zipline,\u003c/em>\u003c/p>\n\u003cp>\u003cem>a poole-themed clock (quartz),\u003c/em>\u003c/p>\n\u003cp>\u003cem>a paper towel rac\u003c/em>\u003c/p>\n\u003cp>\u003cem>housing four USB ports,\u003c/em>\u003c/p>\n\u003cp>\u003cem>talking Smurf toothbrushes\u003c/em>\u003c/p>\n\u003cp>\u003cem>a king crab-shaped chair,\u003c/em>\u003c/p>\n\u003cp>\u003cem>remote-controlled shark balloon\u003c/em>\u003c/p>\n\u003cp>\u003cem>that inflates with air,\u003c/em>\u003c/p>\n\u003cp>\u003cem>All these and more\u003c/em>\u003c/p>\n\u003cp>\u003cem>you can greedily eyeball\u003c/em>\u003c/p>\n\u003cp>\u003cem>while flying in comfort,\u003c/em>\u003c/p>\n\u003cp>\u003cem>please enjoy “SkyMall”\u003c/em>\u003c/p>\n\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=Just+Plane+Sad%3A+A+Show+Of+Support+For+SkyMall&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 756,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 36
},
"modified": 1705047682,
"excerpt": "News last week that SkyMall's parent company has filed for bankruptcy protection inspired an outpouring of odes to the kitschy in-flight catalog.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "News last week that SkyMall's parent company has filed for bankruptcy protection inspired an outpouring of odes to the kitschy in-flight catalog.",
"title": "Just Plane Sad: A Show of Support for SkyMall | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Just Plane Sad: A Show of Support for SkyMall",
"datePublished": "2015-01-27T13:00:41-08:00",
"dateModified": "2024-01-12T00:21:22-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "just-plane-sad-a-show-of-support-for-skymall",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=381621445&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Elise Hu",
"nprStoryDate": "Mon, 26 Jan 2015 15:20:00 -0500",
"nprLastModifiedDate": "Mon, 26 Jan 2015 17:30:02 -0500",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/blogs/thetwo-way/2015/01/26/381621445/just-plane-sad-a-show-of-support-for-skymall?ft=nprml&f=381621445",
"nprStoryId": "381621445",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 26 Jan 2015 17:30:00 -0500",
"path": "/arts/10339326/just-plane-sad-a-show-of-support-for-skymall",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Whether it was the $85,000 personal submarine craft, the telepathic obstacle course or the yeti yard ornaments we could never quite afford, in-flight catalog \u003cem>SkyMall\u003c/em> — and the kitschy items sold inside its pages — are going to be hard to forget.\u003c/p>\n\u003cp>On Friday, \u003cem>SkyMall\u003c/em>‘s parent company filed for bankruptcy protection and announced that its assets would go up for auction in late March. So in preparation for the catalog’s possible disappearance from our seatback pockets, we asked people how they’d remember \u003cem>SkyMall\u003c/em>. Some of you wrote heartfelt testimonials. A few made it into \u003ca href=\"http://www.npr.org/blogs/thetwo-way/2015/01/23/379334220/goodbye-garden-yeti-in-flight-catalog-skymall-files-for-bankruptcy\" target=\"_blank\" rel=\"noopener\">this post\u003c/a>, but there were many more. Here’s a sampling:\u003c/p>\n\u003cp>\u003cem>SkyMall\u003c/em>‘s write-on map inspired an entire math education program in New Mexico, as Martha Riecks explains:\u003c/p>\n\u003cblockquote>\n\u003cp>“While on a flight to an education conference in 2003, Scott Laidlaw, a middle school math teacher, opened up a \u003cem>Skymall\u003c/em> Catalog and saw the ‘World’s Largest Write On Map.’ He immediately envisioned his students trading merchandise while exploring the world in the 1600s.\u003c/p>\n\u003cp>“When the map arrived, it took up his entire classroom when spread out, and was soon covered with over 3,000 sticky notes. Students made small wooden ships, learning ratios and proportions as they enacted the spice trade. For six more years, Laidlaw developed and implemented new semester-long historical fiction math games.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Laurie Harari of Delray Beach, Fla., considers \u003cem>SkyMall\u003c/em> items such as the doggy stairs aspirational:\u003c/p>\n\u003cblockquote>\n\u003cp>“\u003cem>SkyMall\u003c/em> has kept me going on my journey to get a real job someday. Since I was a small girl, I envisioned one day graduating from college, making a lot of money at my job, and having a really really tall bed. Beside that tall bed, I would have those doggy stairs that \u003cem>SkyMall\u003c/em> sold in its catalog.”\u003c/p>\n\u003c/blockquote>\n\u003cp>This blogger may be partial to \u003ca href=\"http://www.npr.org/blogs/thetwo-way/2015/01/23/379334220/goodbye-garden-yeti-in-flight-catalog-skymall-files-for-bankruptcy\" target=\"_blank\" rel=\"noopener\">the garden yeti,\u003c/a> but a lot of you professed your love for the zombie yard ornament (seen above). Medical school student Mehwish Farooqi wrote:\u003c/p>\n\u003cblockquote>\n\u003cp>“I am disappointed that someday after medical school and my eventual pay off of my student loans, I will no longer have the opportunity to purchase a zombie yard ornament such as this. It was something to look forward to.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003cem>SkyMall\u003c/em>‘s demise also is a financial hit for those vendors whose wares are featured in the catalog, as Car-Dek President Joe Volpe shares:\u003c/p>\n\u003cblockquote>\n\u003cp>“We are one of the suppliers that is going to take a big financial hit by this bankruptcy. Our product, the Petdek, was sold by [\u003cem>SkyMall\u003c/em>] as the ‘All in one carrier’ for carrying pets and cargo in the back seat of vehicles. It was one of the most successful products they have ever sold and were averaging over 130 a month for retail sales of $165,000 last year. We manufacture in the US so quite a few people are going to be affected by this. Luckily we have many other vendors for our product, but this loss caught us completely off guard as they kept telling me they were financially solvent.”\u003c/p>\n\u003c/blockquote>\n\u003cp>And what happens to all the in-flight guerrilla art projects that \u003cem>SkyMall\u003c/em> inspired? Miles Taylor of Austin, Texas, explains:\u003c/p>\n\u003cfigure id=\"attachment_10339329\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/skymall_custom-4e44304ed62f847b01b5bad474edd50ea16e8dbc.jpg\" alt=\"SkyMall inspired a running guerrilla art project.\" width=\"200\" height=\"243\" class=\"size-full wp-image-10339329\">\u003cfigcaption class=\"wp-caption-text\">\u003cem>SkyMall\u003c/em> inspired a running guerrilla art project.\u003c/figcaption>\u003c/figure>\n\u003cblockquote>\n\u003cp>“We would take \u003cem>SkyMall\u003c/em> magazine (which I remind you is ‘yours to keep’) and we would alter the images using various markers and pens. After filling the magazine with our little gags, we would take pictures on our phones and return the magazines to the seat pockets in front of us. Did any of you every come across our altered \u003cem>SkyMall\u003c/em> magazines on your flights?”\u003c/p>\n\u003c/blockquote>\n\u003cp>Not to by outdone, Paul Madore of St. Paul, Minn., sent in a poem with stanzas full of actual \u003cem>SkyMall\u003c/em> items available for purchase. This is called “Poem #18: Random Crap”:\u003c/p>\n\u003cblockquote>\n\u003cp>\u003cem>A grill cleaning robot\u003c/em>\u003c/p>\n\u003cp>\u003cem>video screen microscopes,\u003c/em>\u003c/p>\n\u003cp>\u003cem>a “Snow Joe” brand snow broom\u003c/em>\u003c/p>\n\u003cp>\u003cem>with handle that telescopes,\u003c/em>\u003c/p>\n\u003cp>\u003cem>An electric blue corkscrew,\u003c/em>\u003c/p>\n\u003cp>\u003cem>personalized wine stopper,\u003c/em>\u003c/p>\n\u003cp>\u003cem>a “Sheng Kwong” metal gong,\u003c/em>\u003c/p>\n\u003cp>\u003cem>an old-time corn popper,\u003c/em>\u003c/p>\n\u003cp>\u003cem>An illuminated zipline,\u003c/em>\u003c/p>\n\u003cp>\u003cem>a poole-themed clock (quartz),\u003c/em>\u003c/p>\n\u003cp>\u003cem>a paper towel rac\u003c/em>\u003c/p>\n\u003cp>\u003cem>housing four USB ports,\u003c/em>\u003c/p>\n\u003cp>\u003cem>talking Smurf toothbrushes\u003c/em>\u003c/p>\n\u003cp>\u003cem>a king crab-shaped chair,\u003c/em>\u003c/p>\n\u003cp>\u003cem>remote-controlled shark balloon\u003c/em>\u003c/p>\n\u003cp>\u003cem>that inflates with air,\u003c/em>\u003c/p>\n\u003cp>\u003cem>All these and more\u003c/em>\u003c/p>\n\u003cp>\u003cem>you can greedily eyeball\u003c/em>\u003c/p>\n\u003cp>\u003cem>while flying in comfort,\u003c/em>\u003c/p>\n\u003cp>\u003cem>please enjoy “SkyMall”\u003c/em>\u003c/p>\n\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=Just+Plane+Sad%3A+A+Show+Of+Support+For+SkyMall&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10339326/just-plane-sad-a-show-of-support-for-skymall",
"authors": [
"byline_arts_10339326"
],
"categories": [
"arts_73",
"arts_235"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_10339327",
"label": "arts_137"
},
"arts_10326056": {
"type": "posts",
"id": "arts_10326056",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10326056",
"score": null,
"sort": [
1422032407000
]
},
"guestAuthors": [],
"slug": "the-tale-of-the-hockey-players-for-whom-1980-was-no-miracle-on-ice",
"title": "The Tale of the Hockey Players for Whom 1980 Was no Miracle on Ice",
"publishDate": 1422032407,
"format": "standard",
"headTitle": "The Tale of the Hockey Players for Whom 1980 Was no Miracle on Ice | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>Gabe Polsky’s richly entertaining documentary \u003cem>Red Army\u003c/em> asks American sports and movie fans to do the hardest thing they may ever do: root for that eternal repository of villainy, the Russians. The film follows the Soviet Union’s superhuman ice hockey squad, the winningest team in the sport’s history and the envy of the world throughout the 1980s. Along the way, Polsky, himself the son of Russian immigrants and a former varsity hockey player at Yale, builds a case for the humanity of the athletes, national heroes instilled with patriotism who still had their passports confiscated by the Soviet authorities when they played overseas. With dark humor and an epic sweep characteristic of Executive Producer Werner Herzog, \u003cem>Red Army\u003c/em> sides not with nations or ideologies but with the transcendent powers of sport.\u003c/p>\n\u003cp>As good a jumping-off point as any for this thesis is the “Miracle on Ice”: the U.S. hockey team’s legendary upset over the U.S.S.R. at the Lake Placid 1980 Olympics. What was a famous, symbolic victory for Americans — one of the greatest wins in sports history, later Disneyfied in the 2004 film \u003cem>Miracle —\u003c/em> becomes in \u003cem>Red Army\u003c/em>‘s telling a humiliating personal defeat. The Soviet players weren’t out for capitalist blood so much as the simple opportunity to do right by their country on the world stage, to show off their influential crisscrossing, balletic playing style.\u003c/p>\n\u003cp>Many sequences are exemplars of sharp, funny documentary filmmaking. During the “Miracle,” Polsky cuts between footage of the game and his interviewees’ present-day silent faces to show how the loss shamed and, later, galvanized the team into a nearly decade-long global dominance. Editors Eli B. Despres and Kurt Engfehr get great mileage from both archival and present-day footage (players crawling across the ice on their stomachs during training; a former KGB agent chatting on a park bench as his young granddaughter fidgets around him). They reveal the complicated nature of patriotism, and the absurdity in treating sports as a chest-thumping global battle of wills.\u003c/p>\n\u003cp>Though Polsky spends time with several of the country’s top skaters, the film’s de facto hero is Hall of Famer defenseman Viacheslav “Slava” Fetisov, who frequently interrupts his interview sessions to take calls on his cellphone. Fetisov left his team, weathered threats on his family, and stared down the Soviet minister of defense to leave his country and play in the NHL. Polsky demonstrates an apt gift for weaving the personal narrative with the political, showing how Festiov valued his relationships with his teammates, family and country in equal measure.\u003c/p>\n\u003cp>As Fetisov and his teammates journey in the public eye from hometown heroes to capitalist pigs and back again, the film uses hockey as an allegory for communism: The ambitions of the individuals and the lure of freedom (well, free agency) ultimately overpowered their collective usefulness to the Soviet Union. The story of Soviet coach Viktor Tikhonov drives the metaphor home even further: After replacing beloved hockey visionary Anatoli Tarasov, the KGB appointee exerted strict control over his players, forcing the team to spend 11 months of the year at training camp and, according to Fetisov, abusing them mercilessly and teasing them with false promises of a future in the NHL. That someone with such apparent disregard for his players could churn such legendary success out of them is presented by Polsky not just as a story about sports but as a provocative question about communist leadership.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Red Army \u003c/em>moves at the frantic pace of a Russian hockey game: Setbacks can suddenly slip into opportunity, and vice versa. If anything, at only 76 minutes, the film is too brisk; Polsky could have done more with his brief epilogue, which sees several top stars return to a very different Russia following their own retirement from the game. Fetisov’s tenure as Vladimir Putin’s minister of sport is a strange attempt at a happy ending given the country’s current climate. A more thought-provoking finish comes earlier, recounting how none of the individual Russian players found success in America until they reunited in the mid-’90s as the Detroit Red Wings starting line. The Russian Five brought home back-to-back Stanley Cups, cheered on by Detroit fans sporting pins reading “Believe” in Russian. Another miracle, or sports as usual? \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=The+Tale+Of+The+Hockey+Players+For+Whom+1980+Was+No+Miracle+On+Ice&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "Gabe Polsky's documentary about the Soviet hockey team of the 1980s has a lot to say about sports, international competition, and perhaps even governments.",
"status": "publish",
"parent": 0,
"modified": 1726705477,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 8,
"wordCount": 763
},
"headData": {
"title": "The Tale of the Hockey Players for Whom 1980 Was no Miracle on Ice | KQED",
"description": "Gabe Polsky's documentary about the Soviet hockey team of the 1980s has a lot to say about sports, international competition, and perhaps even governments.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The Tale of the Hockey Players for Whom 1980 Was no Miracle on Ice",
"datePublished": "2015-01-23T09:00:07-08:00",
"dateModified": "2024-09-18T17:24:37-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Andrew Lapin",
"nprStoryId": "378609166",
"nprApiLink": "http://api.npr.org/query?id=378609166&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "http://www.npr.org/2015/01/22/378609166/the-tale-of-the-hockey-players-for-whom-1980-was-no-miracle-on-ice?ft=3&f=378609166",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 22 Jan 2015 17:03:00 -0500",
"nprStoryDate": "Thu, 22 Jan 2015 17:03:19 -0500",
"nprLastModifiedDate": "Thu, 22 Jan 2015 17:03:19 -0500",
"path": "/arts/10326056/the-tale-of-the-hockey-players-for-whom-1980-was-no-miracle-on-ice",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Gabe Polsky’s richly entertaining documentary \u003cem>Red Army\u003c/em> asks American sports and movie fans to do the hardest thing they may ever do: root for that eternal repository of villainy, the Russians. The film follows the Soviet Union’s superhuman ice hockey squad, the winningest team in the sport’s history and the envy of the world throughout the 1980s. Along the way, Polsky, himself the son of Russian immigrants and a former varsity hockey player at Yale, builds a case for the humanity of the athletes, national heroes instilled with patriotism who still had their passports confiscated by the Soviet authorities when they played overseas. With dark humor and an epic sweep characteristic of Executive Producer Werner Herzog, \u003cem>Red Army\u003c/em> sides not with nations or ideologies but with the transcendent powers of sport.\u003c/p>\n\u003cp>As good a jumping-off point as any for this thesis is the “Miracle on Ice”: the U.S. hockey team’s legendary upset over the U.S.S.R. at the Lake Placid 1980 Olympics. What was a famous, symbolic victory for Americans — one of the greatest wins in sports history, later Disneyfied in the 2004 film \u003cem>Miracle —\u003c/em> becomes in \u003cem>Red Army\u003c/em>‘s telling a humiliating personal defeat. The Soviet players weren’t out for capitalist blood so much as the simple opportunity to do right by their country on the world stage, to show off their influential crisscrossing, balletic playing style.\u003c/p>\n\u003cp>Many sequences are exemplars of sharp, funny documentary filmmaking. During the “Miracle,” Polsky cuts between footage of the game and his interviewees’ present-day silent faces to show how the loss shamed and, later, galvanized the team into a nearly decade-long global dominance. Editors Eli B. Despres and Kurt Engfehr get great mileage from both archival and present-day footage (players crawling across the ice on their stomachs during training; a former KGB agent chatting on a park bench as his young granddaughter fidgets around him). They reveal the complicated nature of patriotism, and the absurdity in treating sports as a chest-thumping global battle of wills.\u003c/p>\n\u003cp>Though Polsky spends time with several of the country’s top skaters, the film’s de facto hero is Hall of Famer defenseman Viacheslav “Slava” Fetisov, who frequently interrupts his interview sessions to take calls on his cellphone. Fetisov left his team, weathered threats on his family, and stared down the Soviet minister of defense to leave his country and play in the NHL. Polsky demonstrates an apt gift for weaving the personal narrative with the political, showing how Festiov valued his relationships with his teammates, family and country in equal measure.\u003c/p>\n\u003cp>As Fetisov and his teammates journey in the public eye from hometown heroes to capitalist pigs and back again, the film uses hockey as an allegory for communism: The ambitions of the individuals and the lure of freedom (well, free agency) ultimately overpowered their collective usefulness to the Soviet Union. The story of Soviet coach Viktor Tikhonov drives the metaphor home even further: After replacing beloved hockey visionary Anatoli Tarasov, the KGB appointee exerted strict control over his players, forcing the team to spend 11 months of the year at training camp and, according to Fetisov, abusing them mercilessly and teasing them with false promises of a future in the NHL. That someone with such apparent disregard for his players could churn such legendary success out of them is presented by Polsky not just as a story about sports but as a provocative question about communist leadership.\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>\u003cem>Red Army \u003c/em>moves at the frantic pace of a Russian hockey game: Setbacks can suddenly slip into opportunity, and vice versa. If anything, at only 76 minutes, the film is too brisk; Polsky could have done more with his brief epilogue, which sees several top stars return to a very different Russia following their own retirement from the game. Fetisov’s tenure as Vladimir Putin’s minister of sport is a strange attempt at a happy ending given the country’s current climate. A more thought-provoking finish comes earlier, recounting how none of the individual Russian players found success in America until they reunited in the mid-’90s as the Detroit Red Wings starting line. The Russian Five brought home back-to-back Stanley Cups, cheered on by Detroit fans sporting pins reading “Believe” in Russian. Another miracle, or sports as usual? \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=The+Tale+Of+The+Hockey+Players+For+Whom+1980+Was+No+Miracle+On+Ice&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10326056/the-tale-of-the-hockey-players-for-whom-1980-was-no-miracle-on-ice",
"authors": [
"byline_arts_10326056"
],
"categories": [
"arts_1"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_10326059",
"label": "arts_137"
},
"arts_10326051": {
"type": "posts",
"id": "arts_10326051",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10326051",
"score": null,
"sort": [
1422025210000
]
},
"guestAuthors": [],
"slug": "love-sex-and-power-in-a-world-of-women",
"title": "Love, Sex and Power in a World of Women",
"publishDate": 1422025210,
"format": "standard",
"headTitle": "Love, Sex and Power in a World of Women | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>\u003cem>The Duke of Burgundy\u003c/em> takes place in a town without any male presence. Where the men have gone, writer-director Peter Strickland won’t say. The absence is never mentioned, it only helps accentuate the otherworldliness of wherever the film is set: some facsimile of Earth that first seems right out of a fairy tale as we watch a caped Evelyn (Chiara D’Anna) bike into a quaint small town to the cheerful sound of the soundtrack from alt-pop duo Cat’s Eyes. When Evelyn arrives at an elegant, ivy-drenched home, Cynthia (Sidse Babett Knudsen) welcomes her with a cold “you’re late” and orders her around like a prickly mistress would Cinderella.\u003c/p>\n\u003cp>None of this, though, is at it appears. Instead, Cynthia’s orders to have Evelyn clean the house and wash her underwear are part of their tightly-scripted roleplaying, a sexual fantasy that Evelyn not only fully understands, but also, as we glean later from the detailed instruction cards that she leaves for Cynthia, fully controls. The twist is foreshadowed by Strickland’s allusion to 1970s European softcore films in the opening credits, but it exemplifies how the film marvelously, and repeatedly, opens up in surprising new directions.\u003c/p>\n\u003cp>Case in point: Evelyn and Cynthia’s relationship is also a veneer, a superficially provocative way to guide us into the film’s central love story, one about compromise, passion, and jealousy. \u003cem>The Duke of Burgundy\u003c/em> moves gradually but naturally toward this emotional territory. The housemaid routine is one that Cynthia and Evelyn repeat frequently, but the second time we see it, there’s a hint of boredom in Cynthia’s eyes, and as Evelyn is cleaning Cynthia’s boots, she has to knock on the door to get Cynthia to move along to the next part of the script.\u003c/p>\n\u003cp>The two, it becomes clear, are pushing further into a rut, one that Evelyn hopes to avoid by exploring new types of kink (she finds a large trunk that she gets Cynthia to lock her in at night). Cynthia, though, yearns for a different connection. When, one morning, Evelyn says to Cynthia, “Tell me something,” Cynthia replies: “I can start with how much I love you, and how happy I am that you’re here with me.” But Evelyn was after something else. “Talk about the other things,” she requests coyly, and Cynthia complies: “I’m \u003cem>not\u003c/em> happy with you at all,” she starts, as her hands and Evelyn’s slide under the covers.\u003c/p>\n\u003cp>The superficial control that Cynthia exerts over Evelyn sexually contrasts with her lack of emotional power. From that conflict, Strickland expertly weaves a psychological drama—a push and pull for domination—that, in D’Anna and Knudsen’s hands, never descends to mere gameplay; there are always real emotions at stake, in part because both actresses are so good at channeling their characters’ insecurities. (Evelyn, for her part, regularly makes exaggerated efforts to show off her intelligence while accompanying Cynthia to lectures at an entomology institute.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Strickland hides much beneath the surface in \u003cem>The Duke of Burgundy\u003c/em>, but the movie is also a delight to look upon; it’s the kind of lavish project that calls for recognition of the sound designer (Martin Pavey), production designer (Pater Sparrow), and costume designer (Andrea Flesch) by name. As shot by Strickland and cinematographer Nicholas D. Knowland (who worked together on Strickland’s previous film \u003cem>Berberian Sound Studio\u003c/em>), the colors of Cynthia’s house decorations glow and the textures of Cynthia and Evelyn’s lingerie seem to glide through your fingers. Meanwhile detailed sounds like Cynthia’s skirt rubbing against her tights as she raises it give the film its sensuality — as opposed to nudity, of which, remarkably, there is none.\u003c/p>\n\u003cp>Visually, Strickland moves in some surprising directions. A number of late scenes late in the movie—in particular a nightmarish dream sequence—have the dark look and sound of a horror film, with Evelyn and Cynthia resembling demonic mannequins. Some of these more abstract moments work wonderfully to leave us unsteady—unsure about the world in which the movie takes place, about where the film might be headed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s less clear how they fit with the love story that runs alongside them. Strickland at times appears caught between two movies—one driven by mood, the other by character. He develops each with equal precision and success, but they nevertheless don’t always feel of a piece. Still, if the movie is something like a meal of mismatched courses, it’s also one that’s never anything but a pleasure to eat up. Incongruity, after all, is at the heart of one of the film’s central accomplishments: crafting a world that seems foreign, mysterious, and yet, through its central relationship, messily, recognizably human. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=Love%2C+Sex+And+Power+In+A+World+Of+Women&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "The drama \u003cem>The Duke of Burgundy \u003c/em>follows two women in a complex tale of love and power, taking place in a town mysteriously without men.",
"status": "publish",
"parent": 0,
"modified": 1726705482,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 10,
"wordCount": 856
},
"headData": {
"title": "Love, Sex and Power in a World of Women | KQED",
"description": "The drama The Duke of Burgundy follows two women in a complex tale of love and power, taking place in a town mysteriously without men.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Love, Sex and Power in a World of Women",
"datePublished": "2015-01-23T07:00:10-08:00",
"dateModified": "2024-09-18T17:24:42-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Tomas Hachard",
"nprStoryId": "378646044",
"nprApiLink": "http://api.npr.org/query?id=378646044&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "http://www.npr.org/2015/01/22/378646044/love-sex-and-power-in-a-world-of-women?ft=3&f=378646044",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 22 Jan 2015 17:53:00 -0500",
"nprStoryDate": "Thu, 22 Jan 2015 17:03:00 -0500",
"nprLastModifiedDate": "Thu, 22 Jan 2015 17:53:07 -0500",
"path": "/arts/10326051/love-sex-and-power-in-a-world-of-women",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>The Duke of Burgundy\u003c/em> takes place in a town without any male presence. Where the men have gone, writer-director Peter Strickland won’t say. The absence is never mentioned, it only helps accentuate the otherworldliness of wherever the film is set: some facsimile of Earth that first seems right out of a fairy tale as we watch a caped Evelyn (Chiara D’Anna) bike into a quaint small town to the cheerful sound of the soundtrack from alt-pop duo Cat’s Eyes. When Evelyn arrives at an elegant, ivy-drenched home, Cynthia (Sidse Babett Knudsen) welcomes her with a cold “you’re late” and orders her around like a prickly mistress would Cinderella.\u003c/p>\n\u003cp>None of this, though, is at it appears. Instead, Cynthia’s orders to have Evelyn clean the house and wash her underwear are part of their tightly-scripted roleplaying, a sexual fantasy that Evelyn not only fully understands, but also, as we glean later from the detailed instruction cards that she leaves for Cynthia, fully controls. The twist is foreshadowed by Strickland’s allusion to 1970s European softcore films in the opening credits, but it exemplifies how the film marvelously, and repeatedly, opens up in surprising new directions.\u003c/p>\n\u003cp>Case in point: Evelyn and Cynthia’s relationship is also a veneer, a superficially provocative way to guide us into the film’s central love story, one about compromise, passion, and jealousy. \u003cem>The Duke of Burgundy\u003c/em> moves gradually but naturally toward this emotional territory. The housemaid routine is one that Cynthia and Evelyn repeat frequently, but the second time we see it, there’s a hint of boredom in Cynthia’s eyes, and as Evelyn is cleaning Cynthia’s boots, she has to knock on the door to get Cynthia to move along to the next part of the script.\u003c/p>\n\u003cp>The two, it becomes clear, are pushing further into a rut, one that Evelyn hopes to avoid by exploring new types of kink (she finds a large trunk that she gets Cynthia to lock her in at night). Cynthia, though, yearns for a different connection. When, one morning, Evelyn says to Cynthia, “Tell me something,” Cynthia replies: “I can start with how much I love you, and how happy I am that you’re here with me.” But Evelyn was after something else. “Talk about the other things,” she requests coyly, and Cynthia complies: “I’m \u003cem>not\u003c/em> happy with you at all,” she starts, as her hands and Evelyn’s slide under the covers.\u003c/p>\n\u003cp>The superficial control that Cynthia exerts over Evelyn sexually contrasts with her lack of emotional power. From that conflict, Strickland expertly weaves a psychological drama—a push and pull for domination—that, in D’Anna and Knudsen’s hands, never descends to mere gameplay; there are always real emotions at stake, in part because both actresses are so good at channeling their characters’ insecurities. (Evelyn, for her part, regularly makes exaggerated efforts to show off her intelligence while accompanying Cynthia to lectures at an entomology institute.)\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>Strickland hides much beneath the surface in \u003cem>The Duke of Burgundy\u003c/em>, but the movie is also a delight to look upon; it’s the kind of lavish project that calls for recognition of the sound designer (Martin Pavey), production designer (Pater Sparrow), and costume designer (Andrea Flesch) by name. As shot by Strickland and cinematographer Nicholas D. Knowland (who worked together on Strickland’s previous film \u003cem>Berberian Sound Studio\u003c/em>), the colors of Cynthia’s house decorations glow and the textures of Cynthia and Evelyn’s lingerie seem to glide through your fingers. Meanwhile detailed sounds like Cynthia’s skirt rubbing against her tights as she raises it give the film its sensuality — as opposed to nudity, of which, remarkably, there is none.\u003c/p>\n\u003cp>Visually, Strickland moves in some surprising directions. A number of late scenes late in the movie—in particular a nightmarish dream sequence—have the dark look and sound of a horror film, with Evelyn and Cynthia resembling demonic mannequins. Some of these more abstract moments work wonderfully to leave us unsteady—unsure about the world in which the movie takes place, about where the film might be headed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s less clear how they fit with the love story that runs alongside them. Strickland at times appears caught between two movies—one driven by mood, the other by character. He develops each with equal precision and success, but they nevertheless don’t always feel of a piece. Still, if the movie is something like a meal of mismatched courses, it’s also one that’s never anything but a pleasure to eat up. Incongruity, after all, is at the heart of one of the film’s central accomplishments: crafting a world that seems foreign, mysterious, and yet, through its central relationship, messily, recognizably human. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=Love%2C+Sex+And+Power+In+A+World+Of+Women&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10326051/love-sex-and-power-in-a-world-of-women",
"authors": [
"byline_arts_10326051"
],
"categories": [
"arts_1"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_10326054",
"label": "arts_137"
},
"arts_10308924": {
"type": "posts",
"id": "arts_10308924",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10308924",
"score": null,
"sort": [
1421450825000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1421450825,
"format": "standard",
"title": "'Critical Mass' of Rape Allegations Prompted NBC to Cancel Cosby Project",
"headTitle": "‘Critical Mass’ of Rape Allegations Prompted NBC to Cancel Cosby Project | KQED",
"content": "\u003cp>Just last year, NBC said it was developing a new TV show with comedian \u003ca href=\"http://www.npr.org/tags/126948910/bill-cosby\">Bill Cosby\u003c/a>. Now, the network doesn’t want anything to do with him.\u003c/p>\n\u003cp>NBC Chairman Bob Greenblatt \u003ca href=\"http://www.usnews.com/news/entertainment/articles/2015/01/16/nbc-firmly-shuts-door-on-bill-cosby\" target=\"_blank\" rel=\"noopener\">said\u003c/a> “I think that’s safe to say” there won’t be any future projects with Cosby, who has been accused by several women of rape. Cosby starred in the network’s iconic \u003cem>The Cosby Show\u003c/em>.\u003c/p>\n\u003cp>Greenblatt’s comments came today at the Television Critics Association Winter Press Tour in Pasadena, Calif.\u003c/p>\n\u003cp>Last November, NBC \u003ca href=\"http://fox4kc.com/2014/11/19/nbc-scraps-cosby-television-project-ap-releases-interview-regarding-sexual-assault-allegations/\" target=\"_blank\" rel=\"noopener\">pulled the plug\u003c/a> on its Cosby project.\u003c/p>\n\u003cp>“Fifteen women came out and accused him,” Greenblatt said. “While over the years we’d heard some of those accusations and knew there were a couple settlements, it didn’t seem to be the sort of thing that was critical mass.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s important to point out Cosby, 77, has \u003ca href=\"http://www.npr.org/2014/11/22/365828829/in-npr-and-ap-cosby-interviews-a-no-comment-that-said-everything\" target=\"_blank\" rel=\"noopener\">denied all the allegation\u003c/a> and has not been charged in any of the alleged assaults. Some of those allegations are decades old, and, as such, fall outside the statute of limitations. Cosby settled a 2005 suit that alleged sexual misconduct.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The scandal has resulted in a slew of canceled performances in Cosby’s ongoing standup tour; a Netflix comedy special was also nixed. The U.S. Navy revoked an honorary title for the comedian, and he resigned from the board of trustees at Temple University. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=%27Critical+Mass%27+Of+Rape+Allegations+Prompted+NBC+To+Cancel+Cosby+Project&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 256,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 9
},
"modified": 1705047730,
"excerpt": "NBC Chairman Bob Greenblatt said it was \"safe to say\" there won't be any future projects with the comedian who starred in the network's iconic \u003cem>The Cosby Show\u003c/em>.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "NBC Chairman Bob Greenblatt said it was "safe to say" there won't be any future projects with the comedian who starred in the network's iconic The Cosby Show.",
"title": "'Critical Mass' of Rape Allegations Prompted NBC to Cancel Cosby Project | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Critical Mass' of Rape Allegations Prompted NBC to Cancel Cosby Project",
"datePublished": "2015-01-16T15:27:05-08:00",
"dateModified": "2024-01-12T00:22:10-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "critical-mass-of-rape-allegations-prompted-nbc-to-cancel-cosby-project",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=377790952&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Krishnadev Calamur",
"nprStoryDate": "Fri, 16 Jan 2015 17:22:51 -0500",
"nprLastModifiedDate": "Fri, 16 Jan 2015 17:22:51 -0500",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/blogs/thetwo-way/2015/01/16/377790952/critical-mass-of-rape-allegations-prompted-nbc-to-cancel-cosby-project?ft=3&f=377790952",
"nprStoryId": "377790952",
"nprRetrievedStory": "1",
"nprPubDate": "Fri, 16 Jan 2015 17:22:00 -0500",
"path": "/arts/10308924/critical-mass-of-rape-allegations-prompted-nbc-to-cancel-cosby-project",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Just last year, NBC said it was developing a new TV show with comedian \u003ca href=\"http://www.npr.org/tags/126948910/bill-cosby\">Bill Cosby\u003c/a>. Now, the network doesn’t want anything to do with him.\u003c/p>\n\u003cp>NBC Chairman Bob Greenblatt \u003ca href=\"http://www.usnews.com/news/entertainment/articles/2015/01/16/nbc-firmly-shuts-door-on-bill-cosby\" target=\"_blank\" rel=\"noopener\">said\u003c/a> “I think that’s safe to say” there won’t be any future projects with Cosby, who has been accused by several women of rape. Cosby starred in the network’s iconic \u003cem>The Cosby Show\u003c/em>.\u003c/p>\n\u003cp>Greenblatt’s comments came today at the Television Critics Association Winter Press Tour in Pasadena, Calif.\u003c/p>\n\u003cp>Last November, NBC \u003ca href=\"http://fox4kc.com/2014/11/19/nbc-scraps-cosby-television-project-ap-releases-interview-regarding-sexual-assault-allegations/\" target=\"_blank\" rel=\"noopener\">pulled the plug\u003c/a> on its Cosby project.\u003c/p>\n\u003cp>“Fifteen women came out and accused him,” Greenblatt said. “While over the years we’d heard some of those accusations and knew there were a couple settlements, it didn’t seem to be the sort of thing that was critical mass.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s important to point out Cosby, 77, has \u003ca href=\"http://www.npr.org/2014/11/22/365828829/in-npr-and-ap-cosby-interviews-a-no-comment-that-said-everything\" target=\"_blank\" rel=\"noopener\">denied all the allegation\u003c/a> and has not been charged in any of the alleged assaults. Some of those allegations are decades old, and, as such, fall outside the statute of limitations. Cosby settled a 2005 suit that alleged sexual misconduct.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The scandal has resulted in a slew of canceled performances in Cosby’s ongoing standup tour; a Netflix comedy special was also nixed. The U.S. Navy revoked an honorary title for the comedian, and he resigned from the board of trustees at Temple University. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=%27Critical+Mass%27+Of+Rape+Allegations+Prompted+NBC+To+Cancel+Cosby+Project&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10308924/critical-mass-of-rape-allegations-prompted-nbc-to-cancel-cosby-project",
"authors": [
"byline_arts_10308924"
],
"categories": [
"arts_1"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_10309046",
"label": "arts_137"
},
"arts_10306887": {
"type": "posts",
"id": "arts_10306887",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10306887",
"score": null,
"sort": [
1421424042000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1421424042,
"format": "standard",
"title": "A Good Show for a Wandering Bear in 'Paddington'",
"headTitle": "A Good Show for a Wandering Bear in ‘Paddington’ | KQED",
"content": "\u003cp>Paddington, British literature’s lovable anthropomorphic bear named after the train station where he was found, has always been a funny sort of fellow. For nearly 60 years, Michael Bond’s creation has enjoyed harmless adventures with his adopted Brown family in London, noshing on marmalade and allowing his good manners to point the way when his small brain can’t. His endearing qualities — politeness and a need to understand the world through trial and error — are the sort of subtle quirks that don’t always survive the transition to broad family films. Just ask Paddington’s spiritual cousins Stuart Little or The Cat in the Hat.\u003c/p>\n\u003cp>Parts of the new live-action film \u003cem>Paddington\u003c/em> look like the typical desperate, overly modernized kiddie fare. There’s a large dollop of unfortunate frenetic slapstick with skateboards, dogs, cross-dressing and an overplayed James Brown song. But aside from the bits that practically scream “studio-mandated,” director Paul King invokes the spirit and charm of Paddington’s personality. Even when he’s getting into outsized mishaps, the little bear from Darkest Peru always means well.\u003c/p>\n\u003cp>Ben Whishaw (he was the “new Q” in \u003cem>Skyfall\u003c/em>) voices the plucky young critter, a last-minute replacement for Colin Firth, who dropped out of the film mere months before its release in an amicable split. This was likely for the better. As gifted an actor as Firth is, the \u003cem>King’s Speech \u003c/em>star seems a bit too regal for Paddington, who after all is supposed to resemble a curious, clumsy child. The higher-voiced Whishaw gives the small fur ball an unforced innocence and vulnerability.\u003c/p>\n\u003cp>Whishaw is rounded out by an excellent cast of Important Actors Being Silly, including the always-effervescent Sally Hawkins as the Brown clan’s dotty matriarch; \u003cem>Downton Abbey\u003c/em>‘s Hugh Bonneville as the stuffy dad who sputters safety statistics like “Thirty-four percent of pre-breakfast accidents involve banisters!”; and Jim Broadbent as the kindly antiques shop owner Mr. Gruber, a fellow immigrant who shares a lovely, unspoken understanding with his new bear friend. Bond’s original stories didn’t have much in the way of outright awful people, but it takes superhuman Studio Ghibli strength for a children’s movie to come into this world without a villain. So Nicole Kidman dutifully dons an icy blond bowl cut to play Millicent, a nasty museum curator who wants Paddington stuffed. Between Millicent and the utterly dull third \u003cem>Night At The Museum \u003c/em>film, the London Natural History Museum is having a rough time at the movies.\u003c/p>\n\u003cp>It’s a pleasant surprise that \u003cem>Paddington\u003c/em> has a good deal of style and wit, as in a Wes Anderson-lite sequence where the bear envisions every room of the Brown household as a dollhouse model. Later, a flashback shows the Brown parents, expecting their first child, entering the delivery room as motorcycle-riding thrillsters but leaving as paranoid worrywarts in an SUV — parenting distilled in one single, brilliant gag. And not to get all political on this unassuming bear, but it’s even more of a pleasant surprise that the film doesn’t disguise its hero’s citizenship status. We see Paddington making his long and arduous journey from Darkest Peru to London as a stowaway once his aunt and uncle can no longer care for him, entering the U.K. without his papers, and pleading for kind benefactors by the train tracks.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This isn’t even a parable of immigration — in the context of the film, Paddington is a literal flesh-and-blood immigrant. Ironically it’s his CGI presence, with that prickly fur, those dark red eyes, and that tiny stature, that accentuates how the bear remains visually orphaned from his adopted surroundings.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>King and co-screenwriter Hamish McColl bring the timeliest themes of Bond’s original stories to the forefront in an effective yet understated manner. When the posh urbanite family first spies the bear sitting by the tracks, with little more to his name than good manners and a cardboard sign (“Please look after this bear. Thank you”), Mr. Brown’s first instinct is to ignore him. It’s only once his family has helped demonstrate Paddington’s good nature and inherent blamelessness that he’s able to care for the bear as he would his own children. Kindness wins out in the end, naturally, but a specific and prescient form of kindness rather than the glib, one-size-fits-all brand usually seen in children’s movies. That, at least, deserves a marmalade sandwich. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=A+Good+Show+For+A+Wandering+Bear+In+%27Paddington%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 805,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 9
},
"modified": 1705047738,
"excerpt": "Perhaps surprisingly, this adaptation about the great little immigrating bear of literature gets a solid treatment around the edges of some typical kid-movie shtick.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Perhaps surprisingly, this adaptation about the great little immigrating bear of literature gets a solid treatment around the edges of some typical kid-movie shtick.",
"title": "A Good Show for a Wandering Bear in 'Paddington' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "A Good Show for a Wandering Bear in 'Paddington'",
"datePublished": "2015-01-16T08:00:42-08:00",
"dateModified": "2024-01-12T00:22:18-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "a-good-show-for-a-wandering-bear-in-paddington",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=376797927&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Andrew Lapin",
"nprStoryDate": "Thu, 15 Jan 2015 17:08:19 -0500",
"nprLastModifiedDate": "Thu, 15 Jan 2015 17:08:19 -0500",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/2015/01/15/376797927/a-good-show-for-a-wandering-bear-in-paddington?ft=3&f=376797927",
"nprStoryId": "376797927",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 15 Jan 2015 17:08:00 -0500",
"path": "/arts/10306887/a-good-show-for-a-wandering-bear-in-paddington",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Paddington, British literature’s lovable anthropomorphic bear named after the train station where he was found, has always been a funny sort of fellow. For nearly 60 years, Michael Bond’s creation has enjoyed harmless adventures with his adopted Brown family in London, noshing on marmalade and allowing his good manners to point the way when his small brain can’t. His endearing qualities — politeness and a need to understand the world through trial and error — are the sort of subtle quirks that don’t always survive the transition to broad family films. Just ask Paddington’s spiritual cousins Stuart Little or The Cat in the Hat.\u003c/p>\n\u003cp>Parts of the new live-action film \u003cem>Paddington\u003c/em> look like the typical desperate, overly modernized kiddie fare. There’s a large dollop of unfortunate frenetic slapstick with skateboards, dogs, cross-dressing and an overplayed James Brown song. But aside from the bits that practically scream “studio-mandated,” director Paul King invokes the spirit and charm of Paddington’s personality. Even when he’s getting into outsized mishaps, the little bear from Darkest Peru always means well.\u003c/p>\n\u003cp>Ben Whishaw (he was the “new Q” in \u003cem>Skyfall\u003c/em>) voices the plucky young critter, a last-minute replacement for Colin Firth, who dropped out of the film mere months before its release in an amicable split. This was likely for the better. As gifted an actor as Firth is, the \u003cem>King’s Speech \u003c/em>star seems a bit too regal for Paddington, who after all is supposed to resemble a curious, clumsy child. The higher-voiced Whishaw gives the small fur ball an unforced innocence and vulnerability.\u003c/p>\n\u003cp>Whishaw is rounded out by an excellent cast of Important Actors Being Silly, including the always-effervescent Sally Hawkins as the Brown clan’s dotty matriarch; \u003cem>Downton Abbey\u003c/em>‘s Hugh Bonneville as the stuffy dad who sputters safety statistics like “Thirty-four percent of pre-breakfast accidents involve banisters!”; and Jim Broadbent as the kindly antiques shop owner Mr. Gruber, a fellow immigrant who shares a lovely, unspoken understanding with his new bear friend. Bond’s original stories didn’t have much in the way of outright awful people, but it takes superhuman Studio Ghibli strength for a children’s movie to come into this world without a villain. So Nicole Kidman dutifully dons an icy blond bowl cut to play Millicent, a nasty museum curator who wants Paddington stuffed. Between Millicent and the utterly dull third \u003cem>Night At The Museum \u003c/em>film, the London Natural History Museum is having a rough time at the movies.\u003c/p>\n\u003cp>It’s a pleasant surprise that \u003cem>Paddington\u003c/em> has a good deal of style and wit, as in a Wes Anderson-lite sequence where the bear envisions every room of the Brown household as a dollhouse model. Later, a flashback shows the Brown parents, expecting their first child, entering the delivery room as motorcycle-riding thrillsters but leaving as paranoid worrywarts in an SUV — parenting distilled in one single, brilliant gag. And not to get all political on this unassuming bear, but it’s even more of a pleasant surprise that the film doesn’t disguise its hero’s citizenship status. We see Paddington making his long and arduous journey from Darkest Peru to London as a stowaway once his aunt and uncle can no longer care for him, entering the U.K. without his papers, and pleading for kind benefactors by the train tracks.\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>This isn’t even a parable of immigration — in the context of the film, Paddington is a literal flesh-and-blood immigrant. Ironically it’s his CGI presence, with that prickly fur, those dark red eyes, and that tiny stature, that accentuates how the bear remains visually orphaned from his adopted surroundings.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>King and co-screenwriter Hamish McColl bring the timeliest themes of Bond’s original stories to the forefront in an effective yet understated manner. When the posh urbanite family first spies the bear sitting by the tracks, with little more to his name than good manners and a cardboard sign (“Please look after this bear. Thank you”), Mr. Brown’s first instinct is to ignore him. It’s only once his family has helped demonstrate Paddington’s good nature and inherent blamelessness that he’s able to care for the bear as he would his own children. Kindness wins out in the end, naturally, but a specific and prescient form of kindness rather than the glib, one-size-fits-all brand usually seen in children’s movies. That, at least, deserves a marmalade sandwich. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=A+Good+Show+For+A+Wandering+Bear+In+%27Paddington%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10306887/a-good-show-for-a-wandering-bear-in-paddington",
"authors": [
"byline_arts_10306887"
],
"categories": [
"arts_74"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_10306890",
"label": "arts_137"
},
"arts_10306881": {
"type": "posts",
"id": "arts_10306881",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10306881",
"score": null,
"sort": [
1421420443000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1421420443,
"format": "standard",
"title": "A Lead Performance Keeps 'Still Alice' Grounded",
"headTitle": "A Lead Performance Keeps ‘Still Alice’ Grounded | KQED",
"content": "\u003cp>A circumstance that might well qualify as a fate worse than death is to continue living after one side of the human equation — body + mind — has been canceled. For a jaunty account of an active brain in a withering physique, see \u003cem>The Theory of Everything;\u003c/em> for a more anguished view of the opposite situation, there’s \u003cem>Still Alice\u003c/em>.\u003c/p>\n\u003cp>The story opens, with chilling chronological precision, at the 50th-birthday party of Alice Howling (Julianne Moore). The milieu is upscale intellectual Manhattan, nearly as perfect as the family living in it. Husband John (Alec Baldwin) is a medical researcher at Columbia University, where Alice also teaches. Daughter Anna (Kate Bosworth) is married and laboring to produce the couple’s first grandchild; son Tom (Hunter Parrish) is nearly a doctor. Only the youngest, Lydia (Kristen Stewart), has wandered off the accepted path, skipping college — and mom’s birthday — to attempt an acting career in LA.\u003c/p>\n\u003cp>We will come to have some sympathy for Lydia, if only because she’s a rumple, however small, in a overly tidy scenario. Alice can’t simply be a 50-year-old who experiences disturbing lapses of memory. When she begins to forget words, it’s while lecturing in her specialty: linguistics.\u003c/p>\n\u003cp>Many of such details come from Lisa Genova’s best-selling novel, which directors Richard Glatzer and Wash Westmoreland have adapted with reasonable fidelity. The two men, longtime artistic and life partners, have a personal interest in the subject of bodies and brains that age at different speeds: Glatzer has ALS and now speaks via a computer’s voice synthesizer.\u003c/p>\n\u003cp>As its choice of pronoun indicates, Sarah Polley’s \u003cem>Away from Her\u003c/em> considered early-onset Alzheimer’s from the perspective of a man who watches his wife’s consciousness disappear. \u003cem>Still Alice\u003c/em> takes a riskier strategy, attempting to show its protagonist’s experience from the inside. Glatzer and Westmoreland picked the right actress for the job.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When Alice first gets the verdict from a neurologist, the camera focuses only on her face, in one uninterrupted take. (The superb cinematography is by Denis Lenoir, who shot Olivier Assayas’ \u003cem>Carlos\u003c/em>.) This strategy is repeated again and again, until Alice finally — and literally — vanishes. The movie isn’t interested in what the woman leaves behind, only in the process of her dissolution.\u003c/p>\n\u003cp>Contemporary technology helps with this. Alice has ongoing conversations with her husband (whose coldness Baldwin fails to make believable) and her children (especially Lydia, who surprises). But many of her dialogues are with her own smartphone. As if turning an old Bob Newhart routine into tragedy, Alice prompts herself with prerecorded questions, testing what she’s forgotten and can possibly remember.\u003c/p>\n\u003cp>Perhaps most important, she uses the device to leave instructions for her future self: a step-by-step guide to suicide. This plan imbues the story with intense foreboding, but also an element of farce. Alice may or may not be mentally capable of killing herself when the time comes, adding uncertainty to a narrative that is in most regards inevitable.\u003c/p>\n\u003cp>\u003cem>Still Alice\u003c/em> would be better if it didn’t mirror the inevitability of Alice’s decline with other predictable elements. Through Lydia, Alice is introduced to two plays, Chekhov’s \u003cem>Three Sisters\u003c/em> and Tony Kushner’s \u003cem>Angels in America\u003c/em>. Their borrowed themes echo a little too heavily. So do composer Ilan Eshkeri’s tremulous violins, which ape Penderecki during Alice’s most agitated moments.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As the filmmakers keep reminding us, Alice is woman of words who is now losing them. But the movie’s most expressive element is Moore’s face, slowly moving from engagement, flecked with worry, to disconnection and blankness. As the memories evaporate, only that face is still Alice. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=A+Lead+Performance+Keeps+%27Still+Alice%27+Grounded&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 660,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 12
},
"modified": 1705047739,
"excerpt": "Julianne Moore — now an Oscar nominee — is the steady presence keeping the emotional weight in a drama about the devastation of Alzheimer's disease, even when the film hits other notes too hard.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Julianne Moore — now an Oscar nominee — is the steady presence keeping the emotional weight in a drama about the devastation of Alzheimer's disease, even when the film hits other notes too hard.",
"title": "A Lead Performance Keeps 'Still Alice' Grounded | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "A Lead Performance Keeps 'Still Alice' Grounded",
"datePublished": "2015-01-16T07:00:43-08:00",
"dateModified": "2024-01-12T00:22:19-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "a-lead-performance-keeps-still-alice-grounded",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=376806777&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Mark Jenkins",
"nprStoryDate": "Thu, 15 Jan 2015 17:18:00 -0500",
"nprLastModifiedDate": "Thu, 15 Jan 2015 18:21:11 -0500",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/2015/01/15/376806777/a-lead-performance-keeps-still-alice-grounded?ft=3&f=376806777",
"nprStoryId": "376806777",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 15 Jan 2015 18:21:00 -0500",
"path": "/arts/10306881/a-lead-performance-keeps-still-alice-grounded",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A circumstance that might well qualify as a fate worse than death is to continue living after one side of the human equation — body + mind — has been canceled. For a jaunty account of an active brain in a withering physique, see \u003cem>The Theory of Everything;\u003c/em> for a more anguished view of the opposite situation, there’s \u003cem>Still Alice\u003c/em>.\u003c/p>\n\u003cp>The story opens, with chilling chronological precision, at the 50th-birthday party of Alice Howling (Julianne Moore). The milieu is upscale intellectual Manhattan, nearly as perfect as the family living in it. Husband John (Alec Baldwin) is a medical researcher at Columbia University, where Alice also teaches. Daughter Anna (Kate Bosworth) is married and laboring to produce the couple’s first grandchild; son Tom (Hunter Parrish) is nearly a doctor. Only the youngest, Lydia (Kristen Stewart), has wandered off the accepted path, skipping college — and mom’s birthday — to attempt an acting career in LA.\u003c/p>\n\u003cp>We will come to have some sympathy for Lydia, if only because she’s a rumple, however small, in a overly tidy scenario. Alice can’t simply be a 50-year-old who experiences disturbing lapses of memory. When she begins to forget words, it’s while lecturing in her specialty: linguistics.\u003c/p>\n\u003cp>Many of such details come from Lisa Genova’s best-selling novel, which directors Richard Glatzer and Wash Westmoreland have adapted with reasonable fidelity. The two men, longtime artistic and life partners, have a personal interest in the subject of bodies and brains that age at different speeds: Glatzer has ALS and now speaks via a computer’s voice synthesizer.\u003c/p>\n\u003cp>As its choice of pronoun indicates, Sarah Polley’s \u003cem>Away from Her\u003c/em> considered early-onset Alzheimer’s from the perspective of a man who watches his wife’s consciousness disappear. \u003cem>Still Alice\u003c/em> takes a riskier strategy, attempting to show its protagonist’s experience from the inside. Glatzer and Westmoreland picked the right actress for the job.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When Alice first gets the verdict from a neurologist, the camera focuses only on her face, in one uninterrupted take. (The superb cinematography is by Denis Lenoir, who shot Olivier Assayas’ \u003cem>Carlos\u003c/em>.) This strategy is repeated again and again, until Alice finally — and literally — vanishes. The movie isn’t interested in what the woman leaves behind, only in the process of her dissolution.\u003c/p>\n\u003cp>Contemporary technology helps with this. Alice has ongoing conversations with her husband (whose coldness Baldwin fails to make believable) and her children (especially Lydia, who surprises). But many of her dialogues are with her own smartphone. As if turning an old Bob Newhart routine into tragedy, Alice prompts herself with prerecorded questions, testing what she’s forgotten and can possibly remember.\u003c/p>\n\u003cp>Perhaps most important, she uses the device to leave instructions for her future self: a step-by-step guide to suicide. This plan imbues the story with intense foreboding, but also an element of farce. Alice may or may not be mentally capable of killing herself when the time comes, adding uncertainty to a narrative that is in most regards inevitable.\u003c/p>\n\u003cp>\u003cem>Still Alice\u003c/em> would be better if it didn’t mirror the inevitability of Alice’s decline with other predictable elements. Through Lydia, Alice is introduced to two plays, Chekhov’s \u003cem>Three Sisters\u003c/em> and Tony Kushner’s \u003cem>Angels in America\u003c/em>. Their borrowed themes echo a little too heavily. So do composer Ilan Eshkeri’s tremulous violins, which ape Penderecki during Alice’s most agitated moments.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As the filmmakers keep reminding us, Alice is woman of words who is now losing them. But the movie’s most expressive element is Moore’s face, slowly moving from engagement, flecked with worry, to disconnection and blankness. As the memories evaporate, only that face is still Alice. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=A+Lead+Performance+Keeps+%27Still+Alice%27+Grounded&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10306881/a-lead-performance-keeps-still-alice-grounded",
"authors": [
"byline_arts_10306881"
],
"categories": [
"arts_74"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_10306884",
"label": "arts_137"
},
"arts_10301001": {
"type": "posts",
"id": "arts_10301001",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10301001",
"score": null,
"sort": [
1421214595000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1421214595,
"format": "standard",
"title": "Woody Allen Is The Latest Hollywood Star Director To Try TV",
"headTitle": "Woody Allen Is The Latest Hollywood Star Director To Try TV | KQED",
"content": "\u003cp>Amazon has announced that Woody Allen will write and direct a new half-hour series for its video-streaming service — news that feels a little like hearing \u003cem>Mad Men\u003c/em>‘s Don Draper just founded an Internet advertising agency.\u003c/p>\n\u003cp>Allen, known for his old-school approach to filmmaking, may be the biggest name from Hollywood’s old studio system to step into the modern TV age. Even as film stars such as Matthew McConaughey and Kevin Spacey rack up awards and critical praise for their television work, auteurs such as Martin Scorsese and David Lynch have developed TV projects that nearly erase old boundaries between the worlds of film and television.\u003c/p>\n\u003cp>“I don’t know how I got into this,” reads a quote from Allen included in Amazon’s press release on the deal. “I have no ideas and I’m not sure where to begin.”\u003c/p>\n\u003cp>Amazon released few details on the series, currently named \u003cem>Untitled Woody Allen Project\u003c/em>. The series will feature half-hour episodes, but Amazon hasn’t said how many it will make, when they will be released or what the series idea is.\u003c/p>\n\u003cp>It’s a high-profile deal for Amazon, which made news Sunday by winning its first two Golden Globe awards for the original series on a character transitioning genders, \u003cem>Transparent\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At a time when competitors such as Netflix are developing series with marquee names such as David Fincher (\u003cem>House of Cards\u003c/em>) and Tina Fey (\u003cem>Unbreakable Kimmy Schmidt\u003c/em>), the Globes win and Allen deal may help Amazon remain competitive in an increasingly crowded field.\u003c/p>\n\u003cp>The news also drew criticism from some on Twitter, noting Allen’s controversial personal history, including his marriage to Soon-Yi Previn, the adopted daughter of his former longtime girlfriend Mia Farrow.\u003c/p>\n\u003cp>Dylan Farrow, who was adopted by Mia Farrow and Allen, also \u003ca href=\"http://kristof.blogs.nytimes.com/2014/02/01/an-open-letter-from-dylan-farrow/?_r=0\">accused\u003c/a> the director of molesting her as a child in a column published in \u003cem>The\u003c/em> \u003cem>New York Times\u003c/em>; Allen wrote his own column \u003ca href=\"http://www.nytimes.com/2014/02/09/opinion/sunday/woody-allen-speaks-out.html\">denying\u003c/a> the allegations.\u003c/p>\n\u003cp>As Allen’s name began trending on Twitter, some wondered if he would face the same public criticism — and problems with canceled projects — that befell Bill Cosby as a growing number of women have accused the comic of drugging and sexually assaulting them.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All this suggests that Amazon’s deal with Allen may offer unique challenges that reach far beyond the difficulties of translating Allen’s idea into the new medium of streaming television. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=Woody+Allen+Is+The+Latest+Hollywood+Star+Director+To+Try+TV&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 433,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 12
},
"modified": 1705047750,
"excerpt": "Allen says he's not sure how he got into this or what he'll do. His half-hour series is set for Amazon's streaming video service.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Allen says he's not sure how he got into this or what he'll do. His half-hour series is set for Amazon's streaming video service.",
"title": "Woody Allen Is The Latest Hollywood Star Director To Try TV | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Woody Allen Is The Latest Hollywood Star Director To Try TV",
"datePublished": "2015-01-13T21:49:55-08:00",
"dateModified": "2024-01-12T00:22:30-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "woody-allen-is-the-latest-hollywood-star-director-to-try-tv",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=377025412&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Eric Deggans",
"nprStoryDate": "Tue, 13 Jan 2015 16:29:00 -0500",
"nprLastModifiedDate": "Tue, 13 Jan 2015 18:47:17 -0500",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/blogs/thetwo-way/2015/01/13/377025412/woody-allen-is-the-latest-hollywood-star-director-to-try-tv?ft=3&f=377025412",
"nprStoryId": "377025412",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 13 Jan 2015 18:47:00 -0500",
"path": "/arts/10301001/woody-allen-is-the-latest-hollywood-star-director-to-try-tv",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Amazon has announced that Woody Allen will write and direct a new half-hour series for its video-streaming service — news that feels a little like hearing \u003cem>Mad Men\u003c/em>‘s Don Draper just founded an Internet advertising agency.\u003c/p>\n\u003cp>Allen, known for his old-school approach to filmmaking, may be the biggest name from Hollywood’s old studio system to step into the modern TV age. Even as film stars such as Matthew McConaughey and Kevin Spacey rack up awards and critical praise for their television work, auteurs such as Martin Scorsese and David Lynch have developed TV projects that nearly erase old boundaries between the worlds of film and television.\u003c/p>\n\u003cp>“I don’t know how I got into this,” reads a quote from Allen included in Amazon’s press release on the deal. “I have no ideas and I’m not sure where to begin.”\u003c/p>\n\u003cp>Amazon released few details on the series, currently named \u003cem>Untitled Woody Allen Project\u003c/em>. The series will feature half-hour episodes, but Amazon hasn’t said how many it will make, when they will be released or what the series idea is.\u003c/p>\n\u003cp>It’s a high-profile deal for Amazon, which made news Sunday by winning its first two Golden Globe awards for the original series on a character transitioning genders, \u003cem>Transparent\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At a time when competitors such as Netflix are developing series with marquee names such as David Fincher (\u003cem>House of Cards\u003c/em>) and Tina Fey (\u003cem>Unbreakable Kimmy Schmidt\u003c/em>), the Globes win and Allen deal may help Amazon remain competitive in an increasingly crowded field.\u003c/p>\n\u003cp>The news also drew criticism from some on Twitter, noting Allen’s controversial personal history, including his marriage to Soon-Yi Previn, the adopted daughter of his former longtime girlfriend Mia Farrow.\u003c/p>\n\u003cp>Dylan Farrow, who was adopted by Mia Farrow and Allen, also \u003ca href=\"http://kristof.blogs.nytimes.com/2014/02/01/an-open-letter-from-dylan-farrow/?_r=0\">accused\u003c/a> the director of molesting her as a child in a column published in \u003cem>The\u003c/em> \u003cem>New York Times\u003c/em>; Allen wrote his own column \u003ca href=\"http://www.nytimes.com/2014/02/09/opinion/sunday/woody-allen-speaks-out.html\">denying\u003c/a> the allegations.\u003c/p>\n\u003cp>As Allen’s name began trending on Twitter, some wondered if he would face the same public criticism — and problems with canceled projects — that befell Bill Cosby as a growing number of women have accused the comic of drugging and sexually assaulting them.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All this suggests that Amazon’s deal with Allen may offer unique challenges that reach far beyond the difficulties of translating Allen’s idea into the new medium of streaming television. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=Woody+Allen+Is+The+Latest+Hollywood+Star+Director+To+Try+TV&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10301001/woody-allen-is-the-latest-hollywood-star-director-to-try-tv",
"authors": [
"byline_arts_10301001"
],
"categories": [
"arts_75"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_129141",
"label": "arts_137"
},
"arts_10292824": {
"type": "posts",
"id": "arts_10292824",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10292824",
"score": null,
"sort": [
1420995659000
]
},
"guestAuthors": [],
"slug": "satire-in-the-muslim-world-a-centuries-long-tradition",
"title": "Satire in the Muslim World: A Centuries-Long Tradition",
"publishDate": 1420995659,
"format": "standard",
"headTitle": "Satire in the Muslim World: A Centuries-Long Tradition | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>“Can’t they take a joke?” That’s the question that came up after the 2005 Danish cartoon controversy and now, again, after the massacre at the French satirical magazine \u003cem>Charlie Hebdo\u003c/em>. The suspected killers obviously reflect a tiny minority of extreme religious fanatics, but the question made us wonder: What is the role of satire in the Muslim world?\u003c/p>\n\u003cp>First let’s establish that saying “the Muslim world” is like saying “the Christian world” or Africa: We’re talking one and a half billion people all over the globe — of different races, ethnicities and languages — who believe different things. That said, Duke University religion professor Bruce Lawrence does have an answer when you ask him about Muslim traditions of satire. He says, “I’ve been studying the Muslim world for I guess now almost half a century, and one of my heroes has always been a ninth-century literary figure called al-Jahiz.”\u003c/p>\n\u003cp>In a golden era for Islamic music, art and science, Jahiz studied everything from zoology to literary theory. He wrote merciless social satires, and he was also famously ugly. “He could satire himself as somebody who was very unattractive,” Lawrence says, “and yet he could make fun of the rock stars of his generation in Baghdad, which was the capital city of the Muslim world in that time.”\u003c/p>\n\u003cp>According to Lawrence, Jahiz remains a beloved figure in Islamic literature, and it’s not because he recorded the glories of Islam. “He poked fun at contemporaries, at his co-religionists, at anybody who seemed to him to have too great a sense of self-importance, whatever their station in life.”\u003c/p>\n\u003cp>\u003cstrong>A 13th-Century Andy Kaufman\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10292831\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Azhar-Usman-400x298.jpg\" alt=\"Chicago comic Azhar Usman’s comedy heroes include George Carlin and a 13th-century Sufi saint named Mullah Nasreddi\" width=\"400\" height=\"298\" class=\"size-thumbnail wp-image-10292831\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Azhar-Usman-400x298.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Azhar-Usman.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Chicago comic Azhar Usman’s comedy heroes include George Carlin and a 13th-century Sufi saint named Mullah Nasreddi. CREDIT: Chris Jackson/Getty Images\u003c/figcaption>\u003c/figure>\n\u003cp>That feels relevant to \u003ca href=\"http://www.azhar.com/\">Azhar Usman\u003c/a>, a Sunni stand-up comedian working in Chicago. Usman, whose family comes from India, says his comedy heroes are Richard Pryor, George Carlin and a 13th-century Sufi saint named Mullah Nasreddin. Usman says Nasreddin had “an Andy Kaufman type of personality.” He recalls a famous story about a time Nasreddin led Friday prayers. He asked the congregation, “How many of you know what I’m going to say?”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Nobody raised their hand,” Usman says. “So he said, ‘Well, what can I say to a bunch of people who have no idea what I’m going to say?’ And he leaves.” The people coax him back, promising to be more cooperative. So Nasreddin asks again, “How many of you know what I’m going to say?” This time, everybody raises their hand.\u003c/p>\n\u003cp>“And he says, ‘What am I supposed to say to a group of people that already know what I’m going to say?’ And he leaves,” Usman says. “So finally, they finally coax him back. ‘Oh, please don’t leave. We want to hear your wisdom.’ … So he gets up a third time and he says again, ‘How many of you know what I’m going to say?'” Half the crowd raises their hands; the other half doesn’t. “So he says, ‘Well the half that know what I’m going to say should tell the half that don’t know what I’m going to say.’ ”\u003c/p>\n\u003cp>\u003cstrong>‘The Boldest People In The Arab And The Muslim World’\u003c/strong>\u003c/p>\n\u003cp>According to scholar Bruce Lawrence, satirizing yourself and your own community is a tradition in Muslim literature and arts — and so is mocking people in power. “Political satirists are among the boldest people in the Arab and the Muslim world,” he says. Those people include Bassem Youssef, \u003ca href=\"http://www.npr.org/2011/04/15/135444956/egypt-finds-its-own-jon-stewart\">known as Egypt’s Jon Stewart\u003c/a>. Youssef’s satire took aim at politicians and the Muslim Brotherhood, and his show lasted two years before folding under pressure.\u003c/p>\n\u003cp>Lawrence says there’s also a strong tradition of political cartoonists in the Muslim world — cartoonists like Syria’s Ali Farzat, whose hands were broken in retaliation for cartoons that mocked President Bashar Assad. Afterward, according to Lawrence, Farzat “did a cartoon of himself in a hospital bed showing that even with his hands bandaged he could still manage to say some things against the regime.”\u003c/p>\n\u003cp>But Farzat was attacked for his portrayal of politics, not religion. Lawrence says satirizing \u003cem>people\u003c/em> is fine from the perspective of devout Muslims, but not so with religious figures — like God, Muhammad or any other saints or prophets — who are seen as existing on a different plane. And there are many thousands of them, including Adam, Moses and the Virgin Mary.\u003c/p>\n\u003cp>Comic Azhar Usman says sure, maintaining a bright line between what’s holy and what’s profane runs counter to a comedic credo that holds nothing sacred. But is it also fundamentally oppositional to universal values that Westerners hold dear? He says, “I think that that’s the honest discourse that I wish we could have in the world.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Usman says he greets offensive depictions of saints, prophets and God with forgiveness. And he notes that if you harshly judge what counts as satire from a rigid cultural perspective, you’ve learned almost nothing from the \u003cem>Charlie Hebdo\u003c/em> tragedy. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=Satire+In+The+Muslim+World%3A+A+Centuries-Long+Tradition&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "Ninth-century satirist al-Jahiz remains a beloved figure in Islamic literature, but his modern-day counterparts — including comedian Bassem Youssef and cartoonist Ali Farzat — don't have it easy.",
"status": "publish",
"parent": 0,
"modified": 1726781952,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 16,
"wordCount": 949
},
"headData": {
"title": "Satire in the Muslim World: A Centuries-Long Tradition | KQED",
"description": "Ninth-century satirist al-Jahiz remains a beloved figure in Islamic literature, but his modern-day counterparts — including comedian Bassem Youssef and cartoonist Ali Farzat — don't have it easy.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Satire in the Muslim World: A Centuries-Long Tradition",
"datePublished": "2015-01-11T09:00:59-08:00",
"dateModified": "2024-09-19T14:39:12-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Neda Ulaby",
"nprStoryId": "376127650",
"nprApiLink": "http://api.npr.org/query?id=376127650&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "http://www.npr.org/2015/01/10/376127650/satire-in-the-muslim-world-a-centuries-long-tradition?ft=3&f=376127650",
"nprRetrievedStory": "1",
"nprPubDate": "Sat, 10 Jan 2015 11:31:00 -0500",
"nprStoryDate": "Sat, 10 Jan 2015 05:54:00 -0500",
"nprLastModifiedDate": "Sat, 10 Jan 2015 08:00:17 -0500",
"nprAudio": "http://pd.npr.org/anon.npr-mp3/npr/wesat/2015/01/20150110_wesat_satire_in_the_muslim_world_a_centuries-long_tradition.mp3?orgId=1&topicId=1008&ft=3&f=376127650",
"nprAudioM3u": "http://api.npr.org/m3u/1376300685-402dfc.m3u?orgId=1&topicId=1008&ft=3&f=376127650",
"path": "/arts/10292824/satire-in-the-muslim-world-a-centuries-long-tradition",
"audioUrl": "http://pd.npr.org/anon.npr-mp3/npr/wesat/2015/01/20150110_wesat_satire_in_the_muslim_world_a_centuries-long_tradition.mp3?orgId=1&topicId=1008&ft=3&f=376127650",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Can’t they take a joke?” That’s the question that came up after the 2005 Danish cartoon controversy and now, again, after the massacre at the French satirical magazine \u003cem>Charlie Hebdo\u003c/em>. The suspected killers obviously reflect a tiny minority of extreme religious fanatics, but the question made us wonder: What is the role of satire in the Muslim world?\u003c/p>\n\u003cp>First let’s establish that saying “the Muslim world” is like saying “the Christian world” or Africa: We’re talking one and a half billion people all over the globe — of different races, ethnicities and languages — who believe different things. That said, Duke University religion professor Bruce Lawrence does have an answer when you ask him about Muslim traditions of satire. He says, “I’ve been studying the Muslim world for I guess now almost half a century, and one of my heroes has always been a ninth-century literary figure called al-Jahiz.”\u003c/p>\n\u003cp>In a golden era for Islamic music, art and science, Jahiz studied everything from zoology to literary theory. He wrote merciless social satires, and he was also famously ugly. “He could satire himself as somebody who was very unattractive,” Lawrence says, “and yet he could make fun of the rock stars of his generation in Baghdad, which was the capital city of the Muslim world in that time.”\u003c/p>\n\u003cp>According to Lawrence, Jahiz remains a beloved figure in Islamic literature, and it’s not because he recorded the glories of Islam. “He poked fun at contemporaries, at his co-religionists, at anybody who seemed to him to have too great a sense of self-importance, whatever their station in life.”\u003c/p>\n\u003cp>\u003cstrong>A 13th-Century Andy Kaufman\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10292831\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Azhar-Usman-400x298.jpg\" alt=\"Chicago comic Azhar Usman’s comedy heroes include George Carlin and a 13th-century Sufi saint named Mullah Nasreddi\" width=\"400\" height=\"298\" class=\"size-thumbnail wp-image-10292831\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Azhar-Usman-400x298.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Azhar-Usman.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Chicago comic Azhar Usman’s comedy heroes include George Carlin and a 13th-century Sufi saint named Mullah Nasreddi. CREDIT: Chris Jackson/Getty Images\u003c/figcaption>\u003c/figure>\n\u003cp>That feels relevant to \u003ca href=\"http://www.azhar.com/\">Azhar Usman\u003c/a>, a Sunni stand-up comedian working in Chicago. Usman, whose family comes from India, says his comedy heroes are Richard Pryor, George Carlin and a 13th-century Sufi saint named Mullah Nasreddin. Usman says Nasreddin had “an Andy Kaufman type of personality.” He recalls a famous story about a time Nasreddin led Friday prayers. He asked the congregation, “How many of you know what I’m going to say?”\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>“Nobody raised their hand,” Usman says. “So he said, ‘Well, what can I say to a bunch of people who have no idea what I’m going to say?’ And he leaves.” The people coax him back, promising to be more cooperative. So Nasreddin asks again, “How many of you know what I’m going to say?” This time, everybody raises their hand.\u003c/p>\n\u003cp>“And he says, ‘What am I supposed to say to a group of people that already know what I’m going to say?’ And he leaves,” Usman says. “So finally, they finally coax him back. ‘Oh, please don’t leave. We want to hear your wisdom.’ … So he gets up a third time and he says again, ‘How many of you know what I’m going to say?'” Half the crowd raises their hands; the other half doesn’t. “So he says, ‘Well the half that know what I’m going to say should tell the half that don’t know what I’m going to say.’ ”\u003c/p>\n\u003cp>\u003cstrong>‘The Boldest People In The Arab And The Muslim World’\u003c/strong>\u003c/p>\n\u003cp>According to scholar Bruce Lawrence, satirizing yourself and your own community is a tradition in Muslim literature and arts — and so is mocking people in power. “Political satirists are among the boldest people in the Arab and the Muslim world,” he says. Those people include Bassem Youssef, \u003ca href=\"http://www.npr.org/2011/04/15/135444956/egypt-finds-its-own-jon-stewart\">known as Egypt’s Jon Stewart\u003c/a>. Youssef’s satire took aim at politicians and the Muslim Brotherhood, and his show lasted two years before folding under pressure.\u003c/p>\n\u003cp>Lawrence says there’s also a strong tradition of political cartoonists in the Muslim world — cartoonists like Syria’s Ali Farzat, whose hands were broken in retaliation for cartoons that mocked President Bashar Assad. Afterward, according to Lawrence, Farzat “did a cartoon of himself in a hospital bed showing that even with his hands bandaged he could still manage to say some things against the regime.”\u003c/p>\n\u003cp>But Farzat was attacked for his portrayal of politics, not religion. Lawrence says satirizing \u003cem>people\u003c/em> is fine from the perspective of devout Muslims, but not so with religious figures — like God, Muhammad or any other saints or prophets — who are seen as existing on a different plane. And there are many thousands of them, including Adam, Moses and the Virgin Mary.\u003c/p>\n\u003cp>Comic Azhar Usman says sure, maintaining a bright line between what’s holy and what’s profane runs counter to a comedic credo that holds nothing sacred. But is it also fundamentally oppositional to universal values that Westerners hold dear? He says, “I think that that’s the honest discourse that I wish we could have in the world.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Usman says he greets offensive depictions of saints, prophets and God with forgiveness. And he notes that if you harshly judge what counts as satire from a rigid cultural perspective, you’ve learned almost nothing from the \u003cem>Charlie Hebdo\u003c/em> tragedy. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=Satire+In+The+Muslim+World%3A+A+Centuries-Long+Tradition&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10292824/satire-in-the-muslim-world-a-centuries-long-tradition",
"authors": [
"byline_arts_10292824"
],
"categories": [
"arts_235"
],
"tags": [
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_10292830",
"label": "arts_137"
},
"arts_10286277": {
"type": "posts",
"id": "arts_10286277",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10286277",
"score": null,
"sort": [
1420812054000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1420812054,
"format": "standard",
"title": "'Predestination': A Complex Protagonist Walks Into A Bar",
"headTitle": "‘Predestination’: A Complex Protagonist Walks Into A Bar | KQED",
"content": "\u003cp>The sci-fi thriller \u003cem>Predestination\u003c/em> is pretty intriguing when it’s not being a sci-fi thriller. A twisty time-paradox movie in the vein of \u003cem>Minority Report \u003c/em>or \u003cem>Primer\u003c/em>, the film is certainly one of the biggest ever to feature an intersex protagonist. The unnamed character is played as both a man (in the present) and woman (in flashbacks) by the versatile actress Sarah Snook (\u003cem>Jessabelle\u003c/em>), who anchors the story’s choppy rhythms with touching clarity. In the movie’s long middle stretch, in-between some overfamiliar time travel business, the character’s tragic life story unfolds: an intermittently fascinating look at a perpetual outcast who can’t fit in on either side of the gender gap.\u003c/p>\n\u003cp>http://youtu.be/-FcK_UiVV40\u003c/p>\n\u003cp>Not only is the hero nameless; so is the man played by Snook’s co-lead, Ethan Hawke, a time-traveling crimestopper whose job is to make sure that people don’t forget this is supposed to be a hokey sci-fi movie. Hawke’s agent works for one of those paradox-flaunting government agencies that sends people back in time to stop crimes that have already occurred, never mind what new crimes might arise as a result. His target is the Fizzle Bomber, whose projectiles have killed—or will kill, or might kill—thousands of New Yorkers in this movie’s version of 1975. The stakes would seem higher if not for the apparent fact that the government can just send another agent should Hawke screw up.\u003c/p>\n\u003cp>Hawke packs his violin-shaped time machine and jumps to 1975 New York to pose as a bartender, which gives the low-budget film a lot of mileage from one basement bar set. The bartender’s purpose involves Snook’s androgynous depressive, who stops in for a drink and unwinds the dense (too dense, given this movie’s small scope) tale of his past life: assigned female at birth, abandoned at an orphanage as a baby, unaware of her intersex nature, teased in etiquette class, impregnated by a charming stranger, and forced out of the female sex by surgeons after a botched C-section, now self-identifying as a man. And there’s more. If this sounds like excessive plot recap, know that plot is pretty much all the movie has.\u003c/p>\n\u003cp>\u003cem>Predestination\u003c/em> is disorienting, but in a way that suggests narrative chaos rather than narrative control. The film’s mysteries hinge on who Hawke is and who Snook is—information its makers must deliberately withhold by obscuring faces, illustrating only partial flashbacks, that sort of thing. This is the kind of structure that works better in a short story, where authors can skim over visual tells that would bring a film to a halt, and indeed \u003cem>Predestination \u003c/em>is based on one by sci-fi legend Robert Heinlein. The idea was adapted and directed by Australian brothers Michael and Peter Spierig, who previously made the alien/zombie mashup \u003cem>Undead\u003c/em> and \u003cem>Daybreakers\u003c/em>,\u003cem> \u003c/em>an uncommonly stylish vampire flick that turned the formula on its head by making human blood a vanishing resource. \u003cem>Predestination \u003c/em>is a much flatter film than \u003cem>Daybreakers\u003c/em>, but has a distinctive enough concept to be worth a look from genre aficionados. The Spierigs should be commended for continuing to show ambition in their speculative fiction while too many of their peers settle for stagnancy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Snook’s character is simultaneously the film’s biggest asset and its most frustrating demerit. The overwritten voiceover and clunky editing of his backstory undermine the subtleties of the actress’s performance—what’s the point of disguising several layers of grief if they’re about to be spelled out anyway? It’s not surprising the character ghost-writes a newspaper column (ridiculous penname: “The Unmarried Mother”), because his narration is flowery and needlessly expository in the manner of the profession’s worst columnists. His noir-lite banter with Hawke grows old fast, and distracts not only from the story’s emotional core but also from the film’s economy of production design: the orphanage’s rusty period look, the white porcelain gleam of a top-secret space program. When the Spierigs do get around to the sci-fi stuff, they must drastically speed up the film’s pacing and tone in order to squeeze it in. Unfortunate that a movie about time machines has such poor time management skills. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=%27Predestination%27%3A+A+Complex+Protagonist+Walks+Into+A+Bar&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 768,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 7
},
"modified": 1705047762,
"excerpt": "The sci-fi thriller \u003cem>Predestination\u003c/em> does pretty well when it's not working on its sci-fi and thriller elements, but it struggles with a structure more suited to the short story from which it came.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The sci-fi thriller Predestination does pretty well when it's not working on its sci-fi and thriller elements, but it struggles with a structure more suited to the short story from which it came.",
"title": "'Predestination': A Complex Protagonist Walks Into A Bar | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Predestination': A Complex Protagonist Walks Into A Bar",
"datePublished": "2015-01-09T06:00:54-08:00",
"dateModified": "2024-01-12T00:22:42-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "predestination-a-complex-protagonist-walks-into-a-bar",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=375423358&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Andrew Lapin",
"nprStoryDate": "Thu, 08 Jan 2015 17:03:19 -0500",
"nprLastModifiedDate": "Thu, 08 Jan 2015 17:03:19 -0500",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/2015/01/08/375423358/predestination-a-complex-protagonist-walks-into-a-bar?ft=3&f=375423358",
"nprStoryId": "375423358",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 08 Jan 2015 17:03:00 -0500",
"path": "/arts/10286277/predestination-a-complex-protagonist-walks-into-a-bar",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The sci-fi thriller \u003cem>Predestination\u003c/em> is pretty intriguing when it’s not being a sci-fi thriller. A twisty time-paradox movie in the vein of \u003cem>Minority Report \u003c/em>or \u003cem>Primer\u003c/em>, the film is certainly one of the biggest ever to feature an intersex protagonist. The unnamed character is played as both a man (in the present) and woman (in flashbacks) by the versatile actress Sarah Snook (\u003cem>Jessabelle\u003c/em>), who anchors the story’s choppy rhythms with touching clarity. In the movie’s long middle stretch, in-between some overfamiliar time travel business, the character’s tragic life story unfolds: an intermittently fascinating look at a perpetual outcast who can’t fit in on either side of the gender gap.\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/-FcK_UiVV40'\n title='//www.youtube.com/embed/-FcK_UiVV40'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Not only is the hero nameless; so is the man played by Snook’s co-lead, Ethan Hawke, a time-traveling crimestopper whose job is to make sure that people don’t forget this is supposed to be a hokey sci-fi movie. Hawke’s agent works for one of those paradox-flaunting government agencies that sends people back in time to stop crimes that have already occurred, never mind what new crimes might arise as a result. His target is the Fizzle Bomber, whose projectiles have killed—or will kill, or might kill—thousands of New Yorkers in this movie’s version of 1975. The stakes would seem higher if not for the apparent fact that the government can just send another agent should Hawke screw up.\u003c/p>\n\u003cp>Hawke packs his violin-shaped time machine and jumps to 1975 New York to pose as a bartender, which gives the low-budget film a lot of mileage from one basement bar set. The bartender’s purpose involves Snook’s androgynous depressive, who stops in for a drink and unwinds the dense (too dense, given this movie’s small scope) tale of his past life: assigned female at birth, abandoned at an orphanage as a baby, unaware of her intersex nature, teased in etiquette class, impregnated by a charming stranger, and forced out of the female sex by surgeons after a botched C-section, now self-identifying as a man. And there’s more. If this sounds like excessive plot recap, know that plot is pretty much all the movie has.\u003c/p>\n\u003cp>\u003cem>Predestination\u003c/em> is disorienting, but in a way that suggests narrative chaos rather than narrative control. The film’s mysteries hinge on who Hawke is and who Snook is—information its makers must deliberately withhold by obscuring faces, illustrating only partial flashbacks, that sort of thing. This is the kind of structure that works better in a short story, where authors can skim over visual tells that would bring a film to a halt, and indeed \u003cem>Predestination \u003c/em>is based on one by sci-fi legend Robert Heinlein. The idea was adapted and directed by Australian brothers Michael and Peter Spierig, who previously made the alien/zombie mashup \u003cem>Undead\u003c/em> and \u003cem>Daybreakers\u003c/em>,\u003cem> \u003c/em>an uncommonly stylish vampire flick that turned the formula on its head by making human blood a vanishing resource. \u003cem>Predestination \u003c/em>is a much flatter film than \u003cem>Daybreakers\u003c/em>, but has a distinctive enough concept to be worth a look from genre aficionados. The Spierigs should be commended for continuing to show ambition in their speculative fiction while too many of their peers settle for stagnancy.\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>Snook’s character is simultaneously the film’s biggest asset and its most frustrating demerit. The overwritten voiceover and clunky editing of his backstory undermine the subtleties of the actress’s performance—what’s the point of disguising several layers of grief if they’re about to be spelled out anyway? It’s not surprising the character ghost-writes a newspaper column (ridiculous penname: “The Unmarried Mother”), because his narration is flowery and needlessly expository in the manner of the profession’s worst columnists. His noir-lite banter with Hawke grows old fast, and distracts not only from the story’s emotional core but also from the film’s economy of production design: the orphanage’s rusty period look, the white porcelain gleam of a top-secret space program. When the Spierigs do get around to the sci-fi stuff, they must drastically speed up the film’s pacing and tone in order to squeeze it in. Unfortunate that a movie about time machines has such poor time management skills. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=%27Predestination%27%3A+A+Complex+Protagonist+Walks+Into+A+Bar&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10286277/predestination-a-complex-protagonist-walks-into-a-bar",
"authors": [
"byline_arts_10286277"
],
"categories": [
"arts_74"
],
"tags": [
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_10286278",
"label": "arts_137"
},
"arts_10283284": {
"type": "posts",
"id": "arts_10283284",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10283284",
"score": null,
"sort": [
1420667859000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1420667859,
"format": "standard",
"title": "'Charlie Hebdo,' a Magazine of Satire, Mocks Politics, Religion",
"headTitle": "‘Charlie Hebdo,’ a Magazine of Satire, Mocks Politics, Religion | KQED",
"content": "\u003cp>\u003cem>Charlie Hebdo\u003c/em>, the satirical French magazine that was \u003ca href=\"http://www.npr.org/blogs/thetwo-way/2015/01/07/375561888/10-dead-after-shootout-at-satirical-magazines-office-in-paris\" target=\"_blank\" rel=\"noopener\">the target of a deadly attack today\u003c/a>, is part of \u003ca href=\"http://www.bbc.com/news/world-europe-15551998\" target=\"_blank\" rel=\"noopener\">a long tradition of French satire\u003c/a> dating to the days before the French Revolution.\u003c/p>\n\u003cp>The left-wing magazine is known for its biting takedowns. Its past targets include the political right wing, capitalism, Christianity, Judaism and Islam.\u003c/p>\n\u003cp>It most recently came to the world’s attention when \u003ca href=\"http://www.npr.org/blogs/thetwo-way/2012/09/19/161394146/france-on-alert-closing-embassies-after-magazine-publishes-muhammad-cartoons\" target=\"_blank\" rel=\"noopener\">it published cartoons of Islam’s Prophet Muhammad\u003c/a> soon after the deadly 2012 attack on the U.S. consulate in Benghazi that killed Chris Stevens, the U.S. ambassador to Libya. Initially, it was thought that an anti-Islam film had fanned the violence. The magazine, in its cartoons, referred to that film. At the time, editor Stephane Charbonnier said the cartoons would “shock those who want to be shocked.”\u003c/p>\n\u003cp>Many Muslims consider the depiction of their prophet to be blasphemous.\u003c/p>\n\u003cp>A year earlier, \u003cem>Charlie Hebdo’s \u003c/em>\u003ca href=\"http://www.npr.org/blogs/thetwo-way/2011/11/02/141928567/french-newspaper-firebombed-after-satire-involving-prophet-muhammad\" target=\"_blank\" rel=\"noopener\">offices were firebombed\u003c/a> after it published an issue that invited the Prophet Muhammad to be guest editor; the issue included an article about what a soft version of Sharia might look like. The magazine was renamed \u003cem>Charia Hebdo\u003c/em> for the issue, and its cover included an image of the prophet with the line, “A thousand lashes if you don’t die laughing.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The magazine was also part of the controversy over the publication in 2005 by the Danish newspaper \u003cem>Jyllands-Posten\u003c/em> of cartoons depicting Islam’s prophet. The newspaper said the decision to publish the 12 editorial cartoons would contribute to the debate over Islam and free speech. The move resulted in violent protests worldwide and threats against \u003cem>Jyllands-Posten\u003c/em>. In solidarity, \u003cem>Charlie Hebdo \u003c/em>reprinted the 12 cartoons in 2006. Its headline for the feature was “Muhammad Overwhelmed By Fundamentalists.”\u003c/p>\n\u003cp>Jacques Chirac, then-president of France, condemned what he called the magazine’s “overt provocation.” The magazine and then-editor Philippe Val were accused of insulting Muslims, \u003ca href=\"http://news.bbc.co.uk/2/hi/6479673.stm\" target=\"_blank\" rel=\"noopener\">but a French court ultimately ruled\u003c/a> that the cartoons were covered by France’s laws on freedom of expression.\u003c/p>\n\u003cp>The BBC offers a rundown of what else \u003cem>Charlie Hebdo\u003c/em> printed: “Police would be shown holding the dripping heads of immigrants; there would be masturbating nuns; popes wearing condoms — anything to make a point.”\u003c/p>\n\u003cp>The folks over at the \u003ca href=\"http://www.thedailybeast.com/galleries/2011/11/02/charlie-hebdo-french-satire-magazine-s-shocking-covers-photos.html#78cc5a13-e7f3-4428-b0ff-a53e4d42d8f9\" target=\"_blank\" rel=\"noopener\">Daily Beast\u003c/a> have put together a slideshow of some of the magazine’s most controversial covers. You can find that \u003ca href=\"http://www.thedailybeast.com/galleries/2011/11/02/charlie-hebdo-french-satire-magazine-s-shocking-covers-photos.html#78cc5a13-e7f3-4428-b0ff-a53e4d42d8f9\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>The magazine has its roots in the 1960s, when many of its journalists worked at another satirical magazine, called \u003cem>Hara-Kiri\u003c/em>.\u003c/p>\n\u003cp>That magazine was banned after it published \u003ca href=\"http://www.ladepeche.fr/article/2011/11/03/1207143-de-hara-kiri-a-charlie-plus-de-40-ans-de-provocations.html\" target=\"_blank\" rel=\"noopener\">a mocking headline\u003c/a> in 1970 following two events that dominated the news at the time: the death of French President Charles de Gaulle and a fire at a discotheque that killed more than 100 people. In response, its staff started \u003cem>Charlie Hebdo\u003c/em>, the “Charlie” an apparent reference to the character from the Peanuts comic strip, which the magazine printed in its pages.\u003c/p>\n\u003cp>It’s important to note here that the magazine’s influence has gone far beyond its limited circulation. In fact, it has been in financial trouble. Its website \u003ca href=\"http://www.charliehebdo.fr/news/charlie-est-en-danger-107213.html\">noted today\u003c/a> that it needed to find ways to continue to exist.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Financial worries aren’t new. It previously closed in 1981 because it ran out of money. The magazine was revived a decade later and continued publication — with its mixture of polemic wit and satire, offensive or hilarious depending on your point of view — until the attack on its offices today. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=%27Charlie+Hebdo%2C%27+A+Magazine+Of+Satire%2C+Mocks+Politics%2C+Religion&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 617,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 15
},
"modified": 1705047771,
"excerpt": "The publication that was the target of a deadly attack is part of a long tradition of French satire dating to the days before the French Revolution.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The publication that was the target of a deadly attack is part of a long tradition of French satire dating to the days before the French Revolution.",
"title": "'Charlie Hebdo,' a Magazine of Satire, Mocks Politics, Religion | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Charlie Hebdo,' a Magazine of Satire, Mocks Politics, Religion",
"datePublished": "2015-01-07T13:57:39-08:00",
"dateModified": "2024-01-12T00:22:51-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "charlie-hebdo-a-magazine-of-satire-mocks-politics-religion",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=375599183&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Krishnadev Calamur",
"nprStoryDate": "Wed, 07 Jan 2015 10:14:00 -0500",
"nprLastModifiedDate": "Wed, 07 Jan 2015 11:38:21 -0500",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/blogs/thetwo-way/2015/01/07/375599183/charlie-hebdo-a-magazine-of-satire-mocks-politics-religion?ft=3&f=375599183",
"nprStoryId": "375599183",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 07 Jan 2015 11:38:00 -0500",
"path": "/arts/10283284/charlie-hebdo-a-magazine-of-satire-mocks-politics-religion",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Charlie Hebdo\u003c/em>, the satirical French magazine that was \u003ca href=\"http://www.npr.org/blogs/thetwo-way/2015/01/07/375561888/10-dead-after-shootout-at-satirical-magazines-office-in-paris\" target=\"_blank\" rel=\"noopener\">the target of a deadly attack today\u003c/a>, is part of \u003ca href=\"http://www.bbc.com/news/world-europe-15551998\" target=\"_blank\" rel=\"noopener\">a long tradition of French satire\u003c/a> dating to the days before the French Revolution.\u003c/p>\n\u003cp>The left-wing magazine is known for its biting takedowns. Its past targets include the political right wing, capitalism, Christianity, Judaism and Islam.\u003c/p>\n\u003cp>It most recently came to the world’s attention when \u003ca href=\"http://www.npr.org/blogs/thetwo-way/2012/09/19/161394146/france-on-alert-closing-embassies-after-magazine-publishes-muhammad-cartoons\" target=\"_blank\" rel=\"noopener\">it published cartoons of Islam’s Prophet Muhammad\u003c/a> soon after the deadly 2012 attack on the U.S. consulate in Benghazi that killed Chris Stevens, the U.S. ambassador to Libya. Initially, it was thought that an anti-Islam film had fanned the violence. The magazine, in its cartoons, referred to that film. At the time, editor Stephane Charbonnier said the cartoons would “shock those who want to be shocked.”\u003c/p>\n\u003cp>Many Muslims consider the depiction of their prophet to be blasphemous.\u003c/p>\n\u003cp>A year earlier, \u003cem>Charlie Hebdo’s \u003c/em>\u003ca href=\"http://www.npr.org/blogs/thetwo-way/2011/11/02/141928567/french-newspaper-firebombed-after-satire-involving-prophet-muhammad\" target=\"_blank\" rel=\"noopener\">offices were firebombed\u003c/a> after it published an issue that invited the Prophet Muhammad to be guest editor; the issue included an article about what a soft version of Sharia might look like. The magazine was renamed \u003cem>Charia Hebdo\u003c/em> for the issue, and its cover included an image of the prophet with the line, “A thousand lashes if you don’t die laughing.”\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 magazine was also part of the controversy over the publication in 2005 by the Danish newspaper \u003cem>Jyllands-Posten\u003c/em> of cartoons depicting Islam’s prophet. The newspaper said the decision to publish the 12 editorial cartoons would contribute to the debate over Islam and free speech. The move resulted in violent protests worldwide and threats against \u003cem>Jyllands-Posten\u003c/em>. In solidarity, \u003cem>Charlie Hebdo \u003c/em>reprinted the 12 cartoons in 2006. Its headline for the feature was “Muhammad Overwhelmed By Fundamentalists.”\u003c/p>\n\u003cp>Jacques Chirac, then-president of France, condemned what he called the magazine’s “overt provocation.” The magazine and then-editor Philippe Val were accused of insulting Muslims, \u003ca href=\"http://news.bbc.co.uk/2/hi/6479673.stm\" target=\"_blank\" rel=\"noopener\">but a French court ultimately ruled\u003c/a> that the cartoons were covered by France’s laws on freedom of expression.\u003c/p>\n\u003cp>The BBC offers a rundown of what else \u003cem>Charlie Hebdo\u003c/em> printed: “Police would be shown holding the dripping heads of immigrants; there would be masturbating nuns; popes wearing condoms — anything to make a point.”\u003c/p>\n\u003cp>The folks over at the \u003ca href=\"http://www.thedailybeast.com/galleries/2011/11/02/charlie-hebdo-french-satire-magazine-s-shocking-covers-photos.html#78cc5a13-e7f3-4428-b0ff-a53e4d42d8f9\" target=\"_blank\" rel=\"noopener\">Daily Beast\u003c/a> have put together a slideshow of some of the magazine’s most controversial covers. You can find that \u003ca href=\"http://www.thedailybeast.com/galleries/2011/11/02/charlie-hebdo-french-satire-magazine-s-shocking-covers-photos.html#78cc5a13-e7f3-4428-b0ff-a53e4d42d8f9\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>The magazine has its roots in the 1960s, when many of its journalists worked at another satirical magazine, called \u003cem>Hara-Kiri\u003c/em>.\u003c/p>\n\u003cp>That magazine was banned after it published \u003ca href=\"http://www.ladepeche.fr/article/2011/11/03/1207143-de-hara-kiri-a-charlie-plus-de-40-ans-de-provocations.html\" target=\"_blank\" rel=\"noopener\">a mocking headline\u003c/a> in 1970 following two events that dominated the news at the time: the death of French President Charles de Gaulle and a fire at a discotheque that killed more than 100 people. In response, its staff started \u003cem>Charlie Hebdo\u003c/em>, the “Charlie” an apparent reference to the character from the Peanuts comic strip, which the magazine printed in its pages.\u003c/p>\n\u003cp>It’s important to note here that the magazine’s influence has gone far beyond its limited circulation. In fact, it has been in financial trouble. Its website \u003ca href=\"http://www.charliehebdo.fr/news/charlie-est-en-danger-107213.html\">noted today\u003c/a> that it needed to find ways to continue to exist.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Financial worries aren’t new. It previously closed in 1981 because it ran out of money. The magazine was revived a decade later and continued publication — with its mixture of polemic wit and satire, offensive or hilarious depending on your point of view — until the attack on its offices today. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=%27Charlie+Hebdo%2C%27+A+Magazine+Of+Satire%2C+Mocks+Politics%2C+Religion&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10283284/charlie-hebdo-a-magazine-of-satire-mocks-politics-religion",
"authors": [
"byline_arts_10283284"
],
"categories": [
"arts_235",
"arts_70"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_10283299",
"label": "arts_137"
},
"arts_10269946": {
"type": "posts",
"id": "arts_10269946",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10269946",
"score": null,
"sort": [
1420390811000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1420390811,
"format": "standard",
"title": "'Leviathan' and 'Two Days' Look for Oscar Gold",
"headTitle": "‘Leviathan’ and ‘Two Days’ Look for Oscar Gold | KQED",
"content": "\u003cp>The week between Christmas and New Year’s is always a boom time for Hollywood — generally the biggest box office week of the year. It is also a time of Oscar hopefuls, a group that included two foreign-language films in 2014: \u003cem>Two Days, One Night\u003c/em> from Belgium, and Russia’s \u003cem>Leviathan\u003c/em>, both of which tackle social issues through the lens of family.\u003c/p>\n\u003cp>A phone rings at the start of \u003cem>Two Days, One Night\u003c/em>, waking up Sandra with bad news about her job. She’d been sidelined by illness — now, just as she’s ready to come back to the assembly line, the Belgian factory she works at has offered its employees a choice: They can have a year-end bonus, or Sandra can return to her job. Their bonus, her job, their vote. And of 16 employees, 14 have voted for the bonus.\u003c/p>\n\u003cp>“You musn’t cry,” she tells herself, and there is one ray of hope. Because a foreman influenced the vote unfairly, management has scheduled a second vote on Monday. So Sandra has the rest of the weekend — two days and one night — to round up support. As she visits her co-workers at home, her dilemma (which is really their shared dilemma) is clear: In an economic downturn, everyone needs the money. Some turn her down flat. Others are more sympathetic. One bursts into tears the moment Sandra broaches the subject and begs her forgiveness for voting in his own self-interest.\u003c/p>\n\u003cp>The awkwardness, the humiliation and the central unfairness of the position these folks have been put in is what filmmakers Luc and Jean-Pierre Dardenne are exploring in \u003cem>Two Days, One Night\u003c/em> — a slice of pressurized middle-class life they’ve made so real, it feels a bit like a documentary.\u003c/p>\n\u003cp>And that’s despite the fact that for the first time, the filmmakers are working with a major star — Marion Cotillard, who’s previously played Edith Piaf and a glamorous Batman nemesis, but who here more or less disappears into mousy, insecure Sandra. Sandra who is stronger than she realizes, but who is in a really tense spot for every minute of those two days and one night.\u003c/p>\n\u003cfigure id=\"attachment_10269948\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/leviathan-d35b6636123d265dc20befe1dc40780c9b4c95cb-e1420242034129.jpg\" alt=\"Aleksey Serebryakov is Kolya, whose despairing battle against the Russian state is well-lubricated with vodka.\" width=\"640\" height=\"480\" class=\"size-full wp-image-10269948\">\u003cfigcaption class=\"wp-caption-text\">Aleksey Serebryakov is Kolya, whose despairing battle against the Russian state is well-lubricated with vodka.\u003c/figcaption>\u003c/figure>\n\u003cp>The Russian film \u003cem>Leviathan\u003c/em> is also about an individual bucking a system, but you’d be forgiven for thinking that it’s really about vodka. The plot centers on a hot-tempered mechanic named Kolya, who consumes enormous amounts of that most Russian of spirits even when things are going well, and when we meet him, things are not going well. He’s about to lose his waterfront home in a land dispute with the town’s crooked mayor. A hotshot lawyer buddy he has called in from Moscow has a plan involving blackmail, but the two of them are three sheets to the wind when the equally soused mayor shows up with his goons, shouting threats and insults.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Leviathan\u003c/em> is structured as an intimate suspense story, with a Job-like hero on whom all sorts of hell will be visited by an uncaring state. But it’s also a dark social satire of a Russian society that’s plagued by the same bureaucracy, corruption and pretense that were mocked by Chekhov and Gogol a century ago.\u003c/p>\n\u003cp>Scenes that are about to turn catastrophic for Kolya often begin with flat-out comedy. A birthday picnic, for instance, where alcohol will mix badly with machismo, starts with Kolya’s friends using framed photos of old Soviet leaders for target practice. When Kolya asks if they have anyone more recent — nobody says Vladimir Putin, but the implication is clear — he’s told the newer guys should “ripen” on the walls a bit.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All this is heading to a very dark place for Kolya. When things get about as bad as they can, he drunkenly asks a local priest whether having faith could turn things around for him. The priest quotes a line from the book of Job about pulling in Leviathan with a fish hook, but Kolya is not in the mood for biblical riddles, and the filmmakers are saving their most caustic observations about the church for later. The state, meanwhile, remains implacable, dominating a landscape of visual majesty — and enormous sadness. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=%27Leviathan%27+And+%27Two+Days%27+Look+For+Oscar+Gold&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 764,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 11
},
"modified": 1705047789,
"excerpt": "The week between Christmas and the new year often delivers Oscar hopefuls to our screens; NPR's Bob Mondello praises two foreign films that grapple with social issues through the lens of family.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The week between Christmas and the new year often delivers Oscar hopefuls to our screens; NPR's Bob Mondello praises two foreign films that grapple with social issues through the lens of family.",
"title": "'Leviathan' and 'Two Days' Look for Oscar Gold | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Leviathan' and 'Two Days' Look for Oscar Gold",
"datePublished": "2015-01-04T09:00:11-08:00",
"dateModified": "2024-01-12T00:23:09-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "leviathan-and-two-days-look-for-oscar-gold",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=374580556&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Bob Mondello",
"nprStoryDate": "Fri, 02 Jan 2015 15:36:21 -0500",
"nprLastModifiedDate": "Fri, 02 Jan 2015 15:36:21 -0500",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/2015/01/02/374580556/leviathan-and-two-days-look-for-oscar-gold?ft=3&f=374580556",
"nprAudio": "http://pd.npr.org/anon.npr-mp3/npr/atc/2015/01/20150102_atc_leviathan_and_two_days_look_for_oscar_gold.mp3?orgId=1&topicId=4467349&ft=3&f=374580556",
"nprAudioM3u": "http://api.npr.org/m3u/1374621927-7b32b7.m3u?orgId=1&topicId=4467349&ft=3&f=374580556",
"nprStoryId": "374580556",
"nprRetrievedStory": "1",
"nprPubDate": "Fri, 02 Jan 2015 18:23:00 -0500",
"path": "/arts/10269946/leviathan-and-two-days-look-for-oscar-gold",
"audioUrl": "http://pd.npr.org/anon.npr-mp3/npr/atc/2015/01/20150102_atc_leviathan_and_two_days_look_for_oscar_gold.mp3?orgId=1&topicId=4467349&ft=3&f=374580556",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The week between Christmas and New Year’s is always a boom time for Hollywood — generally the biggest box office week of the year. It is also a time of Oscar hopefuls, a group that included two foreign-language films in 2014: \u003cem>Two Days, One Night\u003c/em> from Belgium, and Russia’s \u003cem>Leviathan\u003c/em>, both of which tackle social issues through the lens of family.\u003c/p>\n\u003cp>A phone rings at the start of \u003cem>Two Days, One Night\u003c/em>, waking up Sandra with bad news about her job. She’d been sidelined by illness — now, just as she’s ready to come back to the assembly line, the Belgian factory she works at has offered its employees a choice: They can have a year-end bonus, or Sandra can return to her job. Their bonus, her job, their vote. And of 16 employees, 14 have voted for the bonus.\u003c/p>\n\u003cp>“You musn’t cry,” she tells herself, and there is one ray of hope. Because a foreman influenced the vote unfairly, management has scheduled a second vote on Monday. So Sandra has the rest of the weekend — two days and one night — to round up support. As she visits her co-workers at home, her dilemma (which is really their shared dilemma) is clear: In an economic downturn, everyone needs the money. Some turn her down flat. Others are more sympathetic. One bursts into tears the moment Sandra broaches the subject and begs her forgiveness for voting in his own self-interest.\u003c/p>\n\u003cp>The awkwardness, the humiliation and the central unfairness of the position these folks have been put in is what filmmakers Luc and Jean-Pierre Dardenne are exploring in \u003cem>Two Days, One Night\u003c/em> — a slice of pressurized middle-class life they’ve made so real, it feels a bit like a documentary.\u003c/p>\n\u003cp>And that’s despite the fact that for the first time, the filmmakers are working with a major star — Marion Cotillard, who’s previously played Edith Piaf and a glamorous Batman nemesis, but who here more or less disappears into mousy, insecure Sandra. Sandra who is stronger than she realizes, but who is in a really tense spot for every minute of those two days and one night.\u003c/p>\n\u003cfigure id=\"attachment_10269948\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/leviathan-d35b6636123d265dc20befe1dc40780c9b4c95cb-e1420242034129.jpg\" alt=\"Aleksey Serebryakov is Kolya, whose despairing battle against the Russian state is well-lubricated with vodka.\" width=\"640\" height=\"480\" class=\"size-full wp-image-10269948\">\u003cfigcaption class=\"wp-caption-text\">Aleksey Serebryakov is Kolya, whose despairing battle against the Russian state is well-lubricated with vodka.\u003c/figcaption>\u003c/figure>\n\u003cp>The Russian film \u003cem>Leviathan\u003c/em> is also about an individual bucking a system, but you’d be forgiven for thinking that it’s really about vodka. The plot centers on a hot-tempered mechanic named Kolya, who consumes enormous amounts of that most Russian of spirits even when things are going well, and when we meet him, things are not going well. He’s about to lose his waterfront home in a land dispute with the town’s crooked mayor. A hotshot lawyer buddy he has called in from Moscow has a plan involving blackmail, but the two of them are three sheets to the wind when the equally soused mayor shows up with his goons, shouting threats and insults.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Leviathan\u003c/em> is structured as an intimate suspense story, with a Job-like hero on whom all sorts of hell will be visited by an uncaring state. But it’s also a dark social satire of a Russian society that’s plagued by the same bureaucracy, corruption and pretense that were mocked by Chekhov and Gogol a century ago.\u003c/p>\n\u003cp>Scenes that are about to turn catastrophic for Kolya often begin with flat-out comedy. A birthday picnic, for instance, where alcohol will mix badly with machismo, starts with Kolya’s friends using framed photos of old Soviet leaders for target practice. When Kolya asks if they have anyone more recent — nobody says Vladimir Putin, but the implication is clear — he’s told the newer guys should “ripen” on the walls a bit.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All this is heading to a very dark place for Kolya. When things get about as bad as they can, he drunkenly asks a local priest whether having faith could turn things around for him. The priest quotes a line from the book of Job about pulling in Leviathan with a fish hook, but Kolya is not in the mood for biblical riddles, and the filmmakers are saving their most caustic observations about the church for later. The state, meanwhile, remains implacable, dominating a landscape of visual majesty — and enormous sadness. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=%27Leviathan%27+And+%27Two+Days%27+Look+For+Oscar+Gold&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10269946/leviathan-and-two-days-look-for-oscar-gold",
"authors": [
"byline_arts_10269946"
],
"categories": [
"arts_74"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_10269950",
"label": "arts_137"
},
"arts_10269958": {
"type": "posts",
"id": "arts_10269958",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10269958",
"score": null,
"sort": [
1420257615000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1420257615,
"format": "standard",
"title": "Murder, Cows and Bad Funerals in the Absurd Comedy of 'Li'l Quinquin'",
"headTitle": "Murder, Cows and Bad Funerals in the Absurd Comedy of ‘Li’l Quinquin’ | KQED",
"content": "\u003cp>Although set in Bruno Dumont’s home region of northern France, \u003cem>L’il Quinquin\u003c/em> finds the writer-director in unexpected territory. The film is a arguably Dumont’s first comedy, and was made as a four-part TV miniseries.\u003c/p>\n\u003cp>Yet with its relaxed pacing, inconclusive plot and elegant widescreen cinematography, the movie doesn’t feel much like TV. And its humor is less a matter of overt gags than bemused attitude, which shows that the Dumont of \u003cem>Humanite\u003c/em> and \u003cem>Hors Satan\u003c/em> has barely relocated at all.\u003c/p>\n\u003cp>The story opens with mischievous Quinquin (Alane Delhaye), who looks to be around 10. He’s named for a 19th-century song that’s a sort of anthem for the remaining speakers of Picard, a vanishing language of the region. He sports a hearing aid and the sort of squashed, off-center nose usually seen only on boxers who’ve lost a few matches.\u003c/p>\n\u003cp>That schnoz is just the first of many remarkable physical characteristics. Dumont likes to work with nonprofessional actors, often cast for faces and bodies that exemplify human imperfection. This can verge on the exploitative, notably when the director employs (as he does here) people with obvious mental or neurological limitations.\u003c/p>\n\u003cp>The boy’s nose also suggests the history of violence written everywhere on the local landscape. Quinquin and girlfriend Eve (Lucy Carron) play around the abandoned seaside bunkers of World War II, where the boy searches for leftover bullets and grenades. None of the latter seem to be live, but Quinquin compensates by always being well-supplied with firecrackers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s inside one of the bunkers that a dead cow is found, apparently stuffed with parts of a dismembered local resident. The carcass is lifted from the underground chamber by a helicopter, recalling the opening of \u003cem>La Dolce Vita\u003c/em>, where an airborne statue of Jesus is flown out of Rome.\u003c/p>\n\u003cp>Enter Capt. Van der Weyden (Bernard Pruvost), a police detective. He’s a solemn yet silly figure, with a face for silent cinema. Rumpled and with ever-twitching eyebrows, Van der Weyden resembles a French Colombo, but without any hidden investigative acumen. He’s accompanied by Lt. Carpentier (Philippe Jore), who’s missing several prominent teeth.\u003c/p>\n\u003cp>Carpentier’s abiding passion is getting his patrol car to travel on just two wheels. With his references to literature and painting, Van der Weyden seems the more refined of the two. But he gets people’s attention by firing his gun randomly into the air, much as Quinquin startles bystanders with firecrackers.\u003c/p>\n\u003cp>The story peaks early, with the first homicide and its aftermath, a shambles of a funeral overseen by two inept priests while Quinquin, in altar boy robes, overdoes the incense. Rather than a funeral homily, the mourners hear an English-language pop song warbled by Eve’s older sister, who aspires to TV-talent-show renown.\u003c/p>\n\u003cp>Bodies — both human and bovine, sometimes intermingled — continue to materialize, yet Van der Weyden can’t discern the person or circumstance that connects them. Not that the stalled investigation is the cop’s fault. Dumont clearly has no interest in a standard murder-mystery narrative or a tidy payoff. That’s one reason \u003cem>L’il Quinquin\u003c/em> has been likened to \u003cem>Twin Peaks\u003c/em>.\u003c/p>\n\u003cp>Instead, Dumont stresses such quietly ridiculous details of local life as the importance of the marching band — Eve plays trumpet — and baton corps. More seriously, he turns his attention to racism and xenophobia: One of Quinquin’s self-assigned tasks is terrorizing boys of Arab and African descent.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This is not funny stuff, but then Dumont isn’t after the sort of laughter that makes viewers feel better. His idea of the human comedy remains as grim as it is absurd. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=Murder%2C+Cows+And+Bad+Funerals+In+The+Absurd+Comedy+Of+%27Li%27l+Quinquin%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 656,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 14
},
"modified": 1705047794,
"excerpt": "Bruno Dumont's inconclusively plotted story of a boy crossing paths with detectives and other locals was made as a miniseries, but feels little like traditional television.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Bruno Dumont's inconclusively plotted story of a boy crossing paths with detectives and other locals was made as a miniseries, but feels little like traditional television.",
"title": "Murder, Cows and Bad Funerals in the Absurd Comedy of 'Li'l Quinquin' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Murder, Cows and Bad Funerals in the Absurd Comedy of 'Li'l Quinquin'",
"datePublished": "2015-01-02T20:00:15-08:00",
"dateModified": "2024-01-12T00:23:14-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "murder-cows-and-bad-funerals-in-the-absurd-comedy-of-lil-quinquin",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=374223799&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Mark Jenkins",
"nprStoryDate": "Fri, 02 Jan 2015 10:03:00 -0500",
"nprLastModifiedDate": "Fri, 02 Jan 2015 10:16:00 -0500",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/2015/01/02/374223799/murder-cows-and-bad-funerals-in-the-absurd-comedy-of-lil-quinquin?ft=3&f=374223799",
"nprStoryId": "374223799",
"nprRetrievedStory": "1",
"nprPubDate": "Fri, 02 Jan 2015 10:16:00 -0500",
"path": "/arts/10269958/murder-cows-and-bad-funerals-in-the-absurd-comedy-of-lil-quinquin",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Although set in Bruno Dumont’s home region of northern France, \u003cem>L’il Quinquin\u003c/em> finds the writer-director in unexpected territory. The film is a arguably Dumont’s first comedy, and was made as a four-part TV miniseries.\u003c/p>\n\u003cp>Yet with its relaxed pacing, inconclusive plot and elegant widescreen cinematography, the movie doesn’t feel much like TV. And its humor is less a matter of overt gags than bemused attitude, which shows that the Dumont of \u003cem>Humanite\u003c/em> and \u003cem>Hors Satan\u003c/em> has barely relocated at all.\u003c/p>\n\u003cp>The story opens with mischievous Quinquin (Alane Delhaye), who looks to be around 10. He’s named for a 19th-century song that’s a sort of anthem for the remaining speakers of Picard, a vanishing language of the region. He sports a hearing aid and the sort of squashed, off-center nose usually seen only on boxers who’ve lost a few matches.\u003c/p>\n\u003cp>That schnoz is just the first of many remarkable physical characteristics. Dumont likes to work with nonprofessional actors, often cast for faces and bodies that exemplify human imperfection. This can verge on the exploitative, notably when the director employs (as he does here) people with obvious mental or neurological limitations.\u003c/p>\n\u003cp>The boy’s nose also suggests the history of violence written everywhere on the local landscape. Quinquin and girlfriend Eve (Lucy Carron) play around the abandoned seaside bunkers of World War II, where the boy searches for leftover bullets and grenades. None of the latter seem to be live, but Quinquin compensates by always being well-supplied with firecrackers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s inside one of the bunkers that a dead cow is found, apparently stuffed with parts of a dismembered local resident. The carcass is lifted from the underground chamber by a helicopter, recalling the opening of \u003cem>La Dolce Vita\u003c/em>, where an airborne statue of Jesus is flown out of Rome.\u003c/p>\n\u003cp>Enter Capt. Van der Weyden (Bernard Pruvost), a police detective. He’s a solemn yet silly figure, with a face for silent cinema. Rumpled and with ever-twitching eyebrows, Van der Weyden resembles a French Colombo, but without any hidden investigative acumen. He’s accompanied by Lt. Carpentier (Philippe Jore), who’s missing several prominent teeth.\u003c/p>\n\u003cp>Carpentier’s abiding passion is getting his patrol car to travel on just two wheels. With his references to literature and painting, Van der Weyden seems the more refined of the two. But he gets people’s attention by firing his gun randomly into the air, much as Quinquin startles bystanders with firecrackers.\u003c/p>\n\u003cp>The story peaks early, with the first homicide and its aftermath, a shambles of a funeral overseen by two inept priests while Quinquin, in altar boy robes, overdoes the incense. Rather than a funeral homily, the mourners hear an English-language pop song warbled by Eve’s older sister, who aspires to TV-talent-show renown.\u003c/p>\n\u003cp>Bodies — both human and bovine, sometimes intermingled — continue to materialize, yet Van der Weyden can’t discern the person or circumstance that connects them. Not that the stalled investigation is the cop’s fault. Dumont clearly has no interest in a standard murder-mystery narrative or a tidy payoff. That’s one reason \u003cem>L’il Quinquin\u003c/em> has been likened to \u003cem>Twin Peaks\u003c/em>.\u003c/p>\n\u003cp>Instead, Dumont stresses such quietly ridiculous details of local life as the importance of the marching band — Eve plays trumpet — and baton corps. More seriously, he turns his attention to racism and xenophobia: One of Quinquin’s self-assigned tasks is terrorizing boys of Arab and African descent.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This is not funny stuff, but then Dumont isn’t after the sort of laughter that makes viewers feel better. His idea of the human comedy remains as grim as it is absurd. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=Murder%2C+Cows+And+Bad+Funerals+In+The+Absurd+Comedy+Of+%27Li%27l+Quinquin%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10269958/murder-cows-and-bad-funerals-in-the-absurd-comedy-of-lil-quinquin",
"authors": [
"byline_arts_10269958"
],
"categories": [
"arts_74"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_10269959",
"label": "arts_137"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"radioSearchSegmentsReducer": {},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?affiliate=npr": {
"isFetching": false,
"latestQuery": {
"from": 2328,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 2506,
"relation": "eq"
},
"items": [
"arts_10339326",
"arts_10326056",
"arts_10326051",
"arts_10308924",
"arts_10306887",
"arts_10306881",
"arts_10301001",
"arts_10292824",
"arts_10286277",
"arts_10283284",
"arts_10269946",
"arts_10269958"
],
"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_73": {
"type": "terms",
"id": "arts_73",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "73",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Books",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Books Archives | KQED Arts",
"ogDescription": null
},
"ttid": 74,
"slug": "literature",
"isLoading": false,
"link": "/arts/category/literature"
},
"arts_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_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_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_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_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_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"
}
},
"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
}
}
