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_13951530": {
"type": "attachments",
"id": "arts_13951530",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13951530",
"found": true
},
"parent": 13951529,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986513650_custom-d12ff8ecb904a0b4d4e0f9619ebbc59ef2292633-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986513650_custom-d12ff8ecb904a0b4d4e0f9619ebbc59ef2292633-160x115.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 115
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986513650_custom-d12ff8ecb904a0b4d4e0f9619ebbc59ef2292633-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986513650_custom-d12ff8ecb904a0b4d4e0f9619ebbc59ef2292633-scaled-e1707106163745.jpg",
"width": 1920,
"height": 1378
},
"2048x2048": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986513650_custom-d12ff8ecb904a0b4d4e0f9619ebbc59ef2292633-2048x1469.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1469
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986513650_custom-d12ff8ecb904a0b4d4e0f9619ebbc59ef2292633-1020x732.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 732
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986513650_custom-d12ff8ecb904a0b4d4e0f9619ebbc59ef2292633-1536x1102.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1102
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986513650_custom-d12ff8ecb904a0b4d4e0f9619ebbc59ef2292633-1920x1377.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1377
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986513650_custom-d12ff8ecb904a0b4d4e0f9619ebbc59ef2292633-800x574.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 574
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986513650_custom-d12ff8ecb904a0b4d4e0f9619ebbc59ef2292633-768x551.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 551
}
},
"publishDate": 1707105019,
"modified": 1707106281,
"caption": "During Taylor Swift's acceptance speech for Best Pop Vocal Album for ‘Midnights,’ the singer announced the release of her next album, ‘The Tortured Poets Department.’",
"description": null,
"title": "During Taylor Swift's acceptance speech for Best Pop Vocal Album for ‘Midnights,’ the singer announced the release of her next album, ‘The Tortured Poets Department.’",
"credit": "Kevin Winter/ Getty Images for The Recording Academy",
"status": "inherit",
"altTag": "Taylor Swift on stage clutching a trophy. She is wearing a white flowing gown and long black gloves.",
"isLoading": false,
"fetchFailed": false
},
"arts_13951525": {
"type": "attachments",
"id": "arts_13951525",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13951525",
"found": true
},
"parent": 13951471,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.35.22-PM-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.35.22-PM-160x92.png",
"width": 160,
"mimeType": "image/png",
"height": 92
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.35.22-PM-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.35.22-PM.png",
"width": 1598,
"height": 920
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.35.22-PM-1020x587.png",
"width": 1020,
"mimeType": "image/png",
"height": 587
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.35.22-PM-1536x884.png",
"width": 1536,
"mimeType": "image/png",
"height": 884
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.35.22-PM-800x461.png",
"width": 800,
"mimeType": "image/png",
"height": 461
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.35.22-PM-768x442.png",
"width": 768,
"mimeType": "image/png",
"height": 442
}
},
"publishDate": 1707104148,
"modified": 1707104200,
"caption": "(L-R) Phoebe Bridgers, Lucy Dacus, and Julien Baker of Boygenius.",
"description": null,
"title": "(L-R) Phoebe Bridgers, Lucy Dacus, and Julien Baker of Boygenius.",
"credit": "Kayla Oaddams/ WireImage",
"status": "inherit",
"altTag": "Three young women in matching white suits and red ties.",
"isLoading": false,
"fetchFailed": false
},
"arts_13951375": {
"type": "attachments",
"id": "arts_13951375",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13951375",
"found": true
},
"parent": 13951374,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/mams_s1_ut_1_221003_leedav_00887rc_3000-1-_custom-d2f43ffd85bf865faaabe72d7668eee6c98df82e-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/mams_s1_ut_1_221003_leedav_00887rc_3000-1-_custom-d2f43ffd85bf865faaabe72d7668eee6c98df82e-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/mams_s1_ut_1_221003_leedav_00887rc_3000-1-_custom-d2f43ffd85bf865faaabe72d7668eee6c98df82e-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/mams_s1_ut_1_221003_leedav_00887rc_3000-1-_custom-d2f43ffd85bf865faaabe72d7668eee6c98df82e-scaled-e1706818459378.jpg",
"width": 1920,
"height": 1279
},
"2048x2048": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/mams_s1_ut_1_221003_leedav_00887rc_3000-1-_custom-d2f43ffd85bf865faaabe72d7668eee6c98df82e-2048x1364.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1364
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/mams_s1_ut_1_221003_leedav_00887rc_3000-1-_custom-d2f43ffd85bf865faaabe72d7668eee6c98df82e-1020x679.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 679
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/mams_s1_ut_1_221003_leedav_00887rc_3000-1-_custom-d2f43ffd85bf865faaabe72d7668eee6c98df82e-1536x1023.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1023
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/mams_s1_ut_1_221003_leedav_00887rc_3000-1-_custom-d2f43ffd85bf865faaabe72d7668eee6c98df82e-1920x1279.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1279
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/mams_s1_ut_1_221003_leedav_00887rc_3000-1-_custom-d2f43ffd85bf865faaabe72d7668eee6c98df82e-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/mams_s1_ut_1_221003_leedav_00887rc_3000-1-_custom-d2f43ffd85bf865faaabe72d7668eee6c98df82e-768x511.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 511
}
},
"publishDate": 1706817617,
"modified": 1706818525,
"caption": "Donald Glover and Maya Erskine star as John and Jane in ‘Mr. & Mrs. Smith.’",
"description": null,
"title": "Donald Glover and Maya Erskine star as John and Jane in ‘Mr. & Mrs. Smith.’",
"credit": "David Lee/ Prime Video",
"status": "inherit",
"altTag": "A Black man and Asian woman lie on the floor, face to face and very close.",
"isLoading": false,
"fetchFailed": false
},
"arts_13951301": {
"type": "attachments",
"id": "arts_13951301",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13951301",
"found": true
},
"parent": 13951300,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/gettyimages-1583886894-e742c7b71629fe87512c7a1cf757e74ca3357996-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/gettyimages-1583886894-e742c7b71629fe87512c7a1cf757e74ca3357996-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/gettyimages-1583886894-e742c7b71629fe87512c7a1cf757e74ca3357996-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/gettyimages-1583886894-e742c7b71629fe87512c7a1cf757e74ca3357996-scaled-e1706729221364.jpg",
"width": 1920,
"height": 1440
},
"2048x2048": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/gettyimages-1583886894-e742c7b71629fe87512c7a1cf757e74ca3357996-2048x1536.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1536
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/gettyimages-1583886894-e742c7b71629fe87512c7a1cf757e74ca3357996-1020x765.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 765
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/gettyimages-1583886894-e742c7b71629fe87512c7a1cf757e74ca3357996-1536x1152.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1152
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/gettyimages-1583886894-e742c7b71629fe87512c7a1cf757e74ca3357996-1920x1440.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1440
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/gettyimages-1583886894-e742c7b71629fe87512c7a1cf757e74ca3357996-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/gettyimages-1583886894-e742c7b71629fe87512c7a1cf757e74ca3357996-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
}
},
"publishDate": 1706728878,
"modified": 1706729316,
"caption": "Taylor Swift performs during her Eras Tour at Sofi stadium in Inglewood, August 2023.",
"description": null,
"title": "Taylor Swift performs during her Eras Tour at Sofi stadium in Inglewood, August 2023.",
"credit": "Michael Tran/ AFP via Getty Images",
"status": "inherit",
"altTag": "A woman in a sequined body suit stands on stage singing into a microphone and pointing one arm ahead.",
"isLoading": false,
"fetchFailed": false
},
"arts_13951220": {
"type": "attachments",
"id": "arts_13951220",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13951220",
"found": true
},
"parent": 13951218,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/feud_301_cdfa_082323.new_.01.sub_.11-copy_wide-4e64d9afc6396c953e9c8163e798176d8988347e-1-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/feud_301_cdfa_082323.new_.01.sub_.11-copy_wide-4e64d9afc6396c953e9c8163e798176d8988347e-1-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/feud_301_cdfa_082323.new_.01.sub_.11-copy_wide-4e64d9afc6396c953e9c8163e798176d8988347e-1-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/feud_301_cdfa_082323.new_.01.sub_.11-copy_wide-4e64d9afc6396c953e9c8163e798176d8988347e-1.jpg",
"width": 1412,
"height": 794
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/feud_301_cdfa_082323.new_.01.sub_.11-copy_wide-4e64d9afc6396c953e9c8163e798176d8988347e-1-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/feud_301_cdfa_082323.new_.01.sub_.11-copy_wide-4e64d9afc6396c953e9c8163e798176d8988347e-1-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/feud_301_cdfa_082323.new_.01.sub_.11-copy_wide-4e64d9afc6396c953e9c8163e798176d8988347e-1-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1706640805,
"modified": 1706643063,
"caption": "Naomi Watts plays Babe Paley and Tom Hollander is Truman Capote in ‘Feud: Capote Vs. the Swans.’",
"description": null,
"title": "Naomi Watts plays Babe Paley and Tom Hollander is Truman Capote in ‘Feud: Capote Vs. the Swans.’",
"credit": "FX",
"status": "inherit",
"altTag": "A balding man with glasses wearing a tuxedo reaches out to a woman sitting on a plush couch.",
"isLoading": false,
"fetchFailed": false
},
"arts_13951068": {
"type": "attachments",
"id": "arts_13951068",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13951068",
"found": true
},
"parent": 13951067,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/masters_of_the_air_photo_010402-ec2108b69b89c7f91b792bed70c470ac2fb7cbcb-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/masters_of_the_air_photo_010402-ec2108b69b89c7f91b792bed70c470ac2fb7cbcb-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/masters_of_the_air_photo_010402-ec2108b69b89c7f91b792bed70c470ac2fb7cbcb-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/masters_of_the_air_photo_010402-ec2108b69b89c7f91b792bed70c470ac2fb7cbcb-e1706297936359.jpg",
"width": 1920,
"height": 1439
},
"2048x2048": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/masters_of_the_air_photo_010402-ec2108b69b89c7f91b792bed70c470ac2fb7cbcb-2048x1535.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1535
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/masters_of_the_air_photo_010402-ec2108b69b89c7f91b792bed70c470ac2fb7cbcb-1020x765.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 765
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/masters_of_the_air_photo_010402-ec2108b69b89c7f91b792bed70c470ac2fb7cbcb-1536x1151.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1151
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/masters_of_the_air_photo_010402-ec2108b69b89c7f91b792bed70c470ac2fb7cbcb-1920x1439.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1439
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/masters_of_the_air_photo_010402-ec2108b69b89c7f91b792bed70c470ac2fb7cbcb-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/masters_of_the_air_photo_010402-ec2108b69b89c7f91b792bed70c470ac2fb7cbcb-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
}
},
"publishDate": 1706297166,
"modified": 1706298094,
"caption": "Callum Turner in ‘Masters of the Air.’",
"description": null,
"title": "Callum Turner in ‘Masters of the Air.’",
"credit": "Apple TV+",
"status": "inherit",
"altTag": "A 1940s-era American pilot stands smiling on the tarmac.",
"isLoading": false,
"fetchFailed": false
},
"arts_13950995": {
"type": "attachments",
"id": "arts_13950995",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13950995",
"found": true
},
"parent": 13950994,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/totem-7fbaf43a3632dd149ab8874eceade534f09a8f1e-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/totem-7fbaf43a3632dd149ab8874eceade534f09a8f1e-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/totem-7fbaf43a3632dd149ab8874eceade534f09a8f1e-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/totem-7fbaf43a3632dd149ab8874eceade534f09a8f1e.jpg",
"width": 1043,
"height": 782
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/totem-7fbaf43a3632dd149ab8874eceade534f09a8f1e-1020x765.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 765
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/totem-7fbaf43a3632dd149ab8874eceade534f09a8f1e-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/totem-7fbaf43a3632dd149ab8874eceade534f09a8f1e-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
}
},
"publishDate": 1706216057,
"modified": 1706218162,
"caption": "Naíma Sentíes and Montserrat Marañon in ‘Tótem.’",
"description": null,
"title": "Naíma Sentíes and Montserrat Marañon in Tótem.",
"credit": "Limerencia",
"status": "inherit",
"altTag": "A sickly looking person with a shaved head holds a small girl. The child is smiling.",
"isLoading": false,
"fetchFailed": false
},
"arts_13950975": {
"type": "attachments",
"id": "arts_13950975",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13950975",
"found": true
},
"parent": 13950974,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/xpat_s1_ut_1_210823_wonjup_00000r_3000_custom-417b479d9b288243c80549585532777fd04f1fac-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/xpat_s1_ut_1_210823_wonjup_00000r_3000_custom-417b479d9b288243c80549585532777fd04f1fac-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/xpat_s1_ut_1_210823_wonjup_00000r_3000_custom-417b479d9b288243c80549585532777fd04f1fac-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/xpat_s1_ut_1_210823_wonjup_00000r_3000_custom-417b479d9b288243c80549585532777fd04f1fac-scaled-e1706211747409.jpg",
"width": 1920,
"height": 1281
},
"2048x2048": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/xpat_s1_ut_1_210823_wonjup_00000r_3000_custom-417b479d9b288243c80549585532777fd04f1fac-2048x1366.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1366
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/xpat_s1_ut_1_210823_wonjup_00000r_3000_custom-417b479d9b288243c80549585532777fd04f1fac-1020x680.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 680
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/xpat_s1_ut_1_210823_wonjup_00000r_3000_custom-417b479d9b288243c80549585532777fd04f1fac-1536x1025.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1025
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/xpat_s1_ut_1_210823_wonjup_00000r_3000_custom-417b479d9b288243c80549585532777fd04f1fac-1920x1281.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1281
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/xpat_s1_ut_1_210823_wonjup_00000r_3000_custom-417b479d9b288243c80549585532777fd04f1fac-800x534.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 534
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/xpat_s1_ut_1_210823_wonjup_00000r_3000_custom-417b479d9b288243c80549585532777fd04f1fac-768x512.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 512
}
},
"publishDate": 1706210971,
"modified": 1706211857,
"caption": "Margaret (Nicole Kidman) is an expat American living in Hong Kong, grieving as a mother and a wife.",
"description": null,
"title": "Margaret (Nicole Kidman) is an expat American living in Hong Kong, grieving as a mother and a wife.",
"credit": "Prime Video",
"status": "inherit",
"altTag": "A slender middle aged white woman stands in a quiet dimly lit street. A figure lurks behind her.",
"isLoading": false,
"fetchFailed": false
},
"arts_13939926": {
"type": "attachments",
"id": "arts_13939926",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13939926",
"found": true
},
"parent": 13938158,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-29-at-11.15.23-AM-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-29-at-11.15.23-AM-160x102.png",
"width": 160,
"mimeType": "image/png",
"height": 102
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-29-at-11.15.23-AM-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-29-at-11.15.23-AM.png",
"width": 1804,
"height": 1146
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-29-at-11.15.23-AM-1020x648.png",
"width": 1020,
"mimeType": "image/png",
"height": 648
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-29-at-11.15.23-AM-1536x976.png",
"width": 1536,
"mimeType": "image/png",
"height": 976
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-29-at-11.15.23-AM-800x508.png",
"width": 800,
"mimeType": "image/png",
"height": 508
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-29-at-11.15.23-AM-768x488.png",
"width": 768,
"mimeType": "image/png",
"height": 488
}
},
"publishDate": 1703848567,
"modified": 1706034121,
"caption": "Emma Stone starring as Bella Baxter in ‘Poor Things.’",
"description": null,
"title": "Emma Stone starring as Bella Baxter in ‘Poor Things.’",
"credit": "Searchlight Films",
"status": "inherit",
"altTag": "A pale woman with long black hair stands in side profile before a blue sky.",
"isLoading": false,
"fetchFailed": false
},
"arts_13813029": {
"type": "attachments",
"id": "arts_13813029",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13813029",
"found": true
},
"parent": 13813015,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/10/SR.Fire_.Getty_-520x347.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 347
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/10/SR.Fire_.Getty_-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/10/SR.Fire_.Getty_-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/10/SR.Fire_.Getty_-960x640.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 640
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/10/SR.Fire_.Getty_-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/10/SR.Fire_.Getty_-375x250.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 250
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/10/SR.Fire_.Getty_.jpg",
"width": 1100,
"height": 733
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/10/SR.Fire_.Getty_-1020x680.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 680
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/10/SR.Fire_.Getty_-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/10/SR.Fire_.Getty_-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/10/SR.Fire_.Getty_-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/10/SR.Fire_.Getty_-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/10/SR.Fire_.Getty_-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/10/SR.Fire_.Getty_-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/10/SR.Fire_.Getty_-768x512.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 512
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/10/SR.Fire_.Getty_-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/10/SR.Fire_.Getty_-240x160.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 160
}
},
"publishDate": 1509311551,
"modified": 1509390945,
"caption": "Wildfire rages through trees toward the valley on Oct. 8, 2017.",
"description": "Wildfire creeps through the forest, down Wildfire rages through trees toward the valley on Oct. 8, 2017. ",
"title": "SR.Fire.Getty",
"credit": "David McNew/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13950704": {
"type": "attachments",
"id": "arts_13950704",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13950704",
"found": true
},
"parent": 13950698,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-22-at-10.33.28-AM-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-22-at-10.33.28-AM-160x115.png",
"width": 160,
"mimeType": "image/png",
"height": 115
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-22-at-10.33.28-AM-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-22-at-10.33.28-AM.png",
"width": 1394,
"height": 1000
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-22-at-10.33.28-AM-1020x732.png",
"width": 1020,
"mimeType": "image/png",
"height": 732
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-22-at-10.33.28-AM-800x574.png",
"width": 800,
"mimeType": "image/png",
"height": 574
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-22-at-10.33.28-AM-768x551.png",
"width": 768,
"mimeType": "image/png",
"height": 551
}
},
"publishDate": 1705948426,
"modified": 1705948501,
"caption": "A moment from ‘The Eyes and the Impossible.’",
"description": null,
"title": "A moment from ‘The Eyes and the Impossible.’",
"credit": "Knopf Books for Young Readers",
"status": "inherit",
"altTag": "An illustration of a dog running through the woods.",
"isLoading": false,
"fetchFailed": false
},
"arts_13950650": {
"type": "attachments",
"id": "arts_13950650",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13950650",
"found": true
},
"parent": 13950649,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/itycs-key-still-1-0cd3f1f4b8b171def4b92aebaa527771455c681a-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/itycs-key-still-1-0cd3f1f4b8b171def4b92aebaa527771455c681a-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/itycs-key-still-1-0cd3f1f4b8b171def4b92aebaa527771455c681a-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/itycs-key-still-1-0cd3f1f4b8b171def4b92aebaa527771455c681a-scaled-e1705691735208.jpg",
"width": 1920,
"height": 1440
},
"2048x2048": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/itycs-key-still-1-0cd3f1f4b8b171def4b92aebaa527771455c681a-2048x1536.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1536
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/itycs-key-still-1-0cd3f1f4b8b171def4b92aebaa527771455c681a-1020x765.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 765
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/itycs-key-still-1-0cd3f1f4b8b171def4b92aebaa527771455c681a-1536x1152.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1152
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/itycs-key-still-1-0cd3f1f4b8b171def4b92aebaa527771455c681a-1920x1440.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1440
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/itycs-key-still-1-0cd3f1f4b8b171def4b92aebaa527771455c681a-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/itycs-key-still-1-0cd3f1f4b8b171def4b92aebaa527771455c681a-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
}
},
"publishDate": 1705690048,
"modified": 1705691810,
"caption": "Le Phong Vu plays Thien, a young man looking for answers in the Vietnamese countryside.",
"description": null,
"title": "Le Phong Vu plays Thien, a young man looking for answers in the Vietnamese countryside.",
"credit": "Cercamon",
"status": "inherit",
"altTag": "A man stands framed in the doorway of a church entrance. He is gazing out over green and misty fields.",
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"byline_arts_13951529": {
"type": "authors",
"id": "byline_arts_13951529",
"meta": {
"override": true
},
"slug": "byline_arts_13951529",
"name": "Anastasia Tsioulcas",
"isLoading": false
},
"byline_arts_13951374": {
"type": "authors",
"id": "byline_arts_13951374",
"meta": {
"override": true
},
"slug": "byline_arts_13951374",
"name": "Linda Holmes",
"isLoading": false
},
"byline_arts_13951300": {
"type": "authors",
"id": "byline_arts_13951300",
"meta": {
"override": true
},
"slug": "byline_arts_13951300",
"name": "Neda Ulaby",
"isLoading": false
},
"byline_arts_13951218": {
"type": "authors",
"id": "byline_arts_13951218",
"meta": {
"override": true
},
"slug": "byline_arts_13951218",
"name": "David Bianculli",
"isLoading": false
},
"byline_arts_13951067": {
"type": "authors",
"id": "byline_arts_13951067",
"meta": {
"override": true
},
"slug": "byline_arts_13951067",
"name": "David Bianculli",
"isLoading": false
},
"byline_arts_13950994": {
"type": "authors",
"id": "byline_arts_13950994",
"meta": {
"override": true
},
"slug": "byline_arts_13950994",
"name": "John Powers",
"isLoading": false
},
"byline_arts_13950974": {
"type": "authors",
"id": "byline_arts_13950974",
"meta": {
"override": true
},
"slug": "byline_arts_13950974",
"name": "Linda Holmes",
"isLoading": false
},
"byline_arts_13950768": {
"type": "authors",
"id": "byline_arts_13950768",
"meta": {
"override": true
},
"slug": "byline_arts_13950768",
"name": "Linda Holmes",
"isLoading": false
},
"byline_arts_13950717": {
"type": "authors",
"id": "byline_arts_13950717",
"meta": {
"override": true
},
"slug": "byline_arts_13950717",
"name": "Kristen Martin",
"isLoading": false
},
"byline_arts_13950698": {
"type": "authors",
"id": "byline_arts_13950698",
"meta": {
"override": true
},
"slug": "byline_arts_13950698",
"name": "Anastasia Tsioulcas",
"isLoading": false
},
"byline_arts_13950649": {
"type": "authors",
"id": "byline_arts_13950649",
"meta": {
"override": true
},
"slug": "byline_arts_13950649",
"name": "Justin Chang",
"isLoading": false
},
"kqedarts": {
"type": "authors",
"id": "92",
"meta": {
"index": "authors_1716337520",
"id": "92",
"found": true
},
"name": "KQED Arts",
"firstName": "KQED",
"lastName": "Arts",
"slug": "kqedarts",
"email": "arts@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Staff",
"bio": null,
"avatar": "https://secure.gravatar.com/avatar/321c9ebfeb7736f9e55366a6d3399ab0?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": "https://www.instagram.com/kqed_arts/",
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"contributor"
]
},
{
"site": "pop",
"roles": [
"contributor"
]
},
{
"site": "science",
"roles": [
"author"
]
},
{
"site": "food",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "KQED Arts | KQED",
"description": "KQED Staff",
"ogImgSrc": "https://secure.gravatar.com/avatar/321c9ebfeb7736f9e55366a6d3399ab0?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/321c9ebfeb7736f9e55366a6d3399ab0?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/kqedarts"
}
},
"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": 32
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?affiliate=npr",
"seeMore": false,
"paginated": true,
"page": 32
}
},
{
"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_13951529": {
"type": "posts",
"id": "arts_13951529",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13951529",
"score": null,
"sort": [
1707106661000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1707106661,
"format": "standard",
"title": "At the 2024 Grammys, Taylor Swift and Tracy Chapman Offer Surprises",
"headTitle": "At the 2024 Grammys, Taylor Swift and Tracy Chapman Offer Surprises | KQED",
"content": "\u003cp>From blockbuster concert events like Beyoncé’s \u003cem>RENAISSANCE\u003c/em> and Taylor Swift’s \u003cem>Eras\u003c/em> tour, to the massive hit in Greta Gerwig’s \u003cem>Barbie\u003c/em>, 2023 was “\u003ca href=\"https://www.kqed.org/arts/13933011/taylor-swift-beyonce-barbie-greta-gerwig-margot-robbie-summer-2023\">the year of the girl.\u003c/a>” That streak continued at the 66th Grammy Awards, with young women artists who made their mark on the pop charts this past year dominating the major categories.\u003c/p>\n\u003cp>Seven out of eight artists \u003ca href=\"https://www.npr.org/2024/02/04/1228452956/here-are-the-2024-grammy-award-winners\">nominated for\u003c/a> the album of the year category are for albums by women artists under the age of 40: the rock group boygenius, Miley Cyrus, Lana Del Rey, Janelle Monáe, Olivia Rodrigo, Taylor Swift and SZA.\u003c/p>\n\u003cp>[aside postid='arts_13951471']The outlier in that group is five-time Grammy winner Jon Batiste, who is nominated for six awards tonight and who took home the album of the year trophy in 2022 for \u003cem>We Are\u003c/em>. But the category’s inclusion of women artists across the pop and R&B spectrum stands in stark contrast to candidates nominated last year, which included Latin pop star Bad Bunny, rock band Coldplay and a win by Harry Styles’ \u003cem>Harry’s House \u003c/em>over Beyoncé’s \u003cem>RENAISSANCE\u003c/em>.\u003c/p>\n\u003cp>Tonight’s main event, hosted by comedian Trevor Noah, opened with a medley of two new songs performed by Dua Lipa — her recent single “Houdini” and the unreleased “Training Season,” both from her forthcoming studio album — sandwiching a snippet from her song from the \u003cem>Barbie\u003c/em> soundtrack, “Dance the Night.”\u003c/p>\n\u003cp>In the first televised award presentation of the evening, Miley Cyrus won best pop solo performance for her song “Flowers.” As she noted a few minutes later during a raucous performance of the hit, it was her first-ever Grammy win. Cyrus took full advantage of the spotlight during the performance, ribbing the audience for not singing along to the song more at the start, and throwing her mic down at its end.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gzlpHYXIzdY\u003c/p>\n\u003cp>Never one to be upstaged, Taylor Swift took her turn at the spotlight — while accepting her 13th career Grammy, this time for best pop vocal album — to let the audience and her fans in on a secret: she has a new album on the way, \u003cem>The Tortured Poets Department\u003c/em>, dropping April 19.\u003c/p>\n\u003cp>[aside postid='arts_13951430']The Grammys are notable (or infamous) for their unlikely live collaborations, but one of the most hotly anticipated joint performances of this year was Luke Combs and Tracy Chapman’s duet on Chapman’s song “Fast Car,” which Combs has brought back into the public eye. Chapman, who performed the song at the Grammys 35 years ago, when it was nominated for record and song of the year and she won best new artist along with two other prizes, was not announced as a performer.\u003c/p>\n\u003cp>Colombian singer and songwriter Karol G took home the award for best musica urbana album, for her album\u003cem>Mañana Será Bonito\u003c/em>. “This is my first time at the Grammys, and this is my first time holding my own,” Karol G said during her acceptance speech.\u003c/p>\n\u003cp>SZA performed a duet of two of her hits: “Snooze” and “Kill Bill,” the first with a stage set featuring a literal dumpster fire, and the second with references to Quentin Tarantino’s films of the same name. Later, she won the Grammy for best R&B song for “Snooze,” thanking her family and team. “You don’t understand, I came really, really far, and it feels very fake,” she said during her emotional speech. “I’m not a very attractive crier.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FMKQIgh85Kk\u003c/p>\n\u003cp>Billie Eilish performed her song “What Was I Made For?” from the \u003cem>Barbie\u003c/em> soundtrack, which beat out three other cuts from the soundtrack (Dua Lipa’s “Dance the Night,” Ryan Gosling’s “I’m Just Ken,” and Nicki Minaj and Ice Spice’s “Barbie World”) to win the Grammy for best song written for visual media earlier in the night. ”\u003c/p>\n\u003cp>Since there are actually 94 Grammy categories, most awards are presented hours before the televised ceremony. Among the winners in that pre-telecast ceremony were boygenius, the indie supergroup composed of singer-songwriters Lucy Dacus, Julien Baker and Phoebe Bridgers, who took home three awards for best rock song, best rock performance and best alternative music album for its release \u003cem>the record\u003c/em>. SZA, nominated for nine Grammys, the most of any artist, earned her first two in the best progressive R&B and best pop duo/group performance categories, the latter for “Ghost In The Machine,” featuring boygenius member Bridgers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Killer Mike’s solo autobiographical album, \u003cem>Michael\u003c/em>, and his first in more than a decade, won in three of the four rap categories, taking home best rap performance, best rap song and best rap album. The rapper was handcuffed and escorted out of the venue by police shortly before the televised ceremony, according to \u003ca href=\"https://variety.com/2024/music/news/killer-mike-grammys-handcuffs-1235897372/#recipient_hashed=d0fb2ac9319a8fb7706ab82ce78458eb2dfd3070a4bcba67337ace27f83e7f94&recipient_salt=118e54f0cf77b06b8ed467582be14fb86e395ab39cc76a7c88524fc23b243123\">a report\u003c/a> in \u003cem>Variety\u003c/em>. When reached by NPR, the LAPD did not provide more information about reports of the arrest.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=At+the+2024+Grammys%2C+Tracy+Chapman+and+Taylor+Swift+offer+surprises&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 895,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 14
},
"modified": 1707106661,
"excerpt": "Energetic performances and wins by women dominated the 66th Grammy Awards. ",
"headData": {
"twImgId": "",
"twTitle": "At the 2024 Grammys, Taylor Swift and Tracy Chapman Offer Surprises",
"socialTitle": "Taylor Swift Announces New Album at the Grammys %%page%% %%sep%% KQED",
"ogTitle": "At the 2024 Grammys, Taylor Swift and Tracy Chapman Offer Surprises",
"ogImgId": "",
"twDescription": "",
"description": "Energetic performances and wins by women dominated the 66th Grammy Awards. ",
"title": "Taylor Swift Announces New Album at the Grammys | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "At the 2024 Grammys, Taylor Swift and Tracy Chapman Offer Surprises",
"datePublished": "2024-02-04T20:17:41-08:00",
"dateModified": "2024-02-04T20:17:41-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "grammy-awards-2024-taylor-swift-new-album",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1228748198&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Sun, 04 Feb 2024 22:03:14 -0500",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Sun, 04 Feb 2024 22:03:14 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2024/02/04/1228748198/2024-grammy-awards-winners-performances?ft=nprml&f=1228748198",
"nprImageAgency": "Getty Images for The Recording Academy",
"nprStoryId": "1228748198",
"nprByline": "Anastasia Tsioulcas",
"sticky": false,
"nprImageCredit": "Kevin Winter",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"nprRetrievedStory": "1",
"nprPubDate": "Sun, 04 Feb 2024 22:03:00 -0500",
"path": "/arts/13951529/grammy-awards-2024-taylor-swift-new-album",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>From blockbuster concert events like Beyoncé’s \u003cem>RENAISSANCE\u003c/em> and Taylor Swift’s \u003cem>Eras\u003c/em> tour, to the massive hit in Greta Gerwig’s \u003cem>Barbie\u003c/em>, 2023 was “\u003ca href=\"https://www.kqed.org/arts/13933011/taylor-swift-beyonce-barbie-greta-gerwig-margot-robbie-summer-2023\">the year of the girl.\u003c/a>” That streak continued at the 66th Grammy Awards, with young women artists who made their mark on the pop charts this past year dominating the major categories.\u003c/p>\n\u003cp>Seven out of eight artists \u003ca href=\"https://www.npr.org/2024/02/04/1228452956/here-are-the-2024-grammy-award-winners\">nominated for\u003c/a> the album of the year category are for albums by women artists under the age of 40: the rock group boygenius, Miley Cyrus, Lana Del Rey, Janelle Monáe, Olivia Rodrigo, Taylor Swift and SZA.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13951471",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The outlier in that group is five-time Grammy winner Jon Batiste, who is nominated for six awards tonight and who took home the album of the year trophy in 2022 for \u003cem>We Are\u003c/em>. But the category’s inclusion of women artists across the pop and R&B spectrum stands in stark contrast to candidates nominated last year, which included Latin pop star Bad Bunny, rock band Coldplay and a win by Harry Styles’ \u003cem>Harry’s House \u003c/em>over Beyoncé’s \u003cem>RENAISSANCE\u003c/em>.\u003c/p>\n\u003cp>Tonight’s main event, hosted by comedian Trevor Noah, opened with a medley of two new songs performed by Dua Lipa — her recent single “Houdini” and the unreleased “Training Season,” both from her forthcoming studio album — sandwiching a snippet from her song from the \u003cem>Barbie\u003c/em> soundtrack, “Dance the Night.”\u003c/p>\n\u003cp>In the first televised award presentation of the evening, Miley Cyrus won best pop solo performance for her song “Flowers.” As she noted a few minutes later during a raucous performance of the hit, it was her first-ever Grammy win. Cyrus took full advantage of the spotlight during the performance, ribbing the audience for not singing along to the song more at the start, and throwing her mic down at its end.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/gzlpHYXIzdY'\n title='//www.youtube.com/embed/gzlpHYXIzdY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Never one to be upstaged, Taylor Swift took her turn at the spotlight — while accepting her 13th career Grammy, this time for best pop vocal album — to let the audience and her fans in on a secret: she has a new album on the way, \u003cem>The Tortured Poets Department\u003c/em>, dropping April 19.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13951430",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The Grammys are notable (or infamous) for their unlikely live collaborations, but one of the most hotly anticipated joint performances of this year was Luke Combs and Tracy Chapman’s duet on Chapman’s song “Fast Car,” which Combs has brought back into the public eye. Chapman, who performed the song at the Grammys 35 years ago, when it was nominated for record and song of the year and she won best new artist along with two other prizes, was not announced as a performer.\u003c/p>\n\u003cp>Colombian singer and songwriter Karol G took home the award for best musica urbana album, for her album\u003cem>Mañana Será Bonito\u003c/em>. “This is my first time at the Grammys, and this is my first time holding my own,” Karol G said during her acceptance speech.\u003c/p>\n\u003cp>SZA performed a duet of two of her hits: “Snooze” and “Kill Bill,” the first with a stage set featuring a literal dumpster fire, and the second with references to Quentin Tarantino’s films of the same name. Later, she won the Grammy for best R&B song for “Snooze,” thanking her family and team. “You don’t understand, I came really, really far, and it feels very fake,” she said during her emotional speech. “I’m not a very attractive crier.”\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/FMKQIgh85Kk'\n title='//www.youtube.com/embed/FMKQIgh85Kk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Billie Eilish performed her song “What Was I Made For?” from the \u003cem>Barbie\u003c/em> soundtrack, which beat out three other cuts from the soundtrack (Dua Lipa’s “Dance the Night,” Ryan Gosling’s “I’m Just Ken,” and Nicki Minaj and Ice Spice’s “Barbie World”) to win the Grammy for best song written for visual media earlier in the night. ”\u003c/p>\n\u003cp>Since there are actually 94 Grammy categories, most awards are presented hours before the televised ceremony. Among the winners in that pre-telecast ceremony were boygenius, the indie supergroup composed of singer-songwriters Lucy Dacus, Julien Baker and Phoebe Bridgers, who took home three awards for best rock song, best rock performance and best alternative music album for its release \u003cem>the record\u003c/em>. SZA, nominated for nine Grammys, the most of any artist, earned her first two in the best progressive R&B and best pop duo/group performance categories, the latter for “Ghost In The Machine,” featuring boygenius member Bridgers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Killer Mike’s solo autobiographical album, \u003cem>Michael\u003c/em>, and his first in more than a decade, won in three of the four rap categories, taking home best rap performance, best rap song and best rap album. The rapper was handcuffed and escorted out of the venue by police shortly before the televised ceremony, according to \u003ca href=\"https://variety.com/2024/music/news/killer-mike-grammys-handcuffs-1235897372/#recipient_hashed=d0fb2ac9319a8fb7706ab82ce78458eb2dfd3070a4bcba67337ace27f83e7f94&recipient_salt=118e54f0cf77b06b8ed467582be14fb86e395ab39cc76a7c88524fc23b243123\">a report\u003c/a> in \u003cem>Variety\u003c/em>. When reached by NPR, the LAPD did not provide more information about reports of the arrest.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=At+the+2024+Grammys%2C+Tracy+Chapman+and+Taylor+Swift+offer+surprises&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13951529/grammy-awards-2024-taylor-swift-new-album",
"authors": [
"byline_arts_13951529"
],
"categories": [
"arts_1",
"arts_69",
"arts_75"
],
"tags": [
"arts_9943",
"arts_8417",
"arts_1685",
"arts_3026"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13951530",
"label": "arts_137"
},
"arts_13951471": {
"type": "posts",
"id": "arts_13951471",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13951471",
"score": null,
"sort": [
1707104629000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1707104629,
"format": "aside",
"title": "Red Carpet Looks From the 2024 Grammy Awards",
"headTitle": "Red Carpet Looks From the 2024 Grammy Awards | KQED",
"content": "\u003cp>The 66th annual Grammy Award show is in full swing. Trevor Noah is hosting for his fourth consecutive year at Crypto.com Arena in Los Angeles, CA. Some big names are attending including SZA, who has nine nominations for her album \u003cem>SOS\u003c/em>, as well as Victoria Monét, Phoebe Bridgers, Taylor Swift and more.\u003c/p>\n\u003cp>A number of artists will perform live during the show. Joni Mitchell, a nominee tonight and a nine Grammy award winner, will be performing at the show tonight for the first time. Her live album \u003cem>Joni Mitchell in Newport\u003c/em> is up for best folk album.\u003c/p>\n\u003cp>Here are some of the most memorable looks of the night.\u003c/p>\n\u003cfigure id=\"attachment_13951526\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951526\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-scaled.jpg\" alt=\"A white woman in a high cut white flowing gown and long black gloves.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift. \u003ccite>(Jeff Kravitz/ FilmMagic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951473\" class=\"wp-caption aligncenter\" style=\"max-width: 1710px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951473\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-scaled.jpg\" alt=\"A Black man in a green suit and a Black woman in a tight rose gold gown stand on the red carpet. The woman is holding a small child.\" width=\"1710\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-scaled.jpg 1710w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-800x1198.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-1020x1527.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-768x1150.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-1026x1536.jpg 1026w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-1368x2048.jpg 1368w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-1920x2874.jpg 1920w\" sizes=\"(max-width: 1710px) 100vw, 1710px\">\u003cfigcaption class=\"wp-caption-text\">John Gaines, Victoria Monét, and Hazel Monét Gaines. \u003ccite>(Kayla Oaddams/ WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951502\" class=\"wp-caption aligncenter\" style=\"max-width: 864px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951502\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.33.54-PM.png\" alt=\"A Black woman strikes a pose in a plunging PVC and silver gown.\" width=\"864\" height=\"1316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.33.54-PM.png 864w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.33.54-PM-800x1219.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.33.54-PM-160x244.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.33.54-PM-768x1170.png 768w\" sizes=\"(max-width: 864px) 100vw, 864px\">\u003cfigcaption class=\"wp-caption-text\">Janelle Monae. \u003ccite>(Matt Winkelmeyer/Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951503\" class=\"wp-caption aligncenter\" style=\"max-width: 862px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951503\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.35.36-PM.png\" alt=\"A tattooed woman stands in a sheer skin toned gown in the red carpet. She is looking over her shoulder.\" width=\"862\" height=\"1326\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.35.36-PM.png 862w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.35.36-PM-800x1231.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.35.36-PM-160x246.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.35.36-PM-768x1181.png 768w\" sizes=\"(max-width: 862px) 100vw, 862px\">\u003cfigcaption class=\"wp-caption-text\">Doja Cat. \u003ccite>(Jordan Strauss/ Invision/ AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951504\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951504\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-scaled.jpg\" alt=\"A woman with cascading dark hair stands on the red carpet wearing a tight white gown.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Olivia Rodrigo. \u003ccite>(Kayla Oaddams/ WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951505\" class=\"wp-caption aligncenter\" style=\"max-width: 860px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951505\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.40.39-PM.png\" alt=\"A woman with big hair stands on the red carpet in a gold sheer gown.\" width=\"860\" height=\"1298\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.40.39-PM.png 860w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.40.39-PM-800x1207.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.40.39-PM-160x241.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.40.39-PM-768x1159.png 768w\" sizes=\"(max-width: 860px) 100vw, 860px\">\u003cfigcaption class=\"wp-caption-text\">Miley Cyrus. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951476\" class=\"wp-caption aligncenter\" style=\"max-width: 1818px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951476\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-scaled.jpg\" alt=\"A slender blond woman in a black and silver dress and a bald man in black suit and sunglasses stand on the red carpet with two young girls in black dresses.\" width=\"1818\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-scaled.jpg 1818w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-800x1126.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-1020x1436.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-160x225.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-768x1081.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-1091x1536.jpg 1091w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-1455x2048.jpg 1455w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-1920x2703.jpg 1920w\" sizes=\"(max-width: 1818px) 100vw, 1818px\">\u003cfigcaption class=\"wp-caption-text\">Alexis Roderick, Billy Joel, Della Joel and Remy Joel \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951506\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951506\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-scaled.jpg\" alt=\"A young woman with red and black hair stands on the red carpet wearing oversized black pants and a bomber jacket.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Billie Eilish. \u003ccite>(Kayla Oaddams/ WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951507\" class=\"wp-caption aligncenter\" style=\"max-width: 866px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951507\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.48.15-PM.png\" alt=\"A smiling Black woman wearing a plunging silver gown.\" width=\"866\" height=\"1228\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.48.15-PM.png 866w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.48.15-PM-800x1134.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.48.15-PM-160x227.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.48.15-PM-768x1089.png 768w\" sizes=\"(max-width: 866px) 100vw, 866px\">\u003cfigcaption class=\"wp-caption-text\">Coco Jones. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951478\" class=\"wp-caption aligncenter\" style=\"max-width: 1871px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951478\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-scaled.jpg\" alt=\"A woman with long red hair wearing a plunging silver and sheer dress.\" width=\"1871\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-scaled.jpg 1871w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-800x1094.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-1020x1395.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-160x219.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-768x1051.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-1123x1536.jpg 1123w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-1497x2048.jpg 1497w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-1920x2627.jpg 1920w\" sizes=\"(max-width: 1871px) 100vw, 1871px\">\u003cfigcaption class=\"wp-caption-text\">Dua Lipa. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951508\" class=\"wp-caption aligncenter\" style=\"max-width: 862px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951508\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.52.14-PM.png\" alt=\"A smiling man in an all black tudedo.\" width=\"862\" height=\"1284\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.52.14-PM.png 862w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.52.14-PM-800x1192.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.52.14-PM-160x238.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.52.14-PM-768x1144.png 768w\" sizes=\"(max-width: 862px) 100vw, 862px\">\u003cfigcaption class=\"wp-caption-text\">Noah Kahan. \u003ccite>(Matt Winkelmeyer/Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951509\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951509\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-scaled.jpg\" alt=\"Three young women in matching white suits and red ties.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Phoebe Bridgers, Lucy Dacus, and Julien Baker of Boygenius. \u003ccite>(Kayla Oaddams/ WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951480\" class=\"wp-caption aligncenter\" style=\"max-width: 1804px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951480\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-scaled.jpg\" alt=\"A man in an embroidered suit and a woman in a shiny pale blue gown.\" width=\"1804\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-scaled.jpg 1804w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-800x1135.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-1020x1448.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-160x227.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-768x1090.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-1082x1536.jpg 1082w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-1443x2048.jpg 1443w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-1920x2725.jpg 1920w\" sizes=\"(max-width: 1804px) 100vw, 1804px\">\u003cfigcaption class=\"wp-caption-text\">Peso Pluma and Nicki Nicole. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951510\" class=\"wp-caption aligncenter\" style=\"max-width: 864px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951510\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.57.45-PM.png\" alt=\"A young white women stands smiling in a cropped corset and black skirt.\" width=\"864\" height=\"1326\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.57.45-PM.png 864w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.57.45-PM-800x1228.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.57.45-PM-160x246.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.57.45-PM-768x1179.png 768w\" sizes=\"(max-width: 864px) 100vw, 864px\">\u003cfigcaption class=\"wp-caption-text\">Gracie Abrams. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951511\" class=\"wp-caption aligncenter\" style=\"max-width: 860px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951511\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.59.58-PM.png\" alt=\"A man in a brown elaborately patterned suit stands with a woman in a high cut silver gown.\" width=\"860\" height=\"1218\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.59.58-PM.png 860w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.59.58-PM-800x1133.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.59.58-PM-160x227.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.59.58-PM-768x1088.png 768w\" sizes=\"(max-width: 860px) 100vw, 860px\">\u003cfigcaption class=\"wp-caption-text\">Calvin Harris and Vick Hope. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951512\" class=\"wp-caption aligncenter\" style=\"max-width: 864px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951512\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.02.17-PM.png\" alt=\"A woman with long brown hair poses in a sheer, very frilled skirt and pink top.\" width=\"864\" height=\"1170\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.02.17-PM.png 864w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.02.17-PM-800x1083.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.02.17-PM-160x217.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.02.17-PM-768x1040.png 768w\" sizes=\"(max-width: 864px) 100vw, 864px\">\u003cfigcaption class=\"wp-caption-text\">Paty Cantu. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951484\" class=\"wp-caption aligncenter\" style=\"max-width: 1684px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951484\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-scaled.jpg\" alt=\"A man in a neon yellow suit and a woman in a lilac fitted gown.\" width=\"1684\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-scaled.jpg 1684w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-800x1216.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-1020x1551.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-768x1167.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-1010x1536.jpg 1010w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-1347x2048.jpg 1347w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-1920x2919.jpg 1920w\" sizes=\"(max-width: 1684px) 100vw, 1684px\">\u003cfigcaption class=\"wp-caption-text\">Michael Trotter Jr. and Tanya Trotter. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951513\" class=\"wp-caption aligncenter\" style=\"max-width: 860px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951513\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.05.54-PM.png\" alt=\"A man in a patchwork suit.\" width=\"860\" height=\"1294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.05.54-PM.png 860w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.05.54-PM-800x1204.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.05.54-PM-160x241.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.05.54-PM-768x1156.png 768w\" sizes=\"(max-width: 860px) 100vw, 860px\">\u003cfigcaption class=\"wp-caption-text\">Ed Sheeran. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951486\" class=\"wp-caption aligncenter\" style=\"max-width: 1690px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951486\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986220436_custom-37a30414683ff4ae216933a6548d857329336365.jpg\" alt=\"A striking woman in a white gown with oversized collar.\" width=\"1690\" height=\"2452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986220436_custom-37a30414683ff4ae216933a6548d857329336365.jpg 1690w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986220436_custom-37a30414683ff4ae216933a6548d857329336365-800x1161.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986220436_custom-37a30414683ff4ae216933a6548d857329336365-1020x1480.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986220436_custom-37a30414683ff4ae216933a6548d857329336365-160x232.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986220436_custom-37a30414683ff4ae216933a6548d857329336365-768x1114.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986220436_custom-37a30414683ff4ae216933a6548d857329336365-1059x1536.jpg 1059w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986220436_custom-37a30414683ff4ae216933a6548d857329336365-1412x2048.jpg 1412w\" sizes=\"(max-width: 1690px) 100vw, 1690px\">\u003cfigcaption class=\"wp-caption-text\">Kat Graham. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951514\" class=\"wp-caption aligncenter\" style=\"max-width: 864px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951514\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.08.22-PM.png\" alt=\"A Black woman with a lip piercing and cropped hair stands in a silver and black gown.\" width=\"864\" height=\"1194\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.08.22-PM.png 864w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.08.22-PM-800x1106.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.08.22-PM-160x221.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.08.22-PM-768x1061.png 768w\" sizes=\"(max-width: 864px) 100vw, 864px\">\u003cfigcaption class=\"wp-caption-text\">Fantasia Barrino. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951515\" class=\"wp-caption aligncenter\" style=\"max-width: 862px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951515\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.10.10-PM.png\" alt=\"Two Black men wearing sunglasses and oversized shirts and pants stand side by side. One of them has a small boy at his side.\" width=\"862\" height=\"1216\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.10.10-PM.png 862w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.10.10-PM-800x1129.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.10.10-PM-160x226.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.10.10-PM-768x1083.png 768w\" sizes=\"(max-width: 862px) 100vw, 862px\">\u003cfigcaption class=\"wp-caption-text\">Big Hit and Hit-Boy. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951516\" class=\"wp-caption aligncenter\" style=\"max-width: 864px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951516\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.12.10-PM.png\" alt=\"A Black man wearing a shiny black Versace suit and sunglasses.\" width=\"864\" height=\"1178\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.12.10-PM.png 864w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.12.10-PM-800x1091.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.12.10-PM-160x218.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.12.10-PM-768x1047.png 768w\" sizes=\"(max-width: 864px) 100vw, 864px\">\u003cfigcaption class=\"wp-caption-text\">Babyface. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951517\" class=\"wp-caption aligncenter\" style=\"max-width: 862px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951517\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.14.02-PM.png\" alt=\"A woman in a beige hat and cascading multicolor dress.\" width=\"862\" height=\"1238\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.14.02-PM.png 862w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.14.02-PM-800x1149.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.14.02-PM-160x230.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.14.02-PM-768x1103.png 768w\" sizes=\"(max-width: 862px) 100vw, 862px\">\u003cfigcaption class=\"wp-caption-text\">Lauren Daigle. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951491\" class=\"wp-caption aligncenter\" style=\"max-width: 1688px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951491\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-scaled.jpg\" alt=\"A man wearing a black suit with very long sleeves.\" width=\"1688\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-scaled.jpg 1688w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-800x1213.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-1020x1547.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-768x1165.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-1013x1536.jpg 1013w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-1350x2048.jpg 1350w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-1920x2912.jpg 1920w\" sizes=\"(max-width: 1688px) 100vw, 1688px\">\u003cfigcaption class=\"wp-caption-text\">Luis Figueroa. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951518\" class=\"wp-caption aligncenter\" style=\"max-width: 864px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951518\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.17.31-PM.png\" alt=\"A Black woman wearing a red gown with structured straps that sprout into feathers over her head.\" width=\"864\" height=\"1302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.17.31-PM.png 864w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.17.31-PM-800x1206.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.17.31-PM-160x241.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.17.31-PM-768x1157.png 768w\" sizes=\"(max-width: 864px) 100vw, 864px\">\u003cfigcaption class=\"wp-caption-text\">Dawn Richard. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951493\" class=\"wp-caption aligncenter\" style=\"max-width: 1698px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951493\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-scaled.jpg\" alt=\"A white man with scruffy facial hair in a black suit.\" width=\"1698\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-scaled.jpg 1698w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-800x1206.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-1020x1538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-768x1158.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-1019x1536.jpg 1019w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-1358x2048.jpg 1358w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-1920x2895.jpg 1920w\" sizes=\"(max-width: 1698px) 100vw, 1698px\">\u003cfigcaption class=\"wp-caption-text\">Josh Groban. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951519\" class=\"wp-caption aligncenter\" style=\"max-width: 862px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951519\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.20.45-PM.png\" alt=\"A Black man with shoulder length dreadlocks stands wearing a white shirt, black pants and sunglasses.\" width=\"862\" height=\"1296\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.20.45-PM.png 862w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.20.45-PM-800x1203.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.20.45-PM-160x241.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.20.45-PM-768x1155.png 768w\" sizes=\"(max-width: 862px) 100vw, 862px\">\u003cfigcaption class=\"wp-caption-text\">Eric Burton. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951520\" class=\"wp-caption aligncenter\" style=\"max-width: 860px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951520\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.22.37-PM.png\" alt=\"A young blond woman glances over her shoulder and smiles. She is wearing an off the shoulder black dress.\" width=\"860\" height=\"1286\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.22.37-PM.png 860w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.22.37-PM-800x1196.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.22.37-PM-160x239.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.22.37-PM-768x1148.png 768w\" sizes=\"(max-width: 860px) 100vw, 860px\">\u003cfigcaption class=\"wp-caption-text\">Charlotte Lawrence. \u003ccite>(Neilson Barnard/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951521\" class=\"wp-caption aligncenter\" style=\"max-width: 860px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951521\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.24.16-PM.png\" alt=\"A woman wearing an orange suit and pink blouse.\" width=\"860\" height=\"1270\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.24.16-PM.png 860w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.24.16-PM-800x1181.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.24.16-PM-160x236.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.24.16-PM-768x1134.png 768w\" sizes=\"(max-width: 860px) 100vw, 860px\">\u003cfigcaption class=\"wp-caption-text\">Brandi Carlile. \u003ccite>(ROBYN BECK/ AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951522\" class=\"wp-caption aligncenter\" style=\"max-width: 860px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951522\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.25.45-PM.png\" alt=\"A man in a Black suit clutches the pregnant belly of a woman wearing a flowing white gown.\" width=\"860\" height=\"1298\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.25.45-PM.png 860w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.25.45-PM-800x1207.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.25.45-PM-160x241.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.25.45-PM-768x1159.png 768w\" sizes=\"(max-width: 860px) 100vw, 860px\">\u003cfigcaption class=\"wp-caption-text\">Jessica Ledon and David Guetta. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951523\" class=\"wp-caption aligncenter\" style=\"max-width: 862px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951523\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.27.32-PM.png\" alt=\"A woman wearing a flowing orange gown.\" width=\"862\" height=\"1354\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.27.32-PM.png 862w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.27.32-PM-800x1257.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.27.32-PM-160x251.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.27.32-PM-768x1206.png 768w\" sizes=\"(max-width: 862px) 100vw, 862px\">\u003cfigcaption class=\"wp-caption-text\">Tessa Brooks. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951524\" class=\"wp-caption aligncenter\" style=\"max-width: 862px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951524\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.29.09-PM.png\" alt=\"A white man with curly brown hair and glasses wearing black pants and green and gold band jacket.\" width=\"862\" height=\"1326\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.29.09-PM.png 862w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.29.09-PM-800x1231.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.29.09-PM-160x246.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.29.09-PM-768x1181.png 768w\" sizes=\"(max-width: 862px) 100vw, 862px\">\u003cfigcaption class=\"wp-caption-text\">Tessa Brooks. \u003ccite>(Marc Whitmore Kevin Mazur/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951500\" class=\"wp-caption aligncenter\" style=\"max-width: 1770px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951500\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-scaled.jpg\" alt=\"A woman wearing bloomers, a pink shirt and oversized red shoulder accessories.\" width=\"1770\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-scaled.jpg 1770w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-800x1157.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-1020x1475.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-160x231.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-768x1111.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-1062x1536.jpg 1062w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-1416x2048.jpg 1416w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-1920x2777.jpg 1920w\" sizes=\"(max-width: 1770px) 100vw, 1770px\">\u003cfigcaption class=\"wp-caption-text\">Montaigne. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Red+carpet+looks+from+the+2024+Grammy+Awards&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 418,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 5
},
"modified": 1707104629,
"excerpt": "Check out some of the this year’s most memorable red carpet looks from the 66th annual Grammy Awards.",
"headData": {
"twImgId": "",
"twTitle": "Red Carpet Looks From the 2024 Grammy Awards",
"socialTitle": "Grammys 2024: Fashions on the Red Carpet %%page%% %%sep%% KQED",
"ogTitle": "Red Carpet Looks From the 2024 Grammy Awards",
"ogImgId": "",
"twDescription": "",
"description": "Check out some of the this year’s most memorable red carpet looks from the 66th annual Grammy Awards.",
"title": "Grammys 2024: Fashions on the Red Carpet | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Red Carpet Looks From the 2024 Grammy Awards",
"datePublished": "2024-02-04T19:43:49-08:00",
"dateModified": "2024-02-04T19:43:49-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "2024-grammy-awards-red-carpet-fashion",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1228979366&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Sun, 04 Feb 2024 18:04:55 -0500",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Sun, 04 Feb 2024 21:17:33 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/sections/pictureshow/2024/02/04/1228979366/red-carpet-looks-from-the-2024-grammy-awards?ft=nprml&f=1228979366",
"nprImageAgency": "Jordan Strauss/Invision/AP",
"nprStoryId": "1228979366",
"sticky": false,
"articleAge": "0",
"nprRetrievedStory": "1",
"nprPubDate": "Sun, 04 Feb 2024 21:17:00 -0500",
"path": "/arts/13951471/2024-grammy-awards-red-carpet-fashion",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The 66th annual Grammy Award show is in full swing. Trevor Noah is hosting for his fourth consecutive year at Crypto.com Arena in Los Angeles, CA. Some big names are attending including SZA, who has nine nominations for her album \u003cem>SOS\u003c/em>, as well as Victoria Monét, Phoebe Bridgers, Taylor Swift and more.\u003c/p>\n\u003cp>A number of artists will perform live during the show. Joni Mitchell, a nominee tonight and a nine Grammy award winner, will be performing at the show tonight for the first time. Her live album \u003cem>Joni Mitchell in Newport\u003c/em> is up for best folk album.\u003c/p>\n\u003cp>Here are some of the most memorable looks of the night.\u003c/p>\n\u003cfigure id=\"attachment_13951526\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951526\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-scaled.jpg\" alt=\"A white woman in a high cut white flowing gown and long black gloves.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift. \u003ccite>(Jeff Kravitz/ FilmMagic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951473\" class=\"wp-caption aligncenter\" style=\"max-width: 1710px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951473\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-scaled.jpg\" alt=\"A Black man in a green suit and a Black woman in a tight rose gold gown stand on the red carpet. The woman is holding a small child.\" width=\"1710\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-scaled.jpg 1710w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-800x1198.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-1020x1527.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-768x1150.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-1026x1536.jpg 1026w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-1368x2048.jpg 1368w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-1920x2874.jpg 1920w\" sizes=\"(max-width: 1710px) 100vw, 1710px\">\u003cfigcaption class=\"wp-caption-text\">John Gaines, Victoria Monét, and Hazel Monét Gaines. \u003ccite>(Kayla Oaddams/ WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951502\" class=\"wp-caption aligncenter\" style=\"max-width: 864px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951502\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.33.54-PM.png\" alt=\"A Black woman strikes a pose in a plunging PVC and silver gown.\" width=\"864\" height=\"1316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.33.54-PM.png 864w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.33.54-PM-800x1219.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.33.54-PM-160x244.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.33.54-PM-768x1170.png 768w\" sizes=\"(max-width: 864px) 100vw, 864px\">\u003cfigcaption class=\"wp-caption-text\">Janelle Monae. \u003ccite>(Matt Winkelmeyer/Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951503\" class=\"wp-caption aligncenter\" style=\"max-width: 862px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951503\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.35.36-PM.png\" alt=\"A tattooed woman stands in a sheer skin toned gown in the red carpet. She is looking over her shoulder.\" width=\"862\" height=\"1326\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.35.36-PM.png 862w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.35.36-PM-800x1231.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.35.36-PM-160x246.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.35.36-PM-768x1181.png 768w\" sizes=\"(max-width: 862px) 100vw, 862px\">\u003cfigcaption class=\"wp-caption-text\">Doja Cat. \u003ccite>(Jordan Strauss/ Invision/ AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951504\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951504\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-scaled.jpg\" alt=\"A woman with cascading dark hair stands on the red carpet wearing a tight white gown.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Olivia Rodrigo. \u003ccite>(Kayla Oaddams/ WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951505\" class=\"wp-caption aligncenter\" style=\"max-width: 860px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951505\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.40.39-PM.png\" alt=\"A woman with big hair stands on the red carpet in a gold sheer gown.\" width=\"860\" height=\"1298\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.40.39-PM.png 860w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.40.39-PM-800x1207.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.40.39-PM-160x241.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.40.39-PM-768x1159.png 768w\" sizes=\"(max-width: 860px) 100vw, 860px\">\u003cfigcaption class=\"wp-caption-text\">Miley Cyrus. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951476\" class=\"wp-caption aligncenter\" style=\"max-width: 1818px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951476\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-scaled.jpg\" alt=\"A slender blond woman in a black and silver dress and a bald man in black suit and sunglasses stand on the red carpet with two young girls in black dresses.\" width=\"1818\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-scaled.jpg 1818w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-800x1126.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-1020x1436.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-160x225.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-768x1081.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-1091x1536.jpg 1091w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-1455x2048.jpg 1455w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-1920x2703.jpg 1920w\" sizes=\"(max-width: 1818px) 100vw, 1818px\">\u003cfigcaption class=\"wp-caption-text\">Alexis Roderick, Billy Joel, Della Joel and Remy Joel \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951506\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951506\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-scaled.jpg\" alt=\"A young woman with red and black hair stands on the red carpet wearing oversized black pants and a bomber jacket.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Billie Eilish. \u003ccite>(Kayla Oaddams/ WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951507\" class=\"wp-caption aligncenter\" style=\"max-width: 866px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951507\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.48.15-PM.png\" alt=\"A smiling Black woman wearing a plunging silver gown.\" width=\"866\" height=\"1228\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.48.15-PM.png 866w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.48.15-PM-800x1134.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.48.15-PM-160x227.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.48.15-PM-768x1089.png 768w\" sizes=\"(max-width: 866px) 100vw, 866px\">\u003cfigcaption class=\"wp-caption-text\">Coco Jones. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951478\" class=\"wp-caption aligncenter\" style=\"max-width: 1871px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951478\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-scaled.jpg\" alt=\"A woman with long red hair wearing a plunging silver and sheer dress.\" width=\"1871\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-scaled.jpg 1871w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-800x1094.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-1020x1395.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-160x219.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-768x1051.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-1123x1536.jpg 1123w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-1497x2048.jpg 1497w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-1920x2627.jpg 1920w\" sizes=\"(max-width: 1871px) 100vw, 1871px\">\u003cfigcaption class=\"wp-caption-text\">Dua Lipa. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951508\" class=\"wp-caption aligncenter\" style=\"max-width: 862px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951508\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.52.14-PM.png\" alt=\"A smiling man in an all black tudedo.\" width=\"862\" height=\"1284\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.52.14-PM.png 862w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.52.14-PM-800x1192.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.52.14-PM-160x238.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.52.14-PM-768x1144.png 768w\" sizes=\"(max-width: 862px) 100vw, 862px\">\u003cfigcaption class=\"wp-caption-text\">Noah Kahan. \u003ccite>(Matt Winkelmeyer/Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951509\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951509\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-scaled.jpg\" alt=\"Three young women in matching white suits and red ties.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Phoebe Bridgers, Lucy Dacus, and Julien Baker of Boygenius. \u003ccite>(Kayla Oaddams/ WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951480\" class=\"wp-caption aligncenter\" style=\"max-width: 1804px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951480\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-scaled.jpg\" alt=\"A man in an embroidered suit and a woman in a shiny pale blue gown.\" width=\"1804\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-scaled.jpg 1804w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-800x1135.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-1020x1448.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-160x227.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-768x1090.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-1082x1536.jpg 1082w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-1443x2048.jpg 1443w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-1920x2725.jpg 1920w\" sizes=\"(max-width: 1804px) 100vw, 1804px\">\u003cfigcaption class=\"wp-caption-text\">Peso Pluma and Nicki Nicole. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951510\" class=\"wp-caption aligncenter\" style=\"max-width: 864px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951510\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.57.45-PM.png\" alt=\"A young white women stands smiling in a cropped corset and black skirt.\" width=\"864\" height=\"1326\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.57.45-PM.png 864w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.57.45-PM-800x1228.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.57.45-PM-160x246.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.57.45-PM-768x1179.png 768w\" sizes=\"(max-width: 864px) 100vw, 864px\">\u003cfigcaption class=\"wp-caption-text\">Gracie Abrams. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951511\" class=\"wp-caption aligncenter\" style=\"max-width: 860px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951511\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.59.58-PM.png\" alt=\"A man in a brown elaborately patterned suit stands with a woman in a high cut silver gown.\" width=\"860\" height=\"1218\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.59.58-PM.png 860w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.59.58-PM-800x1133.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.59.58-PM-160x227.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.59.58-PM-768x1088.png 768w\" sizes=\"(max-width: 860px) 100vw, 860px\">\u003cfigcaption class=\"wp-caption-text\">Calvin Harris and Vick Hope. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951512\" class=\"wp-caption aligncenter\" style=\"max-width: 864px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951512\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.02.17-PM.png\" alt=\"A woman with long brown hair poses in a sheer, very frilled skirt and pink top.\" width=\"864\" height=\"1170\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.02.17-PM.png 864w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.02.17-PM-800x1083.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.02.17-PM-160x217.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.02.17-PM-768x1040.png 768w\" sizes=\"(max-width: 864px) 100vw, 864px\">\u003cfigcaption class=\"wp-caption-text\">Paty Cantu. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951484\" class=\"wp-caption aligncenter\" style=\"max-width: 1684px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951484\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-scaled.jpg\" alt=\"A man in a neon yellow suit and a woman in a lilac fitted gown.\" width=\"1684\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-scaled.jpg 1684w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-800x1216.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-1020x1551.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-768x1167.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-1010x1536.jpg 1010w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-1347x2048.jpg 1347w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-1920x2919.jpg 1920w\" sizes=\"(max-width: 1684px) 100vw, 1684px\">\u003cfigcaption class=\"wp-caption-text\">Michael Trotter Jr. and Tanya Trotter. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951513\" class=\"wp-caption aligncenter\" style=\"max-width: 860px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951513\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.05.54-PM.png\" alt=\"A man in a patchwork suit.\" width=\"860\" height=\"1294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.05.54-PM.png 860w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.05.54-PM-800x1204.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.05.54-PM-160x241.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.05.54-PM-768x1156.png 768w\" sizes=\"(max-width: 860px) 100vw, 860px\">\u003cfigcaption class=\"wp-caption-text\">Ed Sheeran. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951486\" class=\"wp-caption aligncenter\" style=\"max-width: 1690px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951486\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986220436_custom-37a30414683ff4ae216933a6548d857329336365.jpg\" alt=\"A striking woman in a white gown with oversized collar.\" width=\"1690\" height=\"2452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986220436_custom-37a30414683ff4ae216933a6548d857329336365.jpg 1690w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986220436_custom-37a30414683ff4ae216933a6548d857329336365-800x1161.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986220436_custom-37a30414683ff4ae216933a6548d857329336365-1020x1480.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986220436_custom-37a30414683ff4ae216933a6548d857329336365-160x232.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986220436_custom-37a30414683ff4ae216933a6548d857329336365-768x1114.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986220436_custom-37a30414683ff4ae216933a6548d857329336365-1059x1536.jpg 1059w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986220436_custom-37a30414683ff4ae216933a6548d857329336365-1412x2048.jpg 1412w\" sizes=\"(max-width: 1690px) 100vw, 1690px\">\u003cfigcaption class=\"wp-caption-text\">Kat Graham. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951514\" class=\"wp-caption aligncenter\" style=\"max-width: 864px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951514\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.08.22-PM.png\" alt=\"A Black woman with a lip piercing and cropped hair stands in a silver and black gown.\" width=\"864\" height=\"1194\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.08.22-PM.png 864w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.08.22-PM-800x1106.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.08.22-PM-160x221.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.08.22-PM-768x1061.png 768w\" sizes=\"(max-width: 864px) 100vw, 864px\">\u003cfigcaption class=\"wp-caption-text\">Fantasia Barrino. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951515\" class=\"wp-caption aligncenter\" style=\"max-width: 862px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951515\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.10.10-PM.png\" alt=\"Two Black men wearing sunglasses and oversized shirts and pants stand side by side. One of them has a small boy at his side.\" width=\"862\" height=\"1216\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.10.10-PM.png 862w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.10.10-PM-800x1129.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.10.10-PM-160x226.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.10.10-PM-768x1083.png 768w\" sizes=\"(max-width: 862px) 100vw, 862px\">\u003cfigcaption class=\"wp-caption-text\">Big Hit and Hit-Boy. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951516\" class=\"wp-caption aligncenter\" style=\"max-width: 864px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951516\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.12.10-PM.png\" alt=\"A Black man wearing a shiny black Versace suit and sunglasses.\" width=\"864\" height=\"1178\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.12.10-PM.png 864w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.12.10-PM-800x1091.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.12.10-PM-160x218.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.12.10-PM-768x1047.png 768w\" sizes=\"(max-width: 864px) 100vw, 864px\">\u003cfigcaption class=\"wp-caption-text\">Babyface. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951517\" class=\"wp-caption aligncenter\" style=\"max-width: 862px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951517\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.14.02-PM.png\" alt=\"A woman in a beige hat and cascading multicolor dress.\" width=\"862\" height=\"1238\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.14.02-PM.png 862w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.14.02-PM-800x1149.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.14.02-PM-160x230.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.14.02-PM-768x1103.png 768w\" sizes=\"(max-width: 862px) 100vw, 862px\">\u003cfigcaption class=\"wp-caption-text\">Lauren Daigle. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951491\" class=\"wp-caption aligncenter\" style=\"max-width: 1688px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951491\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-scaled.jpg\" alt=\"A man wearing a black suit with very long sleeves.\" width=\"1688\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-scaled.jpg 1688w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-800x1213.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-1020x1547.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-768x1165.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-1013x1536.jpg 1013w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-1350x2048.jpg 1350w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-1920x2912.jpg 1920w\" sizes=\"(max-width: 1688px) 100vw, 1688px\">\u003cfigcaption class=\"wp-caption-text\">Luis Figueroa. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951518\" class=\"wp-caption aligncenter\" style=\"max-width: 864px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951518\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.17.31-PM.png\" alt=\"A Black woman wearing a red gown with structured straps that sprout into feathers over her head.\" width=\"864\" height=\"1302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.17.31-PM.png 864w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.17.31-PM-800x1206.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.17.31-PM-160x241.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.17.31-PM-768x1157.png 768w\" sizes=\"(max-width: 864px) 100vw, 864px\">\u003cfigcaption class=\"wp-caption-text\">Dawn Richard. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951493\" class=\"wp-caption aligncenter\" style=\"max-width: 1698px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951493\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-scaled.jpg\" alt=\"A white man with scruffy facial hair in a black suit.\" width=\"1698\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-scaled.jpg 1698w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-800x1206.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-1020x1538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-768x1158.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-1019x1536.jpg 1019w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-1358x2048.jpg 1358w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-1920x2895.jpg 1920w\" sizes=\"(max-width: 1698px) 100vw, 1698px\">\u003cfigcaption class=\"wp-caption-text\">Josh Groban. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951519\" class=\"wp-caption aligncenter\" style=\"max-width: 862px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951519\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.20.45-PM.png\" alt=\"A Black man with shoulder length dreadlocks stands wearing a white shirt, black pants and sunglasses.\" width=\"862\" height=\"1296\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.20.45-PM.png 862w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.20.45-PM-800x1203.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.20.45-PM-160x241.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.20.45-PM-768x1155.png 768w\" sizes=\"(max-width: 862px) 100vw, 862px\">\u003cfigcaption class=\"wp-caption-text\">Eric Burton. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951520\" class=\"wp-caption aligncenter\" style=\"max-width: 860px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951520\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.22.37-PM.png\" alt=\"A young blond woman glances over her shoulder and smiles. She is wearing an off the shoulder black dress.\" width=\"860\" height=\"1286\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.22.37-PM.png 860w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.22.37-PM-800x1196.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.22.37-PM-160x239.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.22.37-PM-768x1148.png 768w\" sizes=\"(max-width: 860px) 100vw, 860px\">\u003cfigcaption class=\"wp-caption-text\">Charlotte Lawrence. \u003ccite>(Neilson Barnard/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951521\" class=\"wp-caption aligncenter\" style=\"max-width: 860px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951521\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.24.16-PM.png\" alt=\"A woman wearing an orange suit and pink blouse.\" width=\"860\" height=\"1270\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.24.16-PM.png 860w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.24.16-PM-800x1181.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.24.16-PM-160x236.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.24.16-PM-768x1134.png 768w\" sizes=\"(max-width: 860px) 100vw, 860px\">\u003cfigcaption class=\"wp-caption-text\">Brandi Carlile. \u003ccite>(ROBYN BECK/ AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951522\" class=\"wp-caption aligncenter\" style=\"max-width: 860px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951522\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.25.45-PM.png\" alt=\"A man in a Black suit clutches the pregnant belly of a woman wearing a flowing white gown.\" width=\"860\" height=\"1298\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.25.45-PM.png 860w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.25.45-PM-800x1207.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.25.45-PM-160x241.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.25.45-PM-768x1159.png 768w\" sizes=\"(max-width: 860px) 100vw, 860px\">\u003cfigcaption class=\"wp-caption-text\">Jessica Ledon and David Guetta. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951523\" class=\"wp-caption aligncenter\" style=\"max-width: 862px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951523\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.27.32-PM.png\" alt=\"A woman wearing a flowing orange gown.\" width=\"862\" height=\"1354\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.27.32-PM.png 862w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.27.32-PM-800x1257.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.27.32-PM-160x251.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.27.32-PM-768x1206.png 768w\" sizes=\"(max-width: 862px) 100vw, 862px\">\u003cfigcaption class=\"wp-caption-text\">Tessa Brooks. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951524\" class=\"wp-caption aligncenter\" style=\"max-width: 862px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951524\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.29.09-PM.png\" alt=\"A white man with curly brown hair and glasses wearing black pants and green and gold band jacket.\" width=\"862\" height=\"1326\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.29.09-PM.png 862w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.29.09-PM-800x1231.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.29.09-PM-160x246.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.29.09-PM-768x1181.png 768w\" sizes=\"(max-width: 862px) 100vw, 862px\">\u003cfigcaption class=\"wp-caption-text\">Tessa Brooks. \u003ccite>(Marc Whitmore Kevin Mazur/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951500\" class=\"wp-caption aligncenter\" style=\"max-width: 1770px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951500\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-scaled.jpg\" alt=\"A woman wearing bloomers, a pink shirt and oversized red shoulder accessories.\" width=\"1770\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-scaled.jpg 1770w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-800x1157.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-1020x1475.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-160x231.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-768x1111.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-1062x1536.jpg 1062w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-1416x2048.jpg 1416w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-1920x2777.jpg 1920w\" sizes=\"(max-width: 1770px) 100vw, 1770px\">\u003cfigcaption class=\"wp-caption-text\">Montaigne. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Red+carpet+looks+from+the+2024+Grammy+Awards&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\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/13951471/2024-grammy-awards-red-carpet-fashion",
"authors": [
"92"
],
"categories": [
"arts_1",
"arts_76",
"arts_69",
"arts_75"
],
"tags": [
"arts_9943",
"arts_8417",
"arts_1685"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13951525",
"label": "arts_137"
},
"arts_13951374": {
"type": "posts",
"id": "arts_13951374",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13951374",
"score": null,
"sort": [
1706819182000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1706819182,
"format": "standard",
"title": "‘Mr. & Mrs. Smith’ Are Back — So Are the Fights and Bewitching On-Screen Chemistry",
"headTitle": "‘Mr. & Mrs. Smith’ Are Back — So Are the Fights and Bewitching On-Screen Chemistry | KQED",
"content": "\u003cp>Deep into the run of the new series \u003cem>Mr. & Mrs. Smith\u003c/em>, John and Jane (Donald Glover and Maya Erskine), spies and partners, are partaking in a foot chase. You know, like couples do. She is all in black, in the manner of a classic operative on casual Friday: smart tailored pants, a tank top with a short jacket, practical flat shoes. A simple gold pendant glints under her throat, and her long, dark hair hangs loose. He is all in white: the snug pants of a guy who works out, and a close-fit turtleneck that looks so soft and luscious you could put a scoop of it on top of a slice of pie. His sandy, ankle-high shoes and handsome short beard are photoshoot ready, but he is working.\u003c/p>\n\u003cp>They are running full-out, dodging pedestrians, then flying up sets of stairs. Their work is shady, so they evade the police. They pause now and then to fight when they have to, and then they go on.\u003c/p>\n\u003cp>It’s \u003cem>cool\u003c/em>.\u003c/p>\n\u003cp>\u003cem>[aside postid='arts_13951349']\u003c/em>It’s not cool like \u003cem>great\u003c/em>, not cool like \u003cem>nifty\u003c/em>, not cool like \u003cem>terrific\u003c/em>. It’s cool like Cary Grant if he ever sprinted. Cool like Pam Grier, or like Steve McQueen without the bike, maybe Shaft if he had his own character-driven cable half-hour that raised eyebrows when the Emmys called it a comedy.\u003c/p>\n\u003cp>\u003cem>Mr. & Mrs. Smith\u003c/em> was created by Glover with Francesca Sloane, a writer on \u003cem>Atlanta \u003c/em>and \u003cem>Fargo\u003c/em>, after the departure of his original collaborator, \u003ca href=\"https://www.hollywoodreporter.com/movies/movie-news/phoebe-waller-bridge-amazon-deal-exiting-mr-and-mrs-smith-series-1235524838/\">Phoebe Waller-Bridge\u003c/a>. As a side note, it’s a fascinating exercise imagining what that version might have looked like, a joint venture between those two idiosyncratic talents who have both already had \u003ca href=\"https://www.rottentomatoes.com/tv/fleabag\">great success in\u003c/a> signature projects that rely heavily on their singular voices. Unlike Sloane’s, Waller-Bridge’s career isn’t linked to his; they would have met as something like industry equals. It’s striking, and maybe a little bit darkly funny, that Waller-Bridge likened the collaboration to a marriage that didn’t work out, given the premise. It’s nice to hope no one got hurt, and given what a satisfying final project Glover and Sloane have created, easy to chalk it up to the complexities of partnering for a particular job. Sometimes it works out, sometimes you burn hot and then flame out, and sometimes you wind up … well, wherever you wind up.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CZ0B22z22pI\u003c/p>\n\u003cp>The series is loosely based on the 2005 film of the same name that’s probably more famous as a \u003ca href=\"https://ew.com/article/2005/05/30/tabloid-drama-behind-mr-mrs-smith/\">chapter in the Brad Pitt and Angelina Jolie story\u003c/a> than as a film. “Loosely,” here, means that only the barest bones of the premise — “sexy married spies” — survive. In this version, John and Jane (Glover and Erskine) are strangers who have been matched by the secretive agency that employs them both, sending them on missions that they often don’t even understand: they have to follow this person or deliver this package or tap that phone. Their names are not John and Jane Smith, but they have agreed to abandon their true identities and pretend to be a real married couple, an efficient pair that can work together for the benefit of their reclusive boss.\u003c/p>\n\u003cp>Some of the time, this is a mission-of-the-week show in which the backdrop for the adventure changes shape and the mood shifts. There are those chases on city streets, but there is also (how could there not be?) a fancy gala where they dress up and are impossibly glamorous. Red dress, check. Tux, check (with a twist, you’ll see). There is a trip to a snowy paradise in the Italian Dolomites, so that they can ride a ski lift together, wear their hottest winter gear, and be colorful splashes on what look like endless white mountains. There’s Lake Como. There had to be Lake Como, didn’t there?\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AsaMWxppznk\u003c/p>\n\u003cp>\u003cem>Mr. & Mrs. Smith\u003c/em> also uses a specific idea to build each episode, as \u003cem>Atlanta \u003c/em>does, rather than treating the season only as a segmented linear plot. One is structured around couples’ therapy. One is a dinner party story where they meet and befriend another couple. There’s an installment where Jane feels threatened by another woman in a couple of different ways, which plays out largely through their conversations with her.\u003c/p>\n\u003cp>[aside postid='arts_13951126']It’s an incisive — and sometimes sad — character study of these two messy people who take a quick liking to each other in the passionate, limited, fearful, lustful and precarious way that makes sense to them. It’s not clear whether a healthy relationship can possibly happen for Jane and John, and it’s certainly not clear whether having one would be a good idea.\u003c/p>\n\u003cp>But even with the scenery and style, this is the engine of the show: the bewitching chemistry, which is sexy and comic but also dramatic and emotional, between Glover and Erskine. In a funny early scene when their attraction is new but evident, he appears without his shirt on, and she comments impassively: “You lost your shirt.” A minute later, he starts nervously explaining why he doesn’t have a shirt on, which takes away from his attempts to make it seem like he just \u003cem>happens \u003c/em>not to have a shirt on.\u003c/p>\n\u003cfigure id=\"attachment_13951376\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951376\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/mams_s1_ut_1_220624_leedav_00080rc_3000_wide-33b354cb21f5017cb643d1076483fede18ed7cce-scaled-e1706818592426.jpg\" alt=\"A muscular and shirtless Black man.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">Donald Glover as John Smith. \u003ccite>(David Lee/ Prime Video)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He has been caught in a vulnerable moment of vanity that illuminates maybe the biggest difference between them when they’re getting to know each other: they’re both very attractive, but she doesn’t preen at him the way he sometimes does at her; they approach attraction differently. He’s cool but would prefer to be warm; she’s cool but would prefer to be cold. It’s an intriguing dynamic, and it shifts several times over these eight well-paced episodes. Who is confident and who is not, both in the relationship and at work, is a question that takes some smart turns.\u003c/p>\n\u003cp>[aside postid='arts_13951218']Both stars slip smoothly into this mode, the action-romcom, even though it’s different from their best-known work. Glover has played true goofballs (\u003cem>Community\u003c/em>), and on \u003cem>Atlanta\u003c/em>, his central character of Earn was uncertain and often ambivalent. John’s slick layer of confidence, even though it covers insecurities and unrealized dreams, calls on different skills, as does the frequency with which you see him get in fights.\u003c/p>\n\u003cp>Erskine’s breakthrough with mainstream (or mainstream-ish) audiences was \u003cem>PEN15\u003c/em>, an \u003ca href=\"https://www.npr.org/2020/09/20/913969600/pen15-is-back-and-girlhood-is-still-painfully-awkward\">inventive show\u003c/a> in which she and Anna Konkle played 13-year-olds going through the pains of adolescence, surrounded by actually adolescent actors. A lot of the pain of \u003cem>PEN15 \u003c/em>was driven by her awkwardness, her \u003cem>lack \u003c/em>of cool. But Jane is constantly sneaking through houses and, yes, running through the streets, and Erskine seems at home here, too.\u003c/p>\n\u003cp>Alongside our main characters, you’ll see a roster of guest stars in larger and smaller roles that rivals \u003ca href=\"https://www.npr.org/2023/01/25/1151052867/poker-face-review-natasha-lyonne-rian-johnson\">\u003cem>Poker Face\u003c/em>\u003c/a> for its marvelous abundance that’s almost ostentatious: John Turturro, Michaela Coel, Sarah Paulson, Parker Posey! Sharon Horgan, Alexander Skarsgård! Ron Perlman! Paul Dano! It just keeps on going, and they all seem to be having a spectacularly good time. Dano, in particular, is an actor who can be sweet or wicked, and who can be creepy or winning, which makes him perfect for this story in which it’s hard to say, ever, who anybody really is.\u003c/p>\n\u003cfigure id=\"attachment_13951377\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951377\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/mams_s1_ut_1_220926_leedav_00244rc_3000_wide-a5694ae72f8968e805b7afa3f26c04dd6be4c561-scaled-e1706818669817.jpg\" alt=\"A Asian woman stands n a kitchen holding up a large automatic weapon.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">Maya Erskine plays Jane, who is not to be trifled with. \u003ccite>(David Lee/ Prime Video)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What a delight to watch something smart and deeply felt that’s also so fizzy and funny. And on top of that, it’s stylish and great-looking. It’s shot like the inventive prestige comedy-drama it often is; Hiro Murai, whose bona fides from \u003ca href=\"https://www.npr.org/2016/09/17/494390868/donald-glover-explores-a-surreal-feel-in-atlanta\">\u003cem>Atlanta\u003c/em>\u003c/a> and \u003ca href=\"https://www.npr.org/2023/04/14/1169643470/barry-season-4-review-hbo-bill-hader\">\u003cem>Barry \u003c/em>\u003c/a>and \u003ca href=\"https://www.npr.org/2023/06/23/1184000989/the-bear-season-2-review\">\u003cem>The Bear\u003c/em>\u003c/a> couldn’t be more persuasive, directs the first two episodes. But in the best way, it also looks a little like a cologne ad, or like a retro heist movie. You may come away moved or amused, and you may also come away trying to source John’s cozy shawl-collared jacket.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It’s hard to say whether they want a second season; the door is left open … ish? It depends, perhaps, on your capacity for optimism. It won’t be incomplete without one; that’s the most important thing. It’s the nature of partnerships, no? Sometimes they last, and sometimes they don’t, and sometimes the book closes even though it could have continued. And that, too, can depend on whether you believe hard enough.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Mr.+%26+Mrs.+Smith%27+are+back+%E2%80%94+so+are+the+fights+and+bewitching+on-screen+chemistry&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1520,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 18
},
"modified": 1706819452,
"excerpt": "Donald Glover’s new Prime Video series looks a little like a cologne ad or a retro heist movie ... in a good way.",
"headData": {
"twImgId": "",
"twTitle": "‘Mr. & Mrs. Smith’ Are Back — So Are the Fights and Bewitching On-Screen Chemistry",
"socialTitle": "‘Mr. & Mrs. Smith’ Review: Winning Action, On-Screen Chemistry %%page%% %%sep%% KQED",
"ogTitle": "‘Mr. & Mrs. Smith’ Are Back — So Are the Fights and Bewitching On-Screen Chemistry",
"ogImgId": "",
"twDescription": "",
"description": "Donald Glover’s new Prime Video series looks a little like a cologne ad or a retro heist movie ... in a good way.",
"title": "‘Mr. & Mrs. Smith’ Review: Winning Action, On-Screen Chemistry | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘Mr. & Mrs. Smith’ Are Back — So Are the Fights and Bewitching On-Screen Chemistry",
"datePublished": "2024-02-01T12:26:22-08:00",
"dateModified": "2024-02-01T12:30:52-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "mr-mrs-smith-are-back-so-are-the-fights-and-bewitching-on-screen-chemistry",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1228129090&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Thu, 01 Feb 2024 09:01:08 -0500",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Thu, 01 Feb 2024 09:01:08 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2024/02/01/1228129090/mr-mrs-smith-review-donald-glover-maya-erskine?ft=nprml&f=1228129090",
"nprImageAgency": "Prime Video",
"nprStoryId": "1228129090",
"nprByline": "Linda Holmes",
"sticky": false,
"nprImageCredit": "David Lee",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 01 Feb 2024 09:01:00 -0500",
"path": "/arts/13951374/mr-mrs-smith-are-back-so-are-the-fights-and-bewitching-on-screen-chemistry",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Deep into the run of the new series \u003cem>Mr. & Mrs. Smith\u003c/em>, John and Jane (Donald Glover and Maya Erskine), spies and partners, are partaking in a foot chase. You know, like couples do. She is all in black, in the manner of a classic operative on casual Friday: smart tailored pants, a tank top with a short jacket, practical flat shoes. A simple gold pendant glints under her throat, and her long, dark hair hangs loose. He is all in white: the snug pants of a guy who works out, and a close-fit turtleneck that looks so soft and luscious you could put a scoop of it on top of a slice of pie. His sandy, ankle-high shoes and handsome short beard are photoshoot ready, but he is working.\u003c/p>\n\u003cp>They are running full-out, dodging pedestrians, then flying up sets of stairs. Their work is shady, so they evade the police. They pause now and then to fight when they have to, and then they go on.\u003c/p>\n\u003cp>It’s \u003cem>cool\u003c/em>.\u003c/p>\n\u003cp>\u003cem>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13951349",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/em>It’s not cool like \u003cem>great\u003c/em>, not cool like \u003cem>nifty\u003c/em>, not cool like \u003cem>terrific\u003c/em>. It’s cool like Cary Grant if he ever sprinted. Cool like Pam Grier, or like Steve McQueen without the bike, maybe Shaft if he had his own character-driven cable half-hour that raised eyebrows when the Emmys called it a comedy.\u003c/p>\n\u003cp>\u003cem>Mr. & Mrs. Smith\u003c/em> was created by Glover with Francesca Sloane, a writer on \u003cem>Atlanta \u003c/em>and \u003cem>Fargo\u003c/em>, after the departure of his original collaborator, \u003ca href=\"https://www.hollywoodreporter.com/movies/movie-news/phoebe-waller-bridge-amazon-deal-exiting-mr-and-mrs-smith-series-1235524838/\">Phoebe Waller-Bridge\u003c/a>. As a side note, it’s a fascinating exercise imagining what that version might have looked like, a joint venture between those two idiosyncratic talents who have both already had \u003ca href=\"https://www.rottentomatoes.com/tv/fleabag\">great success in\u003c/a> signature projects that rely heavily on their singular voices. Unlike Sloane’s, Waller-Bridge’s career isn’t linked to his; they would have met as something like industry equals. It’s striking, and maybe a little bit darkly funny, that Waller-Bridge likened the collaboration to a marriage that didn’t work out, given the premise. It’s nice to hope no one got hurt, and given what a satisfying final project Glover and Sloane have created, easy to chalk it up to the complexities of partnering for a particular job. Sometimes it works out, sometimes you burn hot and then flame out, and sometimes you wind up … well, wherever you wind up.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\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/CZ0B22z22pI'\n title='//www.youtube.com/embed/CZ0B22z22pI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The series is loosely based on the 2005 film of the same name that’s probably more famous as a \u003ca href=\"https://ew.com/article/2005/05/30/tabloid-drama-behind-mr-mrs-smith/\">chapter in the Brad Pitt and Angelina Jolie story\u003c/a> than as a film. “Loosely,” here, means that only the barest bones of the premise — “sexy married spies” — survive. In this version, John and Jane (Glover and Erskine) are strangers who have been matched by the secretive agency that employs them both, sending them on missions that they often don’t even understand: they have to follow this person or deliver this package or tap that phone. Their names are not John and Jane Smith, but they have agreed to abandon their true identities and pretend to be a real married couple, an efficient pair that can work together for the benefit of their reclusive boss.\u003c/p>\n\u003cp>Some of the time, this is a mission-of-the-week show in which the backdrop for the adventure changes shape and the mood shifts. There are those chases on city streets, but there is also (how could there not be?) a fancy gala where they dress up and are impossibly glamorous. Red dress, check. Tux, check (with a twist, you’ll see). There is a trip to a snowy paradise in the Italian Dolomites, so that they can ride a ski lift together, wear their hottest winter gear, and be colorful splashes on what look like endless white mountains. There’s Lake Como. There had to be Lake Como, didn’t there?\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/AsaMWxppznk'\n title='//www.youtube.com/embed/AsaMWxppznk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Mr. & Mrs. Smith\u003c/em> also uses a specific idea to build each episode, as \u003cem>Atlanta \u003c/em>does, rather than treating the season only as a segmented linear plot. One is structured around couples’ therapy. One is a dinner party story where they meet and befriend another couple. There’s an installment where Jane feels threatened by another woman in a couple of different ways, which plays out largely through their conversations with her.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13951126",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>It’s an incisive — and sometimes sad — character study of these two messy people who take a quick liking to each other in the passionate, limited, fearful, lustful and precarious way that makes sense to them. It’s not clear whether a healthy relationship can possibly happen for Jane and John, and it’s certainly not clear whether having one would be a good idea.\u003c/p>\n\u003cp>But even with the scenery and style, this is the engine of the show: the bewitching chemistry, which is sexy and comic but also dramatic and emotional, between Glover and Erskine. In a funny early scene when their attraction is new but evident, he appears without his shirt on, and she comments impassively: “You lost your shirt.” A minute later, he starts nervously explaining why he doesn’t have a shirt on, which takes away from his attempts to make it seem like he just \u003cem>happens \u003c/em>not to have a shirt on.\u003c/p>\n\u003cfigure id=\"attachment_13951376\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951376\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/mams_s1_ut_1_220624_leedav_00080rc_3000_wide-33b354cb21f5017cb643d1076483fede18ed7cce-scaled-e1706818592426.jpg\" alt=\"A muscular and shirtless Black man.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">Donald Glover as John Smith. \u003ccite>(David Lee/ Prime Video)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He has been caught in a vulnerable moment of vanity that illuminates maybe the biggest difference between them when they’re getting to know each other: they’re both very attractive, but she doesn’t preen at him the way he sometimes does at her; they approach attraction differently. He’s cool but would prefer to be warm; she’s cool but would prefer to be cold. It’s an intriguing dynamic, and it shifts several times over these eight well-paced episodes. Who is confident and who is not, both in the relationship and at work, is a question that takes some smart turns.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13951218",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Both stars slip smoothly into this mode, the action-romcom, even though it’s different from their best-known work. Glover has played true goofballs (\u003cem>Community\u003c/em>), and on \u003cem>Atlanta\u003c/em>, his central character of Earn was uncertain and often ambivalent. John’s slick layer of confidence, even though it covers insecurities and unrealized dreams, calls on different skills, as does the frequency with which you see him get in fights.\u003c/p>\n\u003cp>Erskine’s breakthrough with mainstream (or mainstream-ish) audiences was \u003cem>PEN15\u003c/em>, an \u003ca href=\"https://www.npr.org/2020/09/20/913969600/pen15-is-back-and-girlhood-is-still-painfully-awkward\">inventive show\u003c/a> in which she and Anna Konkle played 13-year-olds going through the pains of adolescence, surrounded by actually adolescent actors. A lot of the pain of \u003cem>PEN15 \u003c/em>was driven by her awkwardness, her \u003cem>lack \u003c/em>of cool. But Jane is constantly sneaking through houses and, yes, running through the streets, and Erskine seems at home here, too.\u003c/p>\n\u003cp>Alongside our main characters, you’ll see a roster of guest stars in larger and smaller roles that rivals \u003ca href=\"https://www.npr.org/2023/01/25/1151052867/poker-face-review-natasha-lyonne-rian-johnson\">\u003cem>Poker Face\u003c/em>\u003c/a> for its marvelous abundance that’s almost ostentatious: John Turturro, Michaela Coel, Sarah Paulson, Parker Posey! Sharon Horgan, Alexander Skarsgård! Ron Perlman! Paul Dano! It just keeps on going, and they all seem to be having a spectacularly good time. Dano, in particular, is an actor who can be sweet or wicked, and who can be creepy or winning, which makes him perfect for this story in which it’s hard to say, ever, who anybody really is.\u003c/p>\n\u003cfigure id=\"attachment_13951377\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951377\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/mams_s1_ut_1_220926_leedav_00244rc_3000_wide-a5694ae72f8968e805b7afa3f26c04dd6be4c561-scaled-e1706818669817.jpg\" alt=\"A Asian woman stands n a kitchen holding up a large automatic weapon.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">Maya Erskine plays Jane, who is not to be trifled with. \u003ccite>(David Lee/ Prime Video)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What a delight to watch something smart and deeply felt that’s also so fizzy and funny. And on top of that, it’s stylish and great-looking. It’s shot like the inventive prestige comedy-drama it often is; Hiro Murai, whose bona fides from \u003ca href=\"https://www.npr.org/2016/09/17/494390868/donald-glover-explores-a-surreal-feel-in-atlanta\">\u003cem>Atlanta\u003c/em>\u003c/a> and \u003ca href=\"https://www.npr.org/2023/04/14/1169643470/barry-season-4-review-hbo-bill-hader\">\u003cem>Barry \u003c/em>\u003c/a>and \u003ca href=\"https://www.npr.org/2023/06/23/1184000989/the-bear-season-2-review\">\u003cem>The Bear\u003c/em>\u003c/a> couldn’t be more persuasive, directs the first two episodes. But in the best way, it also looks a little like a cologne ad, or like a retro heist movie. You may come away moved or amused, and you may also come away trying to source John’s cozy shawl-collared jacket.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s hard to say whether they want a second season; the door is left open … ish? It depends, perhaps, on your capacity for optimism. It won’t be incomplete without one; that’s the most important thing. It’s the nature of partnerships, no? Sometimes they last, and sometimes they don’t, and sometimes the book closes even though it could have continued. And that, too, can depend on whether you believe hard enough.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Mr.+%26+Mrs.+Smith%27+are+back+%E2%80%94+so+are+the+fights+and+bewitching+on-screen+chemistry&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13951374/mr-mrs-smith-are-back-so-are-the-fights-and-bewitching-on-screen-chemistry",
"authors": [
"byline_arts_13951374"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_75",
"arts_990"
],
"tags": [
"arts_10521",
"arts_21913",
"arts_769",
"arts_585"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13951375",
"label": "arts_140"
},
"arts_13951300": {
"type": "posts",
"id": "arts_13951300",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13951300",
"score": null,
"sort": [
1706729888000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1706729888,
"format": "standard",
"title": "Why Taylor Swift, BTS, Drake and More May Have Their Music Taken Off TikTok",
"headTitle": "Why Taylor Swift, BTS, Drake and More May Have Their Music Taken Off TikTok | KQED",
"content": "\u003cp>Universal Music Group \u003ca href=\"https://www.universalmusic.com/an-open-letter-to-the-artist-and-songwriter-community-why-we-must-call-time-out-on-tiktok/\">has threatened to remove\u003c/a> all of the music it owns from TikTok, unless the streaming platform agrees to more favorable terms for its vast catalog.\u003c/p>\n\u003cp>Negotiations between the social media giant and the world’s largest music company have intensified as they’ve worked to hammer out a new contract, says Tatiana Cirisano, a music industry analyst at Midia Research. The current one expires on Jan. 31, 2024.\u003c/p>\n\u003cp>[aside postid='arts_13936325']“UMG is kind of taking the nuclear option of removing all their music and trying to prove … that TikTok couldn’t exist if it didn’t have their catalog,” she says.\u003c/p>\n\u003cp>Early Wednesday morning, UMG released what it called “\u003ca href=\"https://www.universalmusic.com/an-open-letter-to-the-artist-and-songwriter-community-why-we-must-call-time-out-on-tiktok/\">An Open Letter to the Artist And Songwriter Community\u003c/a> — Why We Must Call Time Out On TikTok.” The letter, one suspects, is actually for music fans and tech watchdogs as well.\u003c/p>\n\u003cp>“In our contract renewal discussions, we have been pressing them on three critical issues,” the letter says of TikTok, noting the issues include protection against AI-generated recordings, online safety issues for users and higher compensation for its artists and songwriters.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“With respect to the issue of artist and songwriter compensation,” the letter continues, “TikTok proposed paying our artists and songwriters at a rate that is a fraction of the rate that similarly situated major social platforms pay. Today, as an indication of how little TikTok compensates artists and songwriters, despite its massive and growing user base, rapidly rising advertising revenue and increasing reliance on music-based content, TikTok accounts for only about 1% of our total revenue. Ultimately TikTok is trying to build a music-based business, without paying fair value for the music.”\u003c/p>\n\u003cp>[aside postid='arts_13931533']Compensation is the big sticking point here, says Cirisano. “I would also point out that this is probably going to do more for Universal Music Group as a company than it is for any of their individual artists and songwriters,” she says.\u003c/p>\n\u003cp>In \u003ca href=\"https://twitter.com/TikTokComms/status/1752539546233843884?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1752539546233843884%7Ctwgr%5E9258156bd65d97b97e65ff72d32edcba3d1bf95a%7Ctwcon%5Es1_&ref_url=https%3A%2F%2Fiframe.nbcnews.com%2F7MnRSi3%3F_showcaption%3Dtrueapp%3D1\">a statement on social media\u003c/a>, TikTok accused UMG of promoting “false narratives and rhetoric” and of putting “greed above the interests of their artist and songwriter.”\u003c/p>\n\u003cp>“TikTok has been able to reach ‘artist-first’ agreements with every other label and publisher,” it says. “Clearly, Universal’s self-serving actions are not in the best interests of artists, songwriters and fans.”\u003c/p>\n\u003cp>Cirisano says the idea of TikTok building what UMG calls a “music-based business” has some merit. TikTok used to be just a place where artists could get exposure and market their music, she says. But the platform and its users are evolving.\u003c/p>\n\u003cp>“It’s becoming sort of a form of music consumption in its own right,” she says. “This is a space where especially young people are going on and listening to music … as they’re consuming. It’s a completely different experience than, say, adding a song to your Instagram story or things that were happening in the past.”\u003c/p>\n\u003cp>[aside postid='arts_13929332']The dispute should not overly affect the well-being or popularity of the labels’ roster of celebrity artists, she adds, which includes Taylor Swift, Lady Gaga and Elton John. But for the many other musicians whose work has become a part of TikTok’s fabric, there are larger implications for the future.\u003c/p>\n\u003cp>“There’s this really fast growing sector of independent artists and what is commonly referred to as ‘the long tail’ that are also releasing their music to streaming services and competing for attention,” she says, referring to all of the other music floating around that’s available to be used. “There’s a lot of other music that TikTok users have access to beyond the major label catalog than they would have five or 10 years ago. UMG is still the most powerful player here, but I think those dynamics have shifted a little bit.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>TikTok and other social media platforms, she says, are where new fandom and cultures are being built — and the music industry’s power players are wary of being left behind.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Taylor+Swift%2C+Drake%2C+BTS+and+more+may+have+their+music+taken+off+TikTok+%E2%80%94+here%27s+why&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 728,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 16
},
"modified": 1706729888,
"excerpt": "The world's largest music company has threatened to remove its music from TikTok unless the app agrees to better terms.",
"headData": {
"twImgId": "",
"twTitle": "Why Taylor Swift, BTS, Drake and More May Have Their Music Taken Off TikTok",
"socialTitle": "Universal Music Group Might Pull Taylor Swift's Music Off TikTok%%page%% %%sep%% KQED",
"ogTitle": "Why Taylor Swift, BTS, Drake and More May Have Their Music Taken Off TikTok",
"ogImgId": "",
"twDescription": "",
"description": "The world's largest music company has threatened to remove its music from TikTok unless the app agrees to better terms.",
"title": "Universal Music Group Might Pull Taylor Swift's Music Off TikTok | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Why Taylor Swift, BTS, Drake and More May Have Their Music Taken Off TikTok",
"datePublished": "2024-01-31T11:38:08-08:00",
"dateModified": "2024-01-31T11:38:08-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "taylor-swift-drake-bts-universal-music-tiktok",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1228091512&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Wed, 31 Jan 2024 13:57:42 -0500",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Wed, 31 Jan 2024 14:03:26 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2024/01/31/1228091512/tiktok-universal-music-group?ft=nprml&f=1228091512",
"nprImageAgency": "AFP via Getty Images",
"nprStoryId": "1228091512",
"nprByline": "Neda Ulaby",
"sticky": false,
"nprImageCredit": "Michael Tran",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 31 Jan 2024 14:03:00 -0500",
"path": "/arts/13951300/taylor-swift-drake-bts-universal-music-tiktok",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Universal Music Group \u003ca href=\"https://www.universalmusic.com/an-open-letter-to-the-artist-and-songwriter-community-why-we-must-call-time-out-on-tiktok/\">has threatened to remove\u003c/a> all of the music it owns from TikTok, unless the streaming platform agrees to more favorable terms for its vast catalog.\u003c/p>\n\u003cp>Negotiations between the social media giant and the world’s largest music company have intensified as they’ve worked to hammer out a new contract, says Tatiana Cirisano, a music industry analyst at Midia Research. The current one expires on Jan. 31, 2024.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13936325",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>“UMG is kind of taking the nuclear option of removing all their music and trying to prove … that TikTok couldn’t exist if it didn’t have their catalog,” she says.\u003c/p>\n\u003cp>Early Wednesday morning, UMG released what it called “\u003ca href=\"https://www.universalmusic.com/an-open-letter-to-the-artist-and-songwriter-community-why-we-must-call-time-out-on-tiktok/\">An Open Letter to the Artist And Songwriter Community\u003c/a> — Why We Must Call Time Out On TikTok.” The letter, one suspects, is actually for music fans and tech watchdogs as well.\u003c/p>\n\u003cp>“In our contract renewal discussions, we have been pressing them on three critical issues,” the letter says of TikTok, noting the issues include protection against AI-generated recordings, online safety issues for users and higher compensation for its artists and songwriters.\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>“With respect to the issue of artist and songwriter compensation,” the letter continues, “TikTok proposed paying our artists and songwriters at a rate that is a fraction of the rate that similarly situated major social platforms pay. Today, as an indication of how little TikTok compensates artists and songwriters, despite its massive and growing user base, rapidly rising advertising revenue and increasing reliance on music-based content, TikTok accounts for only about 1% of our total revenue. Ultimately TikTok is trying to build a music-based business, without paying fair value for the music.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13931533",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Compensation is the big sticking point here, says Cirisano. “I would also point out that this is probably going to do more for Universal Music Group as a company than it is for any of their individual artists and songwriters,” she says.\u003c/p>\n\u003cp>In \u003ca href=\"https://twitter.com/TikTokComms/status/1752539546233843884?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1752539546233843884%7Ctwgr%5E9258156bd65d97b97e65ff72d32edcba3d1bf95a%7Ctwcon%5Es1_&ref_url=https%3A%2F%2Fiframe.nbcnews.com%2F7MnRSi3%3F_showcaption%3Dtrueapp%3D1\">a statement on social media\u003c/a>, TikTok accused UMG of promoting “false narratives and rhetoric” and of putting “greed above the interests of their artist and songwriter.”\u003c/p>\n\u003cp>“TikTok has been able to reach ‘artist-first’ agreements with every other label and publisher,” it says. “Clearly, Universal’s self-serving actions are not in the best interests of artists, songwriters and fans.”\u003c/p>\n\u003cp>Cirisano says the idea of TikTok building what UMG calls a “music-based business” has some merit. TikTok used to be just a place where artists could get exposure and market their music, she says. But the platform and its users are evolving.\u003c/p>\n\u003cp>“It’s becoming sort of a form of music consumption in its own right,” she says. “This is a space where especially young people are going on and listening to music … as they’re consuming. It’s a completely different experience than, say, adding a song to your Instagram story or things that were happening in the past.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13929332",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The dispute should not overly affect the well-being or popularity of the labels’ roster of celebrity artists, she adds, which includes Taylor Swift, Lady Gaga and Elton John. But for the many other musicians whose work has become a part of TikTok’s fabric, there are larger implications for the future.\u003c/p>\n\u003cp>“There’s this really fast growing sector of independent artists and what is commonly referred to as ‘the long tail’ that are also releasing their music to streaming services and competing for attention,” she says, referring to all of the other music floating around that’s available to be used. “There’s a lot of other music that TikTok users have access to beyond the major label catalog than they would have five or 10 years ago. UMG is still the most powerful player here, but I think those dynamics have shifted a little bit.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>TikTok and other social media platforms, she says, are where new fandom and cultures are being built — and the music industry’s power players are wary of being left behind.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Taylor+Swift%2C+Drake%2C+BTS+and+more+may+have+their+music+taken+off+TikTok+%E2%80%94+here%27s+why&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13951300/taylor-swift-drake-bts-universal-music-tiktok",
"authors": [
"byline_arts_13951300"
],
"categories": [
"arts_1",
"arts_69",
"arts_75"
],
"tags": [
"arts_3620",
"arts_2137",
"arts_8017"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13951301",
"label": "arts_137"
},
"arts_13951218": {
"type": "posts",
"id": "arts_13951218",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13951218",
"score": null,
"sort": [
1706643212000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1706643212,
"format": "standard",
"title": "Don’t Miss the Latest ‘Feud’ – Between Truman Capote and NYC’s Society Ladies",
"headTitle": "Don’t Miss the Latest ‘Feud’ – Between Truman Capote and NYC’s Society Ladies | KQED",
"content": "\u003cp>In 2017, the FX network presented the first edition of Ryan Murphy’s \u003cem>Feud\u003c/em>, an anthology series dramatizing infamous real-life conflicts. The inaugural edition was called \u003ca href=\"https://www.kqed.org/pop/33377/bette-davis-v-joan-crawford-the-hateful-history-behind-old-hollywoods-nastiest-feud\">\u003cem>Feud: Bette and Joan\u003c/em>\u003c/a>, and detailed the intense rivalry between Hollywood stars Bette Davis and Joan Crawford. Now, seven years later, the second installment of \u003cem>Feud \u003c/em>finally has arrived.\u003c/p>\n\u003cp>FX is promoting \u003cem>Feud: Capote vs. the Swans\u003c/em> as “the original \u003cem>Real Housewives\u003c/em>,” but it’s a lot deeper than that — and infinitely more watchable. Based on the book \u003ca href=\"https://www.penguinrandomhouse.com/books/658463/capotes-women-by-laurence-leamer/\">\u003cem>Capote’s Women\u003c/em>\u003c/a> by Laurence Leamer, this eight-part series tells of Truman Capote’s friendships with, and betrayals of, New York’s most prominent society women — the ladies who lunch.\u003c/p>\n\u003cp>[aside postid='arts_13951126']Jon Robin Baitz, who created the ABC series \u003cem>Brothers & Sisters\u003c/em>, developed and wrote this edition of \u003cem>Feud\u003c/em> for television — and Gus Van Sant directed most episodes, with others directed by Jennifer Lynch and Max Winkler. However, it’s the names in front of the camera, not behind, who demand most of the attention here. Tom Hollander, from the most recent season of \u003cem>The White Lotus\u003c/em>, plays Capote — and captures him so that Capote is a character, not a caricature.\u003c/p>\n\u003cp>And the women playing the swans all get their turns to shine, in a cast list that’s almost laughably talented and lengthy. Naomi Watts plays Babe Paley, the wife of CBS chairman Bill Paley. Calista Flockhart plays Lee Radziwill, the sister of Jackie Kennedy. Other socialites are played — rivetingly well — by Diane Lane, Chloë Sevigny, \u003ca href=\"https://www.kqed.org/pop/88718/serena-williams-pregnancy-shoot-may-never-have-happened-without-demi-moores-trailblazing\">Demi Moore\u003c/a> and Molly Ringwald. \u003ca href=\"https://video.kqed.org/video/treat-williams-on-the-acting-process-with-sidney-lumet-1swutc/\">Treat Williams\u003c/a>, who died last year, is featured in his final role, as Bill Paley.\u003c/p>\n\u003cp>Even Jessica Lange, who starred as Joan Crawford in the previous \u003cem>Feud\u003c/em> series, and helped jump-start Murphy’s TV empire by starring in the first few outings of his earliest anthology series, \u003cem>American Horror Story\u003c/em>, is here. She makes a few guest appearances playing Truman’s late mother — and she’s haunting, in more ways than one.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YabKNs66eeg\u003c/p>\n\u003cp>\u003cem>Feud: Capote vs. the Swans\u003c/em> jumps around in time, showing the characters before and after \u003cem>Esquire \u003c/em>magazine published a chapter of Capote’s in-progress book in 1975. It was a thinly veiled exposé of the preening, privileged women he called “the Swans” — and it hurt them deeply. But drama and pain were not new to most of these women.\u003c/p>\n\u003cp>[aside postid='arts_13950974']The first \u003cem>Feud \u003c/em>miniseries veered at times into camp, but \u003cem>Capote vs. the Swans \u003c/em>takes its story more seriously. It’s got the loving details of a \u003ca href=\"https://www.npr.org/2019/09/19/762260318/downton-abbey-returns-for-an-extravagant-new-film\">\u003cem>Downton Abbey\u003c/em>\u003c/a> or an \u003ca href=\"https://www.npr.org/2011/04/08/135207548/upstairs-downstairs-takes-a-new-step-back-in-time\">\u003cem>Upstairs, Downstairs \u003c/em>\u003c/a>— lots of lingering shots of the food and the fashion and the jewels — but this drama is almost exclusively upstairs. And Baitz and Van Sant, in particular, frame things beautifully.\u003c/p>\n\u003cp>Capote’s famous Black and White masquerade ball, in 1966, is the subject of the entire third episode — and it’s shot, almost completely, in black and white. That’s because the \u003ca href=\"https://www.npr.org/2015/03/06/391269387/albert-maysles-pioneering-documentary-filmmaker-dies\">Maysles brothers\u003c/a> were filming a documentary about Capote that same year, which allows \u003cem>Feud \u003c/em>to adopt that perspective to interview some of the Swans about their literary acquaintance.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Capote vs. the Swans \u003c/em>deserves our attention. It’s a good drama, a compelling story with a powerhouse cast — and in this new installment of \u003cem>Feud\u003c/em>, they all do some very powerful work.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Don%27t+miss+the+latest+%27Feud%27+%E2%80%93+between+Truman+Capote+and+NYC%27s+society+ladies&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 605,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 11
},
"modified": 1706643212,
"excerpt": "Tom Hollander and Naomi Watts lead a powerhouse cast in the new eight-part FX series, mostly directed by Gus Van Sant.",
"headData": {
"twImgId": "",
"twTitle": "Don’t Miss the Latest ‘Feud’ – Between Truman Capote and NYC’s Society Ladies",
"socialTitle": "‘Feud: Truman Capote Vs. The Swans’ Review: Unmissable TV %%page%% %%sep%% KQED",
"ogTitle": "Don’t Miss the Latest ‘Feud’ – Between Truman Capote and NYC’s Society Ladies",
"ogImgId": "",
"twDescription": "",
"description": "Tom Hollander and Naomi Watts lead a powerhouse cast in the new eight-part FX series, mostly directed by Gus Van Sant.",
"title": "‘Feud: Truman Capote Vs. The Swans’ Review: Unmissable TV | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Don’t Miss the Latest ‘Feud’ – Between Truman Capote and NYC’s Society Ladies",
"datePublished": "2024-01-30T11:33:32-08:00",
"dateModified": "2024-01-30T11:33:32-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "dont-miss-the-latest-feud-between-truman-capote-and-nycs-society-ladies",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1227854692&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Tue, 30 Jan 2024 12:21:19 -0500",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Tue, 30 Jan 2024 12:21:19 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2024/01/30/1227854692/feud-truman-capote-vs-the-swans-review?ft=nprml&f=1227854692",
"nprImageAgency": "FX",
"nprStoryId": "1227854692",
"nprByline": "David Bianculli",
"sticky": false,
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 30 Jan 2024 12:21:00 -0500",
"path": "/arts/13951218/dont-miss-the-latest-feud-between-truman-capote-and-nycs-society-ladies",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2017, the FX network presented the first edition of Ryan Murphy’s \u003cem>Feud\u003c/em>, an anthology series dramatizing infamous real-life conflicts. The inaugural edition was called \u003ca href=\"https://www.kqed.org/pop/33377/bette-davis-v-joan-crawford-the-hateful-history-behind-old-hollywoods-nastiest-feud\">\u003cem>Feud: Bette and Joan\u003c/em>\u003c/a>, and detailed the intense rivalry between Hollywood stars Bette Davis and Joan Crawford. Now, seven years later, the second installment of \u003cem>Feud \u003c/em>finally has arrived.\u003c/p>\n\u003cp>FX is promoting \u003cem>Feud: Capote vs. the Swans\u003c/em> as “the original \u003cem>Real Housewives\u003c/em>,” but it’s a lot deeper than that — and infinitely more watchable. Based on the book \u003ca href=\"https://www.penguinrandomhouse.com/books/658463/capotes-women-by-laurence-leamer/\">\u003cem>Capote’s Women\u003c/em>\u003c/a> by Laurence Leamer, this eight-part series tells of Truman Capote’s friendships with, and betrayals of, New York’s most prominent society women — the ladies who lunch.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13951126",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Jon Robin Baitz, who created the ABC series \u003cem>Brothers & Sisters\u003c/em>, developed and wrote this edition of \u003cem>Feud\u003c/em> for television — and Gus Van Sant directed most episodes, with others directed by Jennifer Lynch and Max Winkler. However, it’s the names in front of the camera, not behind, who demand most of the attention here. Tom Hollander, from the most recent season of \u003cem>The White Lotus\u003c/em>, plays Capote — and captures him so that Capote is a character, not a caricature.\u003c/p>\n\u003cp>And the women playing the swans all get their turns to shine, in a cast list that’s almost laughably talented and lengthy. Naomi Watts plays Babe Paley, the wife of CBS chairman Bill Paley. Calista Flockhart plays Lee Radziwill, the sister of Jackie Kennedy. Other socialites are played — rivetingly well — by Diane Lane, Chloë Sevigny, \u003ca href=\"https://www.kqed.org/pop/88718/serena-williams-pregnancy-shoot-may-never-have-happened-without-demi-moores-trailblazing\">Demi Moore\u003c/a> and Molly Ringwald. \u003ca href=\"https://video.kqed.org/video/treat-williams-on-the-acting-process-with-sidney-lumet-1swutc/\">Treat Williams\u003c/a>, who died last year, is featured in his final role, as Bill Paley.\u003c/p>\n\u003cp>Even Jessica Lange, who starred as Joan Crawford in the previous \u003cem>Feud\u003c/em> series, and helped jump-start Murphy’s TV empire by starring in the first few outings of his earliest anthology series, \u003cem>American Horror Story\u003c/em>, is here. She makes a few guest appearances playing Truman’s late mother — and she’s haunting, in more ways than one.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/YabKNs66eeg'\n title='//www.youtube.com/embed/YabKNs66eeg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Feud: Capote vs. the Swans\u003c/em> jumps around in time, showing the characters before and after \u003cem>Esquire \u003c/em>magazine published a chapter of Capote’s in-progress book in 1975. It was a thinly veiled exposé of the preening, privileged women he called “the Swans” — and it hurt them deeply. But drama and pain were not new to most of these women.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13950974",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The first \u003cem>Feud \u003c/em>miniseries veered at times into camp, but \u003cem>Capote vs. the Swans \u003c/em>takes its story more seriously. It’s got the loving details of a \u003ca href=\"https://www.npr.org/2019/09/19/762260318/downton-abbey-returns-for-an-extravagant-new-film\">\u003cem>Downton Abbey\u003c/em>\u003c/a> or an \u003ca href=\"https://www.npr.org/2011/04/08/135207548/upstairs-downstairs-takes-a-new-step-back-in-time\">\u003cem>Upstairs, Downstairs \u003c/em>\u003c/a>— lots of lingering shots of the food and the fashion and the jewels — but this drama is almost exclusively upstairs. And Baitz and Van Sant, in particular, frame things beautifully.\u003c/p>\n\u003cp>Capote’s famous Black and White masquerade ball, in 1966, is the subject of the entire third episode — and it’s shot, almost completely, in black and white. That’s because the \u003ca href=\"https://www.npr.org/2015/03/06/391269387/albert-maysles-pioneering-documentary-filmmaker-dies\">Maysles brothers\u003c/a> were filming a documentary about Capote that same year, which allows \u003cem>Feud \u003c/em>to adopt that perspective to interview some of the Swans about their literary acquaintance.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Capote vs. the Swans \u003c/em>deserves our attention. It’s a good drama, a compelling story with a powerhouse cast — and in this new installment of \u003cem>Feud\u003c/em>, they all do some very powerful work.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Don%27t+miss+the+latest+%27Feud%27+%E2%80%93+between+Truman+Capote+and+NYC%27s+society+ladies&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13951218/dont-miss-the-latest-feud-between-truman-capote-and-nycs-society-ladies",
"authors": [
"byline_arts_13951218"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_75",
"arts_990"
],
"tags": [
"arts_8237",
"arts_769",
"arts_585",
"arts_21901"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13951220",
"label": "arts_140"
},
"arts_13951067": {
"type": "posts",
"id": "arts_13951067",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13951067",
"score": null,
"sort": [
1706298701000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1706298701,
"format": "aside",
"title": "Spielberg and Hanks Soar Into World War II Skies in ‘Masters of the Air’",
"headTitle": "Spielberg and Hanks Soar Into World War II Skies in ‘Masters of the Air’ | KQED",
"content": "\u003cfigure id=\"attachment_13951072\" class=\"wp-caption aligncenter\" style=\"max-width: 1570px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951072\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-26-at-11.40.31-AM.png\" alt=\"Close up of two 1940s-era pilots stand on the tarmac under blue skies.\" width=\"1570\" height=\"1060\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-26-at-11.40.31-AM.png 1570w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-26-at-11.40.31-AM-800x540.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-26-at-11.40.31-AM-1020x689.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-26-at-11.40.31-AM-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-26-at-11.40.31-AM-768x519.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-26-at-11.40.31-AM-1536x1037.png 1536w\" sizes=\"(max-width: 1570px) 100vw, 1570px\">\u003cfigcaption class=\"wp-caption-text\">Austin Butler and Callum Turner in ‘Masters of the Air.’ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the 1990s,\u003ca href=\"https://www.npr.org/2022/11/09/1134314093/steven-spielberg-fabelmans\"> Steven Spielberg\u003c/a> directed two unforgettably powerful films about World War II: \u003cem>Schindler’s List\u003c/em>, in 1993, and \u003cem>Saving Private Ryan\u003c/em>, in 1998. \u003cem>Saving Private Ryan \u003c/em>starred \u003ca href=\"https://www.npr.org/2016/04/26/475573489/tom-hanks-says-self-doubt-is-a-high-wire-act-that-we-all-walk\">Tom Hanks\u003c/a>, and Hanks and Spielberg weren’t through with their obsession with World War II dramas; they were just beginning.\u003c/p>\n\u003cp>[aside postid='arts_13950974']Teaming with Gary Goetzman, they produced two impressive, captivating HBO miniseries about World War II: \u003cem>Band of Brothers, \u003c/em>in 2001, followed nine years later by \u003ca href=\"https://www.npr.org/2010/03/11/124499816/hanks-spielberg-strike-out-for-the-pacific\">\u003cem>The Pacific\u003c/em>\u003c/a>\u003cem>.\u003c/em> Both miniseries did what \u003cem>Saving Private Ryan \u003c/em>also had accomplished so brilliantly: They allowed the audience to experience the intensity and brutality of wartime. Not just allowed us, but forced us, in unrelenting battle sequences that gave new meaning to the phrase “you are there.”\u003c/p>\n\u003cp>Those dramas also delivered large helpings of surprise, and of loss. We got to know, and care deeply about, their soldiers and marines — and then, without warning, many of them were taken away from us.\u003c/p>\n\u003cp>\u003cem>Masters of the Air\u003c/em> is the newest entry in this World War II project by Spielberg, Hanks and company. It’s every bit equal to, and boasts precisely the same strengths as, those previous offerings. It’s presented by Apple TV+ this time, rolled out weekly after the Jan. 26 two-episode premiere. And because \u003cem>Masters of the Air\u003c/em>, like \u003cem>Band of Brothers\u003c/em> and \u003cem>The Pacific,\u003c/em> is a limited miniseries, even the main characters are at risk of dying at any time — and some do.\u003c/p>\n\u003cp>Two of the primary characters share a similar nickname — a confusing gimmick that’s explained early on. There’s Gale “Buck” Cleven, played by Austin Butler, and John “Bucky” Egan, played by Callum Turner. Bucky had the nickname first, and gave the shorter name, “Buck,” to his friend just to annoy him — until it stuck. Bucky is a loudmouth hothead; Buck is more quiet and private. But they’re good friends, and great pilots.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Butler empowers Buck with the undeniable charisma of an old-fashioned movie star, like a bomber pilot-James Dean. Butler’s breakout starring role was as Elvis Presley in \u003ca href=\"https://www.npr.org/2022/06/23/1106734497/elvis-review-baz-luhrmann\">\u003cem>Elvis\u003c/em>\u003c/a>\u003cem>,\u003c/em> and here, even without the trappings of show-biz flash and glitz, he’s just as magnetic.\u003c/p>\n\u003cp>But Butler’s not carrying this story, or fighting this war, alone. Turner’s Bucky matches him throughout — and so does Anthony Boyle, who plays a young navigator named Harry Crosby. And a lot more players contribute greatly: This is a large cast, doing justice to a very big story.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lA-1JCRguZ0\u003c/p>\n\u003cp>\u003cem>Masters of the Air \u003c/em>is based on the book by Donald L. Miller. Several talented directors traded off working on various episodes, but all were adapted for TV by screenwriter John Orloff. His narrative not only follows the leading characters during World War II, but makes time, over its nine episodes, to weave in such familiar wartime narratives as the \u003ca href=\"https://www.npr.org/2011/04/11/135177510/tuskegee-airmen-rock-stars-of-american-history\">Tuskegee Airmen\u003c/a> and the Great Escape. Lots of time is spent airborne, in one thrilling mission after another, but there also are scenes set in briefing rooms, barracks, rest and recreation spots, even German prisoner of war camps.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>[aside postid='arts_13940076']Masters of the Air \u003c/em>finds drama in all those places. And it’s nice to know that this miniseries, like its predecessors, is being rolled out in weekly installments. These hours of television are like the Air Force missions themselves: They’re such intense experiences, it’s nice to have a little time between them to reflect … and to breathe.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Spielberg+and+Hanks+take+to+the+World+War+II+skies+in+%27Masters+of+the+Air%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 639,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 11
},
"modified": 1706305523,
"excerpt": "The new Apple TV+ miniseries about fighter pilots captures thrilling airborne missions — but also finds drama on the ground.",
"headData": {
"twImgId": "",
"twTitle": "Spielberg and Hanks Take to the World War II Skies in ‘Masters of the Air’",
"socialTitle": "‘Masters of the Air’ Review: Spielberg Soars Into WW2 Skies %%page%% %%sep%% KQED",
"ogTitle": "Spielberg and Hanks Take to the World War II Skies in ‘Masters of the Air’",
"ogImgId": "",
"twDescription": "",
"description": "The new Apple TV+ miniseries about fighter pilots captures thrilling airborne missions — but also finds drama on the ground.",
"title": "‘Masters of the Air’ Review: Spielberg Soars Into WW2 Skies | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Spielberg and Hanks Soar Into World War II Skies in ‘Masters of the Air’",
"datePublished": "2024-01-26T11:51:41-08:00",
"dateModified": "2024-01-26T13:45:23-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "masters-of-the-air-spielberg-tom-hanks-world-war-ii-series-appletv",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1226859205&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Fri, 26 Jan 2024 05:00:46 -0500",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Fri, 26 Jan 2024 05:00:46 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2024/01/26/1226859205/masters-of-the-air-review-spielberg-hanks?ft=nprml&f=1226859205",
"nprAudio": "https://play.podtrac.com/npr-191676894/ondemand.npr.org/anon.npr-mp3/npr/fa/2024/01/20240126_fa_ac3e200b-51eb-4204-9e2c-fd8de75e67ff.mp3?orgId=427869011&topicId=1163&d=386&p=13&story=1226859205&ft=nprml&f=1226859205",
"nprImageAgency": "Apple TV+",
"nprAudioM3u": "http://api.npr.org/m3u/11227177156-fae457.m3u?orgId=427869011&topicId=1163&d=386&p=13&story=1226859205&ft=nprml&f=1226859205",
"nprStoryId": "1226859205",
"nprByline": "David Bianculli",
"sticky": false,
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"nprRetrievedStory": "1",
"nprPubDate": "Fri, 26 Jan 2024 13:23:00 -0500",
"path": "/arts/13951067/masters-of-the-air-spielberg-tom-hanks-world-war-ii-series-appletv",
"audioUrl": "https://play.podtrac.com/npr-191676894/ondemand.npr.org/anon.npr-mp3/npr/fa/2024/01/20240126_fa_ac3e200b-51eb-4204-9e2c-fd8de75e67ff.mp3?orgId=427869011&topicId=1163&d=386&p=13&story=1226859205&ft=nprml&f=1226859205",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13951072\" class=\"wp-caption aligncenter\" style=\"max-width: 1570px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951072\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-26-at-11.40.31-AM.png\" alt=\"Close up of two 1940s-era pilots stand on the tarmac under blue skies.\" width=\"1570\" height=\"1060\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-26-at-11.40.31-AM.png 1570w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-26-at-11.40.31-AM-800x540.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-26-at-11.40.31-AM-1020x689.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-26-at-11.40.31-AM-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-26-at-11.40.31-AM-768x519.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-26-at-11.40.31-AM-1536x1037.png 1536w\" sizes=\"(max-width: 1570px) 100vw, 1570px\">\u003cfigcaption class=\"wp-caption-text\">Austin Butler and Callum Turner in ‘Masters of the Air.’ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the 1990s,\u003ca href=\"https://www.npr.org/2022/11/09/1134314093/steven-spielberg-fabelmans\"> Steven Spielberg\u003c/a> directed two unforgettably powerful films about World War II: \u003cem>Schindler’s List\u003c/em>, in 1993, and \u003cem>Saving Private Ryan\u003c/em>, in 1998. \u003cem>Saving Private Ryan \u003c/em>starred \u003ca href=\"https://www.npr.org/2016/04/26/475573489/tom-hanks-says-self-doubt-is-a-high-wire-act-that-we-all-walk\">Tom Hanks\u003c/a>, and Hanks and Spielberg weren’t through with their obsession with World War II dramas; they were just beginning.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13950974",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Teaming with Gary Goetzman, they produced two impressive, captivating HBO miniseries about World War II: \u003cem>Band of Brothers, \u003c/em>in 2001, followed nine years later by \u003ca href=\"https://www.npr.org/2010/03/11/124499816/hanks-spielberg-strike-out-for-the-pacific\">\u003cem>The Pacific\u003c/em>\u003c/a>\u003cem>.\u003c/em> Both miniseries did what \u003cem>Saving Private Ryan \u003c/em>also had accomplished so brilliantly: They allowed the audience to experience the intensity and brutality of wartime. Not just allowed us, but forced us, in unrelenting battle sequences that gave new meaning to the phrase “you are there.”\u003c/p>\n\u003cp>Those dramas also delivered large helpings of surprise, and of loss. We got to know, and care deeply about, their soldiers and marines — and then, without warning, many of them were taken away from us.\u003c/p>\n\u003cp>\u003cem>Masters of the Air\u003c/em> is the newest entry in this World War II project by Spielberg, Hanks and company. It’s every bit equal to, and boasts precisely the same strengths as, those previous offerings. It’s presented by Apple TV+ this time, rolled out weekly after the Jan. 26 two-episode premiere. And because \u003cem>Masters of the Air\u003c/em>, like \u003cem>Band of Brothers\u003c/em> and \u003cem>The Pacific,\u003c/em> is a limited miniseries, even the main characters are at risk of dying at any time — and some do.\u003c/p>\n\u003cp>Two of the primary characters share a similar nickname — a confusing gimmick that’s explained early on. There’s Gale “Buck” Cleven, played by Austin Butler, and John “Bucky” Egan, played by Callum Turner. Bucky had the nickname first, and gave the shorter name, “Buck,” to his friend just to annoy him — until it stuck. Bucky is a loudmouth hothead; Buck is more quiet and private. But they’re good friends, and great pilots.\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>Butler empowers Buck with the undeniable charisma of an old-fashioned movie star, like a bomber pilot-James Dean. Butler’s breakout starring role was as Elvis Presley in \u003ca href=\"https://www.npr.org/2022/06/23/1106734497/elvis-review-baz-luhrmann\">\u003cem>Elvis\u003c/em>\u003c/a>\u003cem>,\u003c/em> and here, even without the trappings of show-biz flash and glitz, he’s just as magnetic.\u003c/p>\n\u003cp>But Butler’s not carrying this story, or fighting this war, alone. Turner’s Bucky matches him throughout — and so does Anthony Boyle, who plays a young navigator named Harry Crosby. And a lot more players contribute greatly: This is a large cast, doing justice to a very big story.\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/lA-1JCRguZ0'\n title='//www.youtube.com/embed/lA-1JCRguZ0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Masters of the Air \u003c/em>is based on the book by Donald L. Miller. Several talented directors traded off working on various episodes, but all were adapted for TV by screenwriter John Orloff. His narrative not only follows the leading characters during World War II, but makes time, over its nine episodes, to weave in such familiar wartime narratives as the \u003ca href=\"https://www.npr.org/2011/04/11/135177510/tuskegee-airmen-rock-stars-of-american-history\">Tuskegee Airmen\u003c/a> and the Great Escape. Lots of time is spent airborne, in one thrilling mission after another, but there also are scenes set in briefing rooms, barracks, rest and recreation spots, even German prisoner of war camps.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13940076",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Masters of the Air \u003c/em>finds drama in all those places. And it’s nice to know that this miniseries, like its predecessors, is being rolled out in weekly installments. These hours of television are like the Air Force missions themselves: They’re such intense experiences, it’s nice to have a little time between them to reflect … and to breathe.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Spielberg+and+Hanks+take+to+the+World+War+II+skies+in+%27Masters+of+the+Air%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13951067/masters-of-the-air-spielberg-tom-hanks-world-war-ii-series-appletv",
"authors": [
"byline_arts_13951067"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_75",
"arts_990"
],
"tags": [
"arts_9222",
"arts_769",
"arts_585",
"arts_3038"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13951068",
"label": "arts_140"
},
"arts_13950994": {
"type": "posts",
"id": "arts_13950994",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13950994",
"score": null,
"sort": [
1706218486000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1706218486,
"format": "standard",
"title": "‘Tótem’ Invites You to a Family Birthday Party — But Death Has RSVP’d, Too",
"headTitle": "‘Tótem’ Invites You to a Family Birthday Party — But Death Has RSVP’d, Too | KQED",
"content": "\u003cp>There’s a scene in the movie adaption of \u003ca href=\"https://www.npr.org/2023/11/11/1212467268/michael-cunninghams-new-novel-is-his-first-in-almost-a-decade\">Michael Cunningham\u003c/a>‘s novel \u003cem>The Hours\u003c/em> when Virginia Woolf is talking to her husband, Leonard, about the book that would become \u003cem>Mrs. Dalloway\u003c/em>. After she tells him she’s going to kill off a major character, Leonard asks her why. “Someone has to die,” she replies, “in order that the rest of us should value life more.”\u003c/p>\n\u003cp>The same tango between life and death takes center stage in \u003cem>Tótem\u003c/em>, the radiant second feature by the terrific Mexican filmmaker Lila Avilés. Set over the course of a single, life-changing day, this ensemble film thrums with a lively, chaotic intimacy. Heartrending without being sentimental, it offers an even more touching vision of Mexican family life than you got in \u003ca href=\"https://www.npr.org/2018/12/13/676190124/in-roma-a-director-recreates-the-city-and-the-caretaker-of-his-youth\">Alfonso Cuarón\u003c/a>‘s \u003ca href=\"https://www.npr.org/2018/11/30/672194755/overly-orchestrated-roma-is-an-epic-of-everyday-life-in-mexico\">\u003cem>Roma\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13950649']Our heroine is Sol — played by Naíma Sentíes — a 7-year-old girl who, unlike most movie kids, is neither cute nor sassy but exudes a natural watchfulness and gravity. As the action begins, she’s surrounded by brightly colored balloons in a car with her mother, who tells her to hold her breath and make a wish. Sol wishes “for daddy not to die.” It’s not clear whether she knows what his dying really means.\u003c/p>\n\u003cp>We soon reach her grandfather’s, a large middle-class house where the family is preparing to have a birthday party for Sol’s father, Tona (Mateo García Elizondo), a 30-something artist who’s being devoured by a terminal disease. Sol keeps asking to see him but is told she must wait. The emaciated Tona remains sequestered with his nurse, fighting pain and mustering the energy to face the guests who keep arriving to celebrate him.\u003c/p>\n\u003cp>Sol passes the time watching the adults. While her aunt Alejandra is busy dyeing her hair, her other aunt Nuri is making a cake that looks like a Van Gogh painting, lubricating her efforts with glasses of wine. Out in the garden, grandpa is obsessively pruning a bonsai that he will give to Tona as a present, though both know this gift will outlive the recipient.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As the hours go by, the house gets fuller and rowdier — complete with family bickering and in-jokes — yet we never forget that Death is also a guest at the party. At one point, Sol takes her mom’s phone and asks Siri, “How will the world end?”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3zTLbBUJTeE\u003c/p>\n\u003cp>Whenever I tell my friends they just have to see \u003cem>Tótem\u003c/em>, they always say something like, “Wow, a movie about death. Sounds fun!” In fact, the movie isn’t remotely funereal. Avilés fills its fleeting 95 minutes with all sorts of nifty stuff. There are scorpions and drones, a scene-stealing cat, a spirited pantomime from a Donizetti opera, even a visit from a scamming psychic who Alejandra has hired to cleanse the negative spirits from the house. “I also sell Tupperware,” she announces.\u003c/p>\n\u003cp>[aside postid='arts_13950901']Avilés first came on the world scene with her 2018 feature debut, \u003cem>The Chambermaid\u003c/em>, a smart, witty story about a woman doing drudge work at a luxury hotel in Mexico City that felt as inhuman as the spaceship in \u003cem>2001\u003c/em>. She spreads her wings even wider in \u003cem>Tótem\u003c/em>, which tackles many more characters and traces more flickering emotions.\u003c/p>\n\u003cp>In following Sol’s long day’s journey into night, when the birthday boy finally appears and she finally gets to see her father, Avilés deftly juggles Sol’s childish view with the complexity of what the adults are going through. Graced with Diego Tenorio’s luminous camerawork, Avilés moves from character to character with enormous delicacy, revealing gossamer threads of personal connection and, like a crack portraitist, catching faces at their most revealing. Like Woolf, she’s attuned to the richness of the fleeting moment.\u003c/p>\n\u003cp>Even as we feel Tona’s pain, and the pain of those who yearn to forget they’re going to lose him, Avilés fills \u003cem>Tótem\u003c/em> with the pulsing fecundity of the natural order — gaudy flowers and busy insects, sly cats and dopey-faced goldfish, not to mention the human beings who have assembled to soften their grief. At the heart of it all is Sol, who comes to a piercing awareness of the thrilling and chilling polarity of being alive. In the end, \u003cem>Tótem\u003c/em> isn’t really a movie about death. It’s a movie about living.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27T%C3%B3tem%27+invites+you+to+a+family+birthday+party+%E2%80%94+but+Death+has+RSVP%27d%2C+too&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cdiv>\u003cem>‘Tótem’ is released nationwide on Jan. 26, 2024.\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 828,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 13
},
"modified": 1706218486,
"excerpt": "The action takes place at the birthday party of a father who's dying of cancer. But ‘Tótem’ is a lot more about life than death.",
"headData": {
"twImgId": "",
"twTitle": "‘Tótem’ Invites You to a Family Birthday Party — But Death Has RSVP’d, Too",
"socialTitle": "‘Tótem’ Review: Lila Avilés’ Movie Uses Death to Talk About Life %%page%% %%sep%% KQED",
"ogTitle": "‘Tótem’ Invites You to a Family Birthday Party — But Death Has RSVP’d, Too",
"ogImgId": "",
"twDescription": "",
"description": "The action takes place at the birthday party of a father who's dying of cancer. But ‘Tótem’ is a lot more about life than death.",
"title": "‘Tótem’ Review: Lila Avilés’ Movie Uses Death to Talk About Life | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘Tótem’ Invites You to a Family Birthday Party — But Death Has RSVP’d, Too",
"datePublished": "2024-01-25T13:34:46-08:00",
"dateModified": "2024-01-25T13:34:46-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "totem-movie-review-lila-aviles",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1226817598&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Thu, 25 Jan 2024 13:37:58 -0500",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Thu, 25 Jan 2024 13:38:14 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2024/01/25/1226817598/totem-film-review?ft=nprml&f=1226817598",
"nprAudio": "https://play.podtrac.com/npr-1069977606/ondemand.npr.org/anon.npr-mp3/npr/fa/2024/01/20240125_fa_46cadd30-66f8-4af9-8e00-a70556b6da00.mp3?orgId=427869011&topicId=4467349&d=359&p=13&story=1226817598&ft=nprml&f=1226817598",
"nprImageAgency": "Limerencia",
"nprAudioM3u": "http://api.npr.org/m3u/11226893662-664b3e.m3u?orgId=427869011&topicId=4467349&d=359&p=13&story=1226817598&ft=nprml&f=1226817598",
"nprStoryId": "1226817598",
"nprByline": "John Powers",
"sticky": false,
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 25 Jan 2024 13:50:00 -0500",
"path": "/arts/13950994/totem-movie-review-lila-aviles",
"audioUrl": "https://play.podtrac.com/npr-1069977606/ondemand.npr.org/anon.npr-mp3/npr/fa/2024/01/20240125_fa_46cadd30-66f8-4af9-8e00-a70556b6da00.mp3?orgId=427869011&topicId=4467349&d=359&p=13&story=1226817598&ft=nprml&f=1226817598",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s a scene in the movie adaption of \u003ca href=\"https://www.npr.org/2023/11/11/1212467268/michael-cunninghams-new-novel-is-his-first-in-almost-a-decade\">Michael Cunningham\u003c/a>‘s novel \u003cem>The Hours\u003c/em> when Virginia Woolf is talking to her husband, Leonard, about the book that would become \u003cem>Mrs. Dalloway\u003c/em>. After she tells him she’s going to kill off a major character, Leonard asks her why. “Someone has to die,” she replies, “in order that the rest of us should value life more.”\u003c/p>\n\u003cp>The same tango between life and death takes center stage in \u003cem>Tótem\u003c/em>, the radiant second feature by the terrific Mexican filmmaker Lila Avilés. Set over the course of a single, life-changing day, this ensemble film thrums with a lively, chaotic intimacy. Heartrending without being sentimental, it offers an even more touching vision of Mexican family life than you got in \u003ca href=\"https://www.npr.org/2018/12/13/676190124/in-roma-a-director-recreates-the-city-and-the-caretaker-of-his-youth\">Alfonso Cuarón\u003c/a>‘s \u003ca href=\"https://www.npr.org/2018/11/30/672194755/overly-orchestrated-roma-is-an-epic-of-everyday-life-in-mexico\">\u003cem>Roma\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13950649",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Our heroine is Sol — played by Naíma Sentíes — a 7-year-old girl who, unlike most movie kids, is neither cute nor sassy but exudes a natural watchfulness and gravity. As the action begins, she’s surrounded by brightly colored balloons in a car with her mother, who tells her to hold her breath and make a wish. Sol wishes “for daddy not to die.” It’s not clear whether she knows what his dying really means.\u003c/p>\n\u003cp>We soon reach her grandfather’s, a large middle-class house where the family is preparing to have a birthday party for Sol’s father, Tona (Mateo García Elizondo), a 30-something artist who’s being devoured by a terminal disease. Sol keeps asking to see him but is told she must wait. The emaciated Tona remains sequestered with his nurse, fighting pain and mustering the energy to face the guests who keep arriving to celebrate him.\u003c/p>\n\u003cp>Sol passes the time watching the adults. While her aunt Alejandra is busy dyeing her hair, her other aunt Nuri is making a cake that looks like a Van Gogh painting, lubricating her efforts with glasses of wine. Out in the garden, grandpa is obsessively pruning a bonsai that he will give to Tona as a present, though both know this gift will outlive the recipient.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As the hours go by, the house gets fuller and rowdier — complete with family bickering and in-jokes — yet we never forget that Death is also a guest at the party. At one point, Sol takes her mom’s phone and asks Siri, “How will the world end?”\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/3zTLbBUJTeE'\n title='//www.youtube.com/embed/3zTLbBUJTeE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Whenever I tell my friends they just have to see \u003cem>Tótem\u003c/em>, they always say something like, “Wow, a movie about death. Sounds fun!” In fact, the movie isn’t remotely funereal. Avilés fills its fleeting 95 minutes with all sorts of nifty stuff. There are scorpions and drones, a scene-stealing cat, a spirited pantomime from a Donizetti opera, even a visit from a scamming psychic who Alejandra has hired to cleanse the negative spirits from the house. “I also sell Tupperware,” she announces.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13950901",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Avilés first came on the world scene with her 2018 feature debut, \u003cem>The Chambermaid\u003c/em>, a smart, witty story about a woman doing drudge work at a luxury hotel in Mexico City that felt as inhuman as the spaceship in \u003cem>2001\u003c/em>. She spreads her wings even wider in \u003cem>Tótem\u003c/em>, which tackles many more characters and traces more flickering emotions.\u003c/p>\n\u003cp>In following Sol’s long day’s journey into night, when the birthday boy finally appears and she finally gets to see her father, Avilés deftly juggles Sol’s childish view with the complexity of what the adults are going through. Graced with Diego Tenorio’s luminous camerawork, Avilés moves from character to character with enormous delicacy, revealing gossamer threads of personal connection and, like a crack portraitist, catching faces at their most revealing. Like Woolf, she’s attuned to the richness of the fleeting moment.\u003c/p>\n\u003cp>Even as we feel Tona’s pain, and the pain of those who yearn to forget they’re going to lose him, Avilés fills \u003cem>Tótem\u003c/em> with the pulsing fecundity of the natural order — gaudy flowers and busy insects, sly cats and dopey-faced goldfish, not to mention the human beings who have assembled to soften their grief. At the heart of it all is Sol, who comes to a piercing awareness of the thrilling and chilling polarity of being alive. In the end, \u003cem>Tótem\u003c/em> isn’t really a movie about death. It’s a movie about living.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27T%C3%B3tem%27+invites+you+to+a+family+birthday+party+%E2%80%94+but+Death+has+RSVP%27d%2C+too&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cdiv>\u003cem>‘Tótem’ is released nationwide on Jan. 26, 2024.\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13950994/totem-movie-review-lila-aviles",
"authors": [
"byline_arts_13950994"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74",
"arts_75"
],
"tags": [
"arts_5573",
"arts_769",
"arts_585"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13950995",
"label": "arts_140"
},
"arts_13950974": {
"type": "posts",
"id": "arts_13950974",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13950974",
"score": null,
"sort": [
1706212657000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1706212657,
"format": "standard",
"title": "Nicole Kidman Leads an Ensemble of Privileged, Disconnected American ‘Expats’",
"headTitle": "Nicole Kidman Leads an Ensemble of Privileged, Disconnected American ‘Expats’ | KQED",
"content": "\u003cp>Nicole Kidman has done a lot of different things in film: she’s been a horny schemer in \u003cem>Malice\u003c/em>, a strong-willed young Irish immigrant in \u003cem>Far and Away\u003c/em>, she was even Virginia Woolf in \u003cem>The Hours\u003c/em>. But in television, she specializes in women who are rich and haunted. Haunted by a nightmarish marriage in \u003cem>Big Little Lies\u003c/em>, haunted by the possibility that her husband is a murderer in \u003cem>The Undoing\u003c/em>, and now haunted by a tragedy in \u003cem>Expats\u003c/em>, the splashy Amazon series adapted from Janice Y.K. Lee’s 2016 novel \u003cem>The Expatriates\u003c/em>, about three American women who are not from Hong Kong, but live there.\u003c/p>\n\u003cp>Kidman plays Margaret, a landscape architect. When we meet her, Margaret seems to be in a fog, barely engaged with her son and daughter, or with her husband, Clarke (Brian Tee). Clarke’s job is the reason the family has come from New York to Hong Kong, and at the opening of the series, he’s secretly seeking comfort in a church because something bad has happened. When an innocent question about a child named “Gus” causes Margaret to flee a room, the nature of that something bad begins to emerge.\u003c/p>\n\u003cp>[aside postid='arts_13950422']Hilary (Sarayu Blue) lives in the same fancy building as Margaret, and it’s clear they’ve been friends, although now, there is tension between them. Margaret has hurt Hilary somehow, and Hilary is finding it difficult to reconcile. Hilary and her husband, David (Jack Huston), have been trying to have a baby around the edges of her busy professional life and his questionable trustworthiness. Their marriage is in trouble, in both ways Hilary knows about and ways she doesn’t, yet.\u003c/p>\n\u003cp>Mercy (Ji-young Yoo) is a young woman working catering jobs who not infrequently finds herself explaining to people she meets that she isn’t local, and isn’t Korean but Korean American, and doesn’t speak Cantonese. She provides a voiceover prologue to the series that makes it clear that she feels very guilty about something, and that she’s having trouble moving on from it.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=whHb3ClSdrQ\u003c/p>\n\u003ch3>Production (sour) notes\u003c/h3>\n\u003cp>At this point, it’s worth taking a moment to note the lengthy and sometimes stormy history of this production. \u003cem>The Expatriates \u003c/em>was published in 2016, and \u003ca href=\"https://deadline.com/2017/02/nicole-kidman-produce-star-the-expatriates-tv-series-adaptation-1201904571/\">news that Nicole Kidman’s production company had acquired the rights emerged\u003c/a> in early 2017 — just before the premiere of \u003cem>Big Little Lies \u003c/em>on HBO. The final major piece of the \u003cem>Expats \u003c/em>puzzle slid into place in late December 2019, when Lulu Wang, just months after the release of her film \u003cem>The Farewell\u003c/em>, came on board to direct, write and executive produce “multiple episodes.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>During filming in 2021, Kidman and several crew members got an exemption allowing them to avoid the COVID quarantine rules that applied to everyone else upon arrival in Hong Kong. As \u003cem>The New York Times \u003c/em>reported at the time, \u003ca href=\"https://www.nytimes.com/2021/08/20/world/asia/nicole-kidman-hong-kong.html\">there was anger not only among the city’s residents, but in its legislature\u003c/a>. It was a bitter pill, it seems, that this production about rich outsiders who paid little attention to the lives of ordinary people in Hong Kong was being given a blessing to hand-wave regulations meant to protect those same ordinary people.\u003c/p>\n\u003cp>[aside postid='arts_13940076']Perhaps most important, filming was taking place — and airing \u003cem>is\u003c/em> taking place — during a dangerous and painful time in Hong Kong’s history. (It’s a massive story defying a quick summary, but \u003ca href=\"https://www.npr.org/2023/12/08/1218100617/beijing-tightens-its-political-grip-on-hong-kong\">one recent update came\u003c/a> from NPR’s Emily Feng in December. The headline: “Beijing tightens its political grip on Hong Kong.”) In an \u003ca href=\"https://www.hollywoodreporter.com/tv/tv-features/lulu-wang-interview-amazon-expats-1235791025/\">interview\u003c/a> with \u003cem>The Hollywood Reporter\u003c/em>, Wang talked about the fact that the show “interrogates privilege” and described how the show was shot during the pandemic. She did not, however, say much about filming and airing a show largely about oblivious rich people when this is the political backdrop.\u003c/p>\n\u003cp>Of course, given past reporting on how censorship has \u003ca href=\"https://www.washingtonpost.com/world/2023/11/20/india-netflix-amazon-movies-self-censorship/\">affected Amazon’s content decisions in India\u003c/a>, growing \u003ca href=\"https://www.reuters.com/world/china/hong-kong-film-makers-say-censorship-law-spooks-investors-actors-2023-06-28/\">censorship laws in Hong Kong\u003c/a>, and China’s treatment of disfavored speech and groups (again, \u003ca href=\"https://www.npr.org/2023/10/25/1208391460/china-suppresses-feminist-lgbtq-groups-outside-china-they-seek-to-rebuild\">here’s Emily Feng\u003c/a>), it’s hard to believe Wang and the rest of the writers had anything like a free hand in dealing with politics while they shot in Hong Kong. And nobody seems eager to disclose what the limitations might have been.\u003c/p>\n\u003cfigure id=\"attachment_13950976\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950976\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/xpat_s1_ut_220510_wilgle_00080r_crop_f_3000_custom-f7507f1ddeb6550b686f3f117d84b1127948dbe4-scaled-e1706211908130.jpg\" alt=\"A white woman and an Asian woman sit across from each other in a restaurant. A woman wearing a mask and headphones around her neck stands between them.\" width=\"1920\" height=\"1279\">\u003cfigcaption class=\"wp-caption-text\">Lulu Wang (center) directs Ji-young Yoo and Nicole Kidman as Mercy and Margaret. \u003ccite>(Glen Wilson/ Prime Video)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>If you can’t say anything important, should you say nothing at all?\u003c/h3>\n\u003cp>What there is of an effort to address the fraught politics of contemporary Hong Kong comes in the fifth episode, “Central.” A double-length installment, it switches the focus to a set of characters we’ve never or rarely spent time with before: a couple of Hong Kong students, a rich Hong Kong woman who’s trying to find a new “helper” for her house, and the two “helpers” who work for Margaret and Hilary’s families. Essie (Ruby Ruiz) and Puri (Amelyn Pardenilla) are both Filipina, so they too are far from home, but their circumstances are very different from the ones Margaret and Hilary face. Over the course of one long night that includes a power outage, protests swell … and then they rather quietly subside. Someone is arrested and it’s worrying, but he’s unharmed.\u003c/p>\n\u003cp>Maybe it’s better than nothing that \u003cem>Expats \u003c/em>acknowledges the existence of the strife in Hong Kong, even if it does so \u003cem>very \u003c/em>nonspecifically, focusing on the broader notion that there are protests and there is disruption, rather than saying much about what the protests are about. (Again, it’s hard not to wonder whether a fairly dispassionate presentation of protests as a historical fact devoid of detail was a freely made choice.) But this episode feels attached to the series like a rabbit’s foot to a keychain, more for the blessings it’s supposed to bring than for its function. So, maybe it’s not better than nothing. Maybe doubling down on the degree to which Hilary and Margaret, in particular, are ignoring the city under their feet would have made more sense.\u003c/p>\n\u003cp>[aside postid='arts_13940189']Some of the early publicity around this series suggested that it was a satire. The book may well be a satire, but this series is not a satire. Margaret and Hilary are selfish, and the existence of the expats we meet implicates them in a variety of destructive systems as they throw parties and talk only to each other, enjoying the parts of life in Hong Kong that are pleasurable and avoiding the parts that are not. But mostly, Hilary and Margaret are presented as sympathetic, as our protagonists, guilty of excess but little culpability for their circumstances, much like the women in \u003cem>Big Little Lies\u003c/em>. Kidman’s gift for portraying the grief that Margaret tries to bury under a layer of ice isn’t witty, quite; it’s her pain that dominates.\u003c/p>\n\u003cp>The writing of the series cannot seem to lower its pH and satirize these women, or even to let go of any claim they might have to victimhood. Margaret’s passing interest in news reports about crackdowns on protests is distasteful, but it’s not connected to her story; it’s just a flaw here, like a short temper. In individual moments, our three women — Hilary and Margaret at least — may be presented as insensitive, but that doesn’t make the series an incisive critique of them. Sour milk does not satirize the dairy industry just because it tastes bad.\u003c/p>\n\u003cp>Mercy is a different story. Mercy is interesting, because while she’s also an expat, she’s quite a different kind. Yoo imbues her with complex, guilt-ridden believability, making her an outwardly confident young woman with a thick hide that she hobbles off to repair after something hurts her. It’s the strongest performance in the series, and it’s the one that holds up best under the strain of the show’s uncertain footing.\u003c/p>\n\u003cfigure id=\"attachment_13950977\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950977\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/xpat_s1_ut_1_210802_wonjup_00000r_3000_custom-0e5f05edfe5a19f59cd05e9c20541c53ef1782c4-scaled-e1706212056535.jpg\" alt=\"A family gathers around a table, seated casually, and chats.\" width=\"1920\" height=\"1279\">\u003cfigcaption class=\"wp-caption-text\">The series only occasionally takes a wider view of the city and its population, but the focus unfortunately remains too narrowiy focused on a particular kind of expat struggle. \u003ccite>(Prime Video)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Marriage, Privilege, Redux?\u003c/h3>\n\u003cp>The most perplexing thing about \u003cem>Expats \u003c/em>is that its story has almost nothing to do with the fact that these women are expats. You could pack up this series and fly it to Manhattan, tell the same core stories about these three women (Margaret’s loss, Mercy’s guilt, Hilary’s marriage), and change … almost nothing. In fact, you could ship it to Monterey to be the third season of \u003cem>Big Little Lies\u003c/em>, and it would have a lot in common with the other seasons (tragedy, guilt, marriage).\u003c/p>\n\u003cp>Perhaps in an effort to avoid saying the wrong thing about expats, or about Hong Kong, \u003cem>Expats\u003c/em> winds up saying nothing about those things at all. The insularity of a woman living abroad who doesn’t speak the local language is a perhaps ironic mirror of the insularity of a story that doesn’t take much notice of its setting other than as scenery.\u003c/p>\n\u003cp>There was probably a different vision for this show at some point. A vision of it as glamorous and gorgeous and darkly funny (darkly funny like \u003cem>The Farewell \u003c/em>was), making affluent people who are expats or even just tourists squirm in recognition. But along the way, it became something far less interesting than that: a good-looking rich-people melodrama. Moreover, it’s a project that invites you, right from its title, to be bewildered by its indifference to life in Hong Kong. It’s like showing up at a billionaire’s house and taking 100 pictures of the koi pond from every angle, while the house is burning down behind you. There’s nothing wrong with the photos you’ve taken, but there is the feeling you could have captured something far more worthy of your attention by just turning your head.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Nicole+Kidman+leads+an+ensemble+of+privileged%2C+disconnected+American+%27Expats%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cem>‘Expats’ begins streaming on Prime Video on Jan. 26, 2024.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1773,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 19
},
"modified": 1706578116,
"excerpt": "The TV adaptation of the 2016 novel ‘The Expatriates’ tells the stories of several women navigating expat ennui.",
"headData": {
"twImgId": "",
"twTitle": "Nicole Kidman Leads an Ensemble of Privileged, Disconnected American ‘Expats’",
"socialTitle": "‘Expats’ Review: New Prime Series Sometimes Misses the Mark %%page%% %%sep%% KQED",
"ogTitle": "Nicole Kidman Leads an Ensemble of Privileged, Disconnected American ‘Expats’",
"ogImgId": "",
"twDescription": "",
"description": "The TV adaptation of the 2016 novel ‘The Expatriates’ tells the stories of several women navigating expat ennui.",
"title": "‘Expats’ Review: New Prime Series Sometimes Misses the Mark | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Nicole Kidman Leads an Ensemble of Privileged, Disconnected American ‘Expats’",
"datePublished": "2024-01-25T11:57:37-08:00",
"dateModified": "2024-01-29T17:28:36-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "nicole-kidman-leads-an-ensemble-of-privileged-disconnected-american-expats",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1226666037&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Thu, 25 Jan 2024 07:00:12 -0500",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Thu, 25 Jan 2024 07:00:12 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2024/01/25/1226666037/expats-review-nicole-kidman?ft=nprml&f=1226666037",
"nprImageAgency": "Prime Video",
"nprStoryId": "1226666037",
"nprByline": "Linda Holmes",
"sticky": false,
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 25 Jan 2024 07:00:00 -0500",
"path": "/arts/13950974/nicole-kidman-leads-an-ensemble-of-privileged-disconnected-american-expats",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nicole Kidman has done a lot of different things in film: she’s been a horny schemer in \u003cem>Malice\u003c/em>, a strong-willed young Irish immigrant in \u003cem>Far and Away\u003c/em>, she was even Virginia Woolf in \u003cem>The Hours\u003c/em>. But in television, she specializes in women who are rich and haunted. Haunted by a nightmarish marriage in \u003cem>Big Little Lies\u003c/em>, haunted by the possibility that her husband is a murderer in \u003cem>The Undoing\u003c/em>, and now haunted by a tragedy in \u003cem>Expats\u003c/em>, the splashy Amazon series adapted from Janice Y.K. Lee’s 2016 novel \u003cem>The Expatriates\u003c/em>, about three American women who are not from Hong Kong, but live there.\u003c/p>\n\u003cp>Kidman plays Margaret, a landscape architect. When we meet her, Margaret seems to be in a fog, barely engaged with her son and daughter, or with her husband, Clarke (Brian Tee). Clarke’s job is the reason the family has come from New York to Hong Kong, and at the opening of the series, he’s secretly seeking comfort in a church because something bad has happened. When an innocent question about a child named “Gus” causes Margaret to flee a room, the nature of that something bad begins to emerge.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13950422",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Hilary (Sarayu Blue) lives in the same fancy building as Margaret, and it’s clear they’ve been friends, although now, there is tension between them. Margaret has hurt Hilary somehow, and Hilary is finding it difficult to reconcile. Hilary and her husband, David (Jack Huston), have been trying to have a baby around the edges of her busy professional life and his questionable trustworthiness. Their marriage is in trouble, in both ways Hilary knows about and ways she doesn’t, yet.\u003c/p>\n\u003cp>Mercy (Ji-young Yoo) is a young woman working catering jobs who not infrequently finds herself explaining to people she meets that she isn’t local, and isn’t Korean but Korean American, and doesn’t speak Cantonese. She provides a voiceover prologue to the series that makes it clear that she feels very guilty about something, and that she’s having trouble moving on from it.\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/whHb3ClSdrQ'\n title='//www.youtube.com/embed/whHb3ClSdrQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Production (sour) notes\u003c/h3>\n\u003cp>At this point, it’s worth taking a moment to note the lengthy and sometimes stormy history of this production. \u003cem>The Expatriates \u003c/em>was published in 2016, and \u003ca href=\"https://deadline.com/2017/02/nicole-kidman-produce-star-the-expatriates-tv-series-adaptation-1201904571/\">news that Nicole Kidman’s production company had acquired the rights emerged\u003c/a> in early 2017 — just before the premiere of \u003cem>Big Little Lies \u003c/em>on HBO. The final major piece of the \u003cem>Expats \u003c/em>puzzle slid into place in late December 2019, when Lulu Wang, just months after the release of her film \u003cem>The Farewell\u003c/em>, came on board to direct, write and executive produce “multiple episodes.”\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>During filming in 2021, Kidman and several crew members got an exemption allowing them to avoid the COVID quarantine rules that applied to everyone else upon arrival in Hong Kong. As \u003cem>The New York Times \u003c/em>reported at the time, \u003ca href=\"https://www.nytimes.com/2021/08/20/world/asia/nicole-kidman-hong-kong.html\">there was anger not only among the city’s residents, but in its legislature\u003c/a>. It was a bitter pill, it seems, that this production about rich outsiders who paid little attention to the lives of ordinary people in Hong Kong was being given a blessing to hand-wave regulations meant to protect those same ordinary people.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13940076",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Perhaps most important, filming was taking place — and airing \u003cem>is\u003c/em> taking place — during a dangerous and painful time in Hong Kong’s history. (It’s a massive story defying a quick summary, but \u003ca href=\"https://www.npr.org/2023/12/08/1218100617/beijing-tightens-its-political-grip-on-hong-kong\">one recent update came\u003c/a> from NPR’s Emily Feng in December. The headline: “Beijing tightens its political grip on Hong Kong.”) In an \u003ca href=\"https://www.hollywoodreporter.com/tv/tv-features/lulu-wang-interview-amazon-expats-1235791025/\">interview\u003c/a> with \u003cem>The Hollywood Reporter\u003c/em>, Wang talked about the fact that the show “interrogates privilege” and described how the show was shot during the pandemic. She did not, however, say much about filming and airing a show largely about oblivious rich people when this is the political backdrop.\u003c/p>\n\u003cp>Of course, given past reporting on how censorship has \u003ca href=\"https://www.washingtonpost.com/world/2023/11/20/india-netflix-amazon-movies-self-censorship/\">affected Amazon’s content decisions in India\u003c/a>, growing \u003ca href=\"https://www.reuters.com/world/china/hong-kong-film-makers-say-censorship-law-spooks-investors-actors-2023-06-28/\">censorship laws in Hong Kong\u003c/a>, and China’s treatment of disfavored speech and groups (again, \u003ca href=\"https://www.npr.org/2023/10/25/1208391460/china-suppresses-feminist-lgbtq-groups-outside-china-they-seek-to-rebuild\">here’s Emily Feng\u003c/a>), it’s hard to believe Wang and the rest of the writers had anything like a free hand in dealing with politics while they shot in Hong Kong. And nobody seems eager to disclose what the limitations might have been.\u003c/p>\n\u003cfigure id=\"attachment_13950976\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950976\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/xpat_s1_ut_220510_wilgle_00080r_crop_f_3000_custom-f7507f1ddeb6550b686f3f117d84b1127948dbe4-scaled-e1706211908130.jpg\" alt=\"A white woman and an Asian woman sit across from each other in a restaurant. A woman wearing a mask and headphones around her neck stands between them.\" width=\"1920\" height=\"1279\">\u003cfigcaption class=\"wp-caption-text\">Lulu Wang (center) directs Ji-young Yoo and Nicole Kidman as Mercy and Margaret. \u003ccite>(Glen Wilson/ Prime Video)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>If you can’t say anything important, should you say nothing at all?\u003c/h3>\n\u003cp>What there is of an effort to address the fraught politics of contemporary Hong Kong comes in the fifth episode, “Central.” A double-length installment, it switches the focus to a set of characters we’ve never or rarely spent time with before: a couple of Hong Kong students, a rich Hong Kong woman who’s trying to find a new “helper” for her house, and the two “helpers” who work for Margaret and Hilary’s families. Essie (Ruby Ruiz) and Puri (Amelyn Pardenilla) are both Filipina, so they too are far from home, but their circumstances are very different from the ones Margaret and Hilary face. Over the course of one long night that includes a power outage, protests swell … and then they rather quietly subside. Someone is arrested and it’s worrying, but he’s unharmed.\u003c/p>\n\u003cp>Maybe it’s better than nothing that \u003cem>Expats \u003c/em>acknowledges the existence of the strife in Hong Kong, even if it does so \u003cem>very \u003c/em>nonspecifically, focusing on the broader notion that there are protests and there is disruption, rather than saying much about what the protests are about. (Again, it’s hard not to wonder whether a fairly dispassionate presentation of protests as a historical fact devoid of detail was a freely made choice.) But this episode feels attached to the series like a rabbit’s foot to a keychain, more for the blessings it’s supposed to bring than for its function. So, maybe it’s not better than nothing. Maybe doubling down on the degree to which Hilary and Margaret, in particular, are ignoring the city under their feet would have made more sense.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13940189",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Some of the early publicity around this series suggested that it was a satire. The book may well be a satire, but this series is not a satire. Margaret and Hilary are selfish, and the existence of the expats we meet implicates them in a variety of destructive systems as they throw parties and talk only to each other, enjoying the parts of life in Hong Kong that are pleasurable and avoiding the parts that are not. But mostly, Hilary and Margaret are presented as sympathetic, as our protagonists, guilty of excess but little culpability for their circumstances, much like the women in \u003cem>Big Little Lies\u003c/em>. Kidman’s gift for portraying the grief that Margaret tries to bury under a layer of ice isn’t witty, quite; it’s her pain that dominates.\u003c/p>\n\u003cp>The writing of the series cannot seem to lower its pH and satirize these women, or even to let go of any claim they might have to victimhood. Margaret’s passing interest in news reports about crackdowns on protests is distasteful, but it’s not connected to her story; it’s just a flaw here, like a short temper. In individual moments, our three women — Hilary and Margaret at least — may be presented as insensitive, but that doesn’t make the series an incisive critique of them. Sour milk does not satirize the dairy industry just because it tastes bad.\u003c/p>\n\u003cp>Mercy is a different story. Mercy is interesting, because while she’s also an expat, she’s quite a different kind. Yoo imbues her with complex, guilt-ridden believability, making her an outwardly confident young woman with a thick hide that she hobbles off to repair after something hurts her. It’s the strongest performance in the series, and it’s the one that holds up best under the strain of the show’s uncertain footing.\u003c/p>\n\u003cfigure id=\"attachment_13950977\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950977\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/xpat_s1_ut_1_210802_wonjup_00000r_3000_custom-0e5f05edfe5a19f59cd05e9c20541c53ef1782c4-scaled-e1706212056535.jpg\" alt=\"A family gathers around a table, seated casually, and chats.\" width=\"1920\" height=\"1279\">\u003cfigcaption class=\"wp-caption-text\">The series only occasionally takes a wider view of the city and its population, but the focus unfortunately remains too narrowiy focused on a particular kind of expat struggle. \u003ccite>(Prime Video)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Marriage, Privilege, Redux?\u003c/h3>\n\u003cp>The most perplexing thing about \u003cem>Expats \u003c/em>is that its story has almost nothing to do with the fact that these women are expats. You could pack up this series and fly it to Manhattan, tell the same core stories about these three women (Margaret’s loss, Mercy’s guilt, Hilary’s marriage), and change … almost nothing. In fact, you could ship it to Monterey to be the third season of \u003cem>Big Little Lies\u003c/em>, and it would have a lot in common with the other seasons (tragedy, guilt, marriage).\u003c/p>\n\u003cp>Perhaps in an effort to avoid saying the wrong thing about expats, or about Hong Kong, \u003cem>Expats\u003c/em> winds up saying nothing about those things at all. The insularity of a woman living abroad who doesn’t speak the local language is a perhaps ironic mirror of the insularity of a story that doesn’t take much notice of its setting other than as scenery.\u003c/p>\n\u003cp>There was probably a different vision for this show at some point. A vision of it as glamorous and gorgeous and darkly funny (darkly funny like \u003cem>The Farewell \u003c/em>was), making affluent people who are expats or even just tourists squirm in recognition. But along the way, it became something far less interesting than that: a good-looking rich-people melodrama. Moreover, it’s a project that invites you, right from its title, to be bewildered by its indifference to life in Hong Kong. It’s like showing up at a billionaire’s house and taking 100 pictures of the koi pond from every angle, while the house is burning down behind you. There’s nothing wrong with the photos you’ve taken, but there is the feeling you could have captured something far more worthy of your attention by just turning your head.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Nicole+Kidman+leads+an+ensemble+of+privileged%2C+disconnected+American+%27Expats%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cem>‘Expats’ begins streaming on Prime Video on Jan. 26, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13950974/nicole-kidman-leads-an-ensemble-of-privileged-disconnected-american-expats",
"authors": [
"byline_arts_13950974"
],
"categories": [
"arts_1",
"arts_75",
"arts_990"
],
"tags": [
"arts_5391",
"arts_10521",
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13950975",
"label": "arts_137"
},
"arts_13950768": {
"type": "posts",
"id": "arts_13950768",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13950768",
"score": null,
"sort": [
1706034167000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1706034167,
"format": "standard",
"title": "Takeaways From the Oscar Nominations: Heavy Hitters Rewarded, Plus Some Surprises",
"headTitle": "Takeaways From the Oscar Nominations: Heavy Hitters Rewarded, Plus Some Surprises | KQED",
"content": "\u003cp>The Oscar nominations \u003ca href=\"https://www.npr.org/2024/01/23/1226291911/oscar-nominations-full-list-2024-academy-awards-oppenheimer-barbie\">were announced Tuesday morning,\u003c/a> and most of the heavy hitters were richly rewarded. A man was nominated for playing a doll; a woman was nominated for playing a baby (sort of). Ten pictures will vie to be considered best. Let’s talk about what happened.\u003c/p>\n\u003cfigure id=\"attachment_13950765\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950765\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/oppenheimer_custom-fd7831f143e8f0c1ce5b2501e075edede609f851-e1706032770529.jpg\" alt=\"A white man wearing a suit stands in the desert and gazes up at the sky.\" width=\"1920\" height=\"1342\">\u003cfigcaption class=\"wp-caption-text\">‘Oppenheimer’ received 13 Oscar nominations. Above, Cillian Murphy as J. Robert Oppenheimer. \u003ccite>(Universal Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>All hail ‘Oppenheimer’\u003c/h2>\n\u003cp>Whether Christopher Nolan is your speed or not, the Academy loves him. \u003ca href=\"https://www.kqed.org/arts/13931577/in-oppenheimer-christopher-nolan-builds-a-thrilling-serious-blockbuster-for-adults\">\u003cem>Oppenheimer\u003c/em>\u003c/a>, his drama about the man who developed the atomic bomb, led all films with 13 nominations in both what are sometimes considered “major” categories (like best picture, best director, best actor and adapted screenplay) and “technical” categories (like sound, production design, and visual effects). It’s not a record; a couple of other films, including \u003cem>Titanic\u003c/em>, have received 14. Still, it’s a very big total. In another year, \u003ca href=\"https://www.kqed.org/arts/13938158/poor-things-movie-review-emma-stone-bella-baxter-mark-ruffalo-willem-dafoe\">\u003cem>Poor Things\u003c/em>\u003c/a>’ 11 nominations or \u003ca href=\"https://www.kqed.org/arts/13936628/killers-of-the-flower-moon-review-martin-scorsese-robert-deniro-lily-gladstone-epic\">\u003cem>Killers of the Flower Moon\u003c/em>\u003c/a>’s 10 might have led the nominations. But not up against this kind of — forgive the phrase — explosive acclaim.\u003c/p>\n\u003cfigure id=\"attachment_13950767\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950767\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/rev-1-tcp-05246_high_res_jpeg-39d035f3da6390febef1d0db9344ed0d5c3cab74-scaled-e1706032868144.jpe\" alt=\"Two Black women sit outdoors in the sun, their heads leaning on one another. They look dejected.\" width=\"1920\" height=\"1440\">\u003cfigcaption class=\"wp-caption-text\">Sofia (Danielle Brooks) and Celie (Fantasia Barrino) in the 2023 reincarnation of ‘The Color Purple.’ Brooks was nominated for her supporting performance. \u003ccite>(Eli Adé/ Warner Bros. Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A couple of contenders came up empty or nearly so\u003c/h2>\n\u003cp>There were a lot of films that elbowed their way into big nominations; that’s what you get when you start with 10 best picture nominees. But both \u003ca href=\"https://www.kqed.org/arts/13950482/ava-duvernay-origin-caste-our-discontents-isabel-wilkerson\">\u003cem>Origin\u003c/em>\u003c/a>, the latest film from director Ava DuVernay, and \u003ca href=\"https://www.kqed.org/arts/13939701/all-of-us-strangers-review-andrew-scott-paul-mescal\">\u003cem>All of Us Strangers\u003c/em>\u003c/a>, the love story starring Andrew Scott and Paul Mescal, were left out of the nominations. \u003ca href=\"https://www.kqed.org/arts/13939793/the-color-purple-successfully-squeezes-popular-entertainment-out-of-art\">\u003cem>The Color Purple\u003c/em>\u003c/a> musical adaptation was nominated only for Danielle Brooks’ supporting performance — a richly deserved nod, by the way.\u003c/p>\n\u003cfigure id=\"attachment_13950772\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950772\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/killers_of_the_flower_moon_photo_0101_custom-5f825ca5758ef8a2b1dac0cf1112b1c4ed07dac7-scaled-e1706032979687.jpg\" alt=\"An Indigenous woman and a white man in a suit sit at a heavy wood dining table. China cabinets line the wall behind them.\" width=\"1920\" height=\"1202\">\u003cfigcaption class=\"wp-caption-text\">Many of the acting nominees are first-timers, including Lily Gladstone, shown here with Leonardo DiCaprio in ‘Killers of the Flower Moon.’ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A lot of the acting nominees are first-timers\u003c/h2>\n\u003cp>There are 10 first-time acting nominees: Emily Blunt (\u003cem>Oppenheimer\u003c/em>), Danielle Brooks (\u003cem>The Color Purple\u003c/em>), Sterling K. Brown (\u003ca href=\"https://www.kqed.org/arts/13938160\">\u003cem>American Fiction\u003c/em>\u003c/a>), \u003ca href=\"https://www.kqed.org/arts/13909135/colman-domingo-strand-theater-valentines-euphoria-walking-dead-zola\">Colman Domingo\u003c/a> (\u003ca href=\"https://www.kqed.org/arts/13937499/bayard-rustin-biopic-review-colman-domingo-civil-rights\">\u003cem>Rustin\u003c/em>\u003c/a>), America Ferrera (\u003ca href=\"https://www.kqed.org/arts/13931753/allan-doll-michael-cera-greta-gerwig-barbie-movie-review\">\u003cem>Barbie\u003c/em>\u003c/a>), Lily Gladstone (\u003cem>Killers of the Flower Moon\u003c/em>), Sandra Hüller (\u003ca href=\"https://www.kqed.org/arts/13936363/anatomy-of-a-fall-movie-review-sandra-huller-palme-dor-france\">\u003cem>Anatomy of a Fall\u003c/em>\u003c/a>), Cillian Murphy (\u003cem>Oppenheimer\u003c/em>), Da’Vine Joy Randolph (\u003ca href=\"https://www.kqed.org/arts/13937046/alexander-payne-keeps-real-emotion-at-bay-in-the-coyly-comic-holdovers\">\u003cem>The Holdovers\u003c/em>\u003c/a>) and Jeffrey Wright (\u003cem>American Fiction\u003c/em>). They’re a fascinating mix of familiar good actors who you might be surprised are first-timers (Blunt, Domingo, Wright, Murphy), folks who did great work on television before they got much recognition in film (Ferrera, Brown, Brooks), and people who probably feel like relative newcomers to a lot of Oscar voters even though they are emphatically not (Gladstone, Randolph, Hüller).\u003c/p>\n\u003cfigure id=\"attachment_13950774\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950774\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/anatomy-of-a-fall-cannes_custom-677310d4f9219b221154d99206c40220c5d6759a-scaled-e1706033081360.jpg\" alt=\"A white woman stands wearing warm clothing, a snow-capped mountain in the distance. A man is at her side, turned away from her.\" width=\"1920\" height=\"1079\">\u003cfigcaption class=\"wp-caption-text\">French filmmaker Justine Triet was nominated for best director for ‘Anatomy of a Fall,’ about a writer (played by Sandra Hüller, above) accused of murdering her husband. \u003ccite>(NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>One woman director is in, a couple of others are out\u003c/h2>\n\u003cp>French filmmaker Justine Triet was nominated for best director for \u003cem>Anatomy of a Fall\u003c/em>, the devastating story of a woman suspected of being responsible for the death of her husband. But both Greta Gerwig, who directed the much-nominated \u003cem>Barbie\u003c/em>, and Celine Song, who directed the beautiful best picture nominee \u003ca href=\"https://www.kqed.org/arts/13930006/past-lives-is-a-gorgeous-meditation-on-love-chance-and-the-choices-we-make\">\u003cem>Past Lives\u003c/em>\u003c/a>, were left out of the category. Both their lead actresses, Margot Robbie and Greta Lee, went without nominations in that category, too.\u003c/p>\n\u003cfigure id=\"attachment_13950775\" class=\"wp-caption aligncenter\" style=\"max-width: 2395px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950775\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/barbie-oppenheimer_wide-c10222cd8e257474847e3ee7754df9e035860948.jpg\" alt=\"Two images side by side. One of a smiling blonde white woman in a pink dress, the other of a serious man sitting squarely at a brown desk.\" width=\"2395\" height=\"1347\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/barbie-oppenheimer_wide-c10222cd8e257474847e3ee7754df9e035860948.jpg 2395w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/barbie-oppenheimer_wide-c10222cd8e257474847e3ee7754df9e035860948-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/barbie-oppenheimer_wide-c10222cd8e257474847e3ee7754df9e035860948-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/barbie-oppenheimer_wide-c10222cd8e257474847e3ee7754df9e035860948-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/barbie-oppenheimer_wide-c10222cd8e257474847e3ee7754df9e035860948-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/barbie-oppenheimer_wide-c10222cd8e257474847e3ee7754df9e035860948-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/barbie-oppenheimer_wide-c10222cd8e257474847e3ee7754df9e035860948-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/barbie-oppenheimer_wide-c10222cd8e257474847e3ee7754df9e035860948-1920x1080.jpg 1920w\" sizes=\"(max-width: 2395px) 100vw, 2395px\">\u003cfigcaption class=\"wp-caption-text\">Remember Barbenheimer? \u003ccite>(Jaap Buitendijk, Warner Bros. / Melinda Sue Gordon, Universal Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Barbenheimer turned out fine for everybody\u003c/h2>\n\u003cp>It’s funny to look back now and remember that \u003ca href=\"https://www.kqed.org/arts/13931677/barbenheimer-barbie-oppenheimer-box-office-greta-gerwig-christopher-nolan\">the showdown between \u003cem>Barbie\u003c/em> and \u003cem>Oppenheimer\u003c/em>\u003c/a>, because they opened the same weekend, was ever treated as any kind of either-or competition that would have a single victor. They both made a ton of money, though \u003ca href=\"https://www.kqed.org/arts/13931981/greta-gerwig-box-office-record-female-directors\">\u003cem>Barbie\u003c/em> made more\u003c/a>; they both received a bunch of Oscar nominations, though \u003cem>Oppenheimer\u003c/em> received more. (\u003cem>Barbie\u003c/em> had eight, including one for Ryan Gosling’s extraordinarily silly supporting work as Ken. More true comedy nominations, please!) They were very different kinds of “event” pictures we could stand to have more of: well-made, surprising, vibrant and memorable, in completely different ways.\u003c/p>\n\u003cfigure id=\"attachment_13950777\" class=\"wp-caption aligncenter\" style=\"max-width: 2348px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950777\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/zoneofinterst_custom-034c8ae0b103675db59066bfc0650c9a69499f90.jpg\" alt=\"A woman in 1940-era clothing stands in a walled garden clutching a baby. A dog stands behind them.\" width=\"2348\" height=\"1306\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/zoneofinterst_custom-034c8ae0b103675db59066bfc0650c9a69499f90.jpg 2348w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/zoneofinterst_custom-034c8ae0b103675db59066bfc0650c9a69499f90-800x445.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/zoneofinterst_custom-034c8ae0b103675db59066bfc0650c9a69499f90-1020x567.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/zoneofinterst_custom-034c8ae0b103675db59066bfc0650c9a69499f90-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/zoneofinterst_custom-034c8ae0b103675db59066bfc0650c9a69499f90-768x427.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/zoneofinterst_custom-034c8ae0b103675db59066bfc0650c9a69499f90-1536x854.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/zoneofinterst_custom-034c8ae0b103675db59066bfc0650c9a69499f90-2048x1139.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/zoneofinterst_custom-034c8ae0b103675db59066bfc0650c9a69499f90-1038x576.jpg 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/zoneofinterst_custom-034c8ae0b103675db59066bfc0650c9a69499f90-1920x1068.jpg 1920w\" sizes=\"(max-width: 2348px) 100vw, 2348px\">\u003cfigcaption class=\"wp-caption-text\">Sandra Hüller plays a mother who lives next door to Auschwitz in ‘The Zone of Interest.’ \u003ccite>(A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>International films continue to perform well\u003c/h2>\n\u003cp>In 2018, Alfonso Cuarón’s \u003cem>Roma\u003c/em> was only the fifth non-English-language film to ever be nominated for both best international film and best picture. But just since then, there have been four more: \u003cem>Parasite\u003c/em>, \u003cem>Drive My Car\u003c/em>, \u003cem>All Quiet on the Western Front\u003c/em> and now \u003ca href=\"https://www.kqed.org/arts/13940387/the-zone-of-interest-movie-review\">\u003cem>The Zone of Interest\u003c/em>\u003c/a>, the disturbing study of a family living happily just outside the walls of Auschwitz, where the father is commandant. The short version? There’s no longer any reason to suspect that a film with subtitles won’t be nominated for best picture, which is a great development.\u003c/p>\n\u003cfigure id=\"attachment_13950779\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950779\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/ij_dod_dtlr2_uhd_r709f_stills_230405.088296-1-_custom-454eb63e13f95f1d3be680076bcb27ac7f602a10-scaled-e1706033430838.jpg\" alt=\"An older white man wearing a distinctive hat sits in a vehicle looking worried. Behind him, a woman and tween child sit.\" width=\"1920\" height=\"803\">\u003cfigcaption class=\"wp-caption-text\">‘Indiana Jones and the Dial of Destiny’ starring Harrison Ford (above) brought composer John Williams his 54th Oscar nomination. \u003ccite>(Lucasfilm Ltd.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>John Williams and Thelma Schoonmaker set (or keep extending) records\u003c/h2>\n\u003cp>Williams, who has written much of the most beloved rousing movie music of the last 60 or so years, received his 54th nomination for the score of \u003cem>\u003ca href=\"https://www.kqed.org/arts/13930931/harrison-ford-gets-a-swashbuckling-sendoff-in-indiana-jones-and-the-dial-of-destiny\">Indiana Jones and the Dial of Destiny\u003c/a>\u003c/em>. It’s more nominations than any other living person has. And Schoonmaker, longtime collaborator of Martin Scorsese, became the most nominated editor ever when she was recognized for the ninth time, for his film \u003cem>Killers of the Flower Moon\u003c/em>. (She’s won for \u003cem>Raging Bull\u003c/em>, \u003cem>The Aviator\u003c/em> and \u003cem>The Departed\u003c/em>.) Both Williams and Schoonmaker are examples of essential collaborators without whom celebrated directors could not do their work, whether they’re making tragic epics or swashbuckling adventures.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2024 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 991,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 11
},
"modified": 1706035617,
"excerpt": "’Oppenheimer,’ Christopher Nolan’s drama about the man who developed the atomic bomb, led with 13 nominations.",
"headData": {
"twImgId": "",
"twTitle": "Takeaways From the Oscar Nominations: Heavy Hitters Rewarded, Plus Some Surprises",
"socialTitle": "Oscar Nominations Analysis: Some Surprises and a Few Snubs %%page%% %%sep%% KQED",
"ogTitle": "Takeaways From the Oscar Nominations: Heavy Hitters Rewarded, Plus Some Surprises",
"ogImgId": "",
"twDescription": "",
"description": "’Oppenheimer,’ Christopher Nolan’s drama about the man who developed the atomic bomb, led with 13 nominations.",
"title": "Oscar Nominations Analysis: Some Surprises and a Few Snubs | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Takeaways From the Oscar Nominations: Heavy Hitters Rewarded, Plus Some Surprises",
"datePublished": "2024-01-23T10:22:47-08:00",
"dateModified": "2024-01-23T10:46:57-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "2024-oscar-nominations",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1226287545&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Tue, 23 Jan 2024 11:06:08 -0500",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Tue, 23 Jan 2024 12:21:52 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2024/01/23/1226287545/oscar-nominations-oppenheimer-surprises-snubs?ft=nprml&f=1226287545",
"nprImageAgency": "Universal Pictures",
"nprStoryId": "1226287545",
"nprByline": "Linda Holmes",
"sticky": false,
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 23 Jan 2024 12:21:00 -0500",
"path": "/arts/13950768/2024-oscar-nominations",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Oscar nominations \u003ca href=\"https://www.npr.org/2024/01/23/1226291911/oscar-nominations-full-list-2024-academy-awards-oppenheimer-barbie\">were announced Tuesday morning,\u003c/a> and most of the heavy hitters were richly rewarded. A man was nominated for playing a doll; a woman was nominated for playing a baby (sort of). Ten pictures will vie to be considered best. Let’s talk about what happened.\u003c/p>\n\u003cfigure id=\"attachment_13950765\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950765\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/oppenheimer_custom-fd7831f143e8f0c1ce5b2501e075edede609f851-e1706032770529.jpg\" alt=\"A white man wearing a suit stands in the desert and gazes up at the sky.\" width=\"1920\" height=\"1342\">\u003cfigcaption class=\"wp-caption-text\">‘Oppenheimer’ received 13 Oscar nominations. Above, Cillian Murphy as J. Robert Oppenheimer. \u003ccite>(Universal Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>All hail ‘Oppenheimer’\u003c/h2>\n\u003cp>Whether Christopher Nolan is your speed or not, the Academy loves him. \u003ca href=\"https://www.kqed.org/arts/13931577/in-oppenheimer-christopher-nolan-builds-a-thrilling-serious-blockbuster-for-adults\">\u003cem>Oppenheimer\u003c/em>\u003c/a>, his drama about the man who developed the atomic bomb, led all films with 13 nominations in both what are sometimes considered “major” categories (like best picture, best director, best actor and adapted screenplay) and “technical” categories (like sound, production design, and visual effects). It’s not a record; a couple of other films, including \u003cem>Titanic\u003c/em>, have received 14. Still, it’s a very big total. In another year, \u003ca href=\"https://www.kqed.org/arts/13938158/poor-things-movie-review-emma-stone-bella-baxter-mark-ruffalo-willem-dafoe\">\u003cem>Poor Things\u003c/em>\u003c/a>’ 11 nominations or \u003ca href=\"https://www.kqed.org/arts/13936628/killers-of-the-flower-moon-review-martin-scorsese-robert-deniro-lily-gladstone-epic\">\u003cem>Killers of the Flower Moon\u003c/em>\u003c/a>’s 10 might have led the nominations. But not up against this kind of — forgive the phrase — explosive acclaim.\u003c/p>\n\u003cfigure id=\"attachment_13950767\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950767\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/rev-1-tcp-05246_high_res_jpeg-39d035f3da6390febef1d0db9344ed0d5c3cab74-scaled-e1706032868144.jpe\" alt=\"Two Black women sit outdoors in the sun, their heads leaning on one another. They look dejected.\" width=\"1920\" height=\"1440\">\u003cfigcaption class=\"wp-caption-text\">Sofia (Danielle Brooks) and Celie (Fantasia Barrino) in the 2023 reincarnation of ‘The Color Purple.’ Brooks was nominated for her supporting performance. \u003ccite>(Eli Adé/ Warner Bros. Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A couple of contenders came up empty or nearly so\u003c/h2>\n\u003cp>There were a lot of films that elbowed their way into big nominations; that’s what you get when you start with 10 best picture nominees. But both \u003ca href=\"https://www.kqed.org/arts/13950482/ava-duvernay-origin-caste-our-discontents-isabel-wilkerson\">\u003cem>Origin\u003c/em>\u003c/a>, the latest film from director Ava DuVernay, and \u003ca href=\"https://www.kqed.org/arts/13939701/all-of-us-strangers-review-andrew-scott-paul-mescal\">\u003cem>All of Us Strangers\u003c/em>\u003c/a>, the love story starring Andrew Scott and Paul Mescal, were left out of the nominations. \u003ca href=\"https://www.kqed.org/arts/13939793/the-color-purple-successfully-squeezes-popular-entertainment-out-of-art\">\u003cem>The Color Purple\u003c/em>\u003c/a> musical adaptation was nominated only for Danielle Brooks’ supporting performance — a richly deserved nod, by the way.\u003c/p>\n\u003cfigure id=\"attachment_13950772\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950772\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/killers_of_the_flower_moon_photo_0101_custom-5f825ca5758ef8a2b1dac0cf1112b1c4ed07dac7-scaled-e1706032979687.jpg\" alt=\"An Indigenous woman and a white man in a suit sit at a heavy wood dining table. China cabinets line the wall behind them.\" width=\"1920\" height=\"1202\">\u003cfigcaption class=\"wp-caption-text\">Many of the acting nominees are first-timers, including Lily Gladstone, shown here with Leonardo DiCaprio in ‘Killers of the Flower Moon.’ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A lot of the acting nominees are first-timers\u003c/h2>\n\u003cp>There are 10 first-time acting nominees: Emily Blunt (\u003cem>Oppenheimer\u003c/em>), Danielle Brooks (\u003cem>The Color Purple\u003c/em>), Sterling K. Brown (\u003ca href=\"https://www.kqed.org/arts/13938160\">\u003cem>American Fiction\u003c/em>\u003c/a>), \u003ca href=\"https://www.kqed.org/arts/13909135/colman-domingo-strand-theater-valentines-euphoria-walking-dead-zola\">Colman Domingo\u003c/a> (\u003ca href=\"https://www.kqed.org/arts/13937499/bayard-rustin-biopic-review-colman-domingo-civil-rights\">\u003cem>Rustin\u003c/em>\u003c/a>), America Ferrera (\u003ca href=\"https://www.kqed.org/arts/13931753/allan-doll-michael-cera-greta-gerwig-barbie-movie-review\">\u003cem>Barbie\u003c/em>\u003c/a>), Lily Gladstone (\u003cem>Killers of the Flower Moon\u003c/em>), Sandra Hüller (\u003ca href=\"https://www.kqed.org/arts/13936363/anatomy-of-a-fall-movie-review-sandra-huller-palme-dor-france\">\u003cem>Anatomy of a Fall\u003c/em>\u003c/a>), Cillian Murphy (\u003cem>Oppenheimer\u003c/em>), Da’Vine Joy Randolph (\u003ca href=\"https://www.kqed.org/arts/13937046/alexander-payne-keeps-real-emotion-at-bay-in-the-coyly-comic-holdovers\">\u003cem>The Holdovers\u003c/em>\u003c/a>) and Jeffrey Wright (\u003cem>American Fiction\u003c/em>). They’re a fascinating mix of familiar good actors who you might be surprised are first-timers (Blunt, Domingo, Wright, Murphy), folks who did great work on television before they got much recognition in film (Ferrera, Brown, Brooks), and people who probably feel like relative newcomers to a lot of Oscar voters even though they are emphatically not (Gladstone, Randolph, Hüller).\u003c/p>\n\u003cfigure id=\"attachment_13950774\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950774\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/anatomy-of-a-fall-cannes_custom-677310d4f9219b221154d99206c40220c5d6759a-scaled-e1706033081360.jpg\" alt=\"A white woman stands wearing warm clothing, a snow-capped mountain in the distance. A man is at her side, turned away from her.\" width=\"1920\" height=\"1079\">\u003cfigcaption class=\"wp-caption-text\">French filmmaker Justine Triet was nominated for best director for ‘Anatomy of a Fall,’ about a writer (played by Sandra Hüller, above) accused of murdering her husband. \u003ccite>(NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>One woman director is in, a couple of others are out\u003c/h2>\n\u003cp>French filmmaker Justine Triet was nominated for best director for \u003cem>Anatomy of a Fall\u003c/em>, the devastating story of a woman suspected of being responsible for the death of her husband. But both Greta Gerwig, who directed the much-nominated \u003cem>Barbie\u003c/em>, and Celine Song, who directed the beautiful best picture nominee \u003ca href=\"https://www.kqed.org/arts/13930006/past-lives-is-a-gorgeous-meditation-on-love-chance-and-the-choices-we-make\">\u003cem>Past Lives\u003c/em>\u003c/a>, were left out of the category. Both their lead actresses, Margot Robbie and Greta Lee, went without nominations in that category, too.\u003c/p>\n\u003cfigure id=\"attachment_13950775\" class=\"wp-caption aligncenter\" style=\"max-width: 2395px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950775\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/barbie-oppenheimer_wide-c10222cd8e257474847e3ee7754df9e035860948.jpg\" alt=\"Two images side by side. One of a smiling blonde white woman in a pink dress, the other of a serious man sitting squarely at a brown desk.\" width=\"2395\" height=\"1347\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/barbie-oppenheimer_wide-c10222cd8e257474847e3ee7754df9e035860948.jpg 2395w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/barbie-oppenheimer_wide-c10222cd8e257474847e3ee7754df9e035860948-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/barbie-oppenheimer_wide-c10222cd8e257474847e3ee7754df9e035860948-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/barbie-oppenheimer_wide-c10222cd8e257474847e3ee7754df9e035860948-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/barbie-oppenheimer_wide-c10222cd8e257474847e3ee7754df9e035860948-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/barbie-oppenheimer_wide-c10222cd8e257474847e3ee7754df9e035860948-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/barbie-oppenheimer_wide-c10222cd8e257474847e3ee7754df9e035860948-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/barbie-oppenheimer_wide-c10222cd8e257474847e3ee7754df9e035860948-1920x1080.jpg 1920w\" sizes=\"(max-width: 2395px) 100vw, 2395px\">\u003cfigcaption class=\"wp-caption-text\">Remember Barbenheimer? \u003ccite>(Jaap Buitendijk, Warner Bros. / Melinda Sue Gordon, Universal Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Barbenheimer turned out fine for everybody\u003c/h2>\n\u003cp>It’s funny to look back now and remember that \u003ca href=\"https://www.kqed.org/arts/13931677/barbenheimer-barbie-oppenheimer-box-office-greta-gerwig-christopher-nolan\">the showdown between \u003cem>Barbie\u003c/em> and \u003cem>Oppenheimer\u003c/em>\u003c/a>, because they opened the same weekend, was ever treated as any kind of either-or competition that would have a single victor. They both made a ton of money, though \u003ca href=\"https://www.kqed.org/arts/13931981/greta-gerwig-box-office-record-female-directors\">\u003cem>Barbie\u003c/em> made more\u003c/a>; they both received a bunch of Oscar nominations, though \u003cem>Oppenheimer\u003c/em> received more. (\u003cem>Barbie\u003c/em> had eight, including one for Ryan Gosling’s extraordinarily silly supporting work as Ken. More true comedy nominations, please!) They were very different kinds of “event” pictures we could stand to have more of: well-made, surprising, vibrant and memorable, in completely different ways.\u003c/p>\n\u003cfigure id=\"attachment_13950777\" class=\"wp-caption aligncenter\" style=\"max-width: 2348px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950777\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/zoneofinterst_custom-034c8ae0b103675db59066bfc0650c9a69499f90.jpg\" alt=\"A woman in 1940-era clothing stands in a walled garden clutching a baby. A dog stands behind them.\" width=\"2348\" height=\"1306\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/zoneofinterst_custom-034c8ae0b103675db59066bfc0650c9a69499f90.jpg 2348w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/zoneofinterst_custom-034c8ae0b103675db59066bfc0650c9a69499f90-800x445.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/zoneofinterst_custom-034c8ae0b103675db59066bfc0650c9a69499f90-1020x567.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/zoneofinterst_custom-034c8ae0b103675db59066bfc0650c9a69499f90-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/zoneofinterst_custom-034c8ae0b103675db59066bfc0650c9a69499f90-768x427.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/zoneofinterst_custom-034c8ae0b103675db59066bfc0650c9a69499f90-1536x854.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/zoneofinterst_custom-034c8ae0b103675db59066bfc0650c9a69499f90-2048x1139.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/zoneofinterst_custom-034c8ae0b103675db59066bfc0650c9a69499f90-1038x576.jpg 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/zoneofinterst_custom-034c8ae0b103675db59066bfc0650c9a69499f90-1920x1068.jpg 1920w\" sizes=\"(max-width: 2348px) 100vw, 2348px\">\u003cfigcaption class=\"wp-caption-text\">Sandra Hüller plays a mother who lives next door to Auschwitz in ‘The Zone of Interest.’ \u003ccite>(A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>International films continue to perform well\u003c/h2>\n\u003cp>In 2018, Alfonso Cuarón’s \u003cem>Roma\u003c/em> was only the fifth non-English-language film to ever be nominated for both best international film and best picture. But just since then, there have been four more: \u003cem>Parasite\u003c/em>, \u003cem>Drive My Car\u003c/em>, \u003cem>All Quiet on the Western Front\u003c/em> and now \u003ca href=\"https://www.kqed.org/arts/13940387/the-zone-of-interest-movie-review\">\u003cem>The Zone of Interest\u003c/em>\u003c/a>, the disturbing study of a family living happily just outside the walls of Auschwitz, where the father is commandant. The short version? There’s no longer any reason to suspect that a film with subtitles won’t be nominated for best picture, which is a great development.\u003c/p>\n\u003cfigure id=\"attachment_13950779\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950779\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/ij_dod_dtlr2_uhd_r709f_stills_230405.088296-1-_custom-454eb63e13f95f1d3be680076bcb27ac7f602a10-scaled-e1706033430838.jpg\" alt=\"An older white man wearing a distinctive hat sits in a vehicle looking worried. Behind him, a woman and tween child sit.\" width=\"1920\" height=\"803\">\u003cfigcaption class=\"wp-caption-text\">‘Indiana Jones and the Dial of Destiny’ starring Harrison Ford (above) brought composer John Williams his 54th Oscar nomination. \u003ccite>(Lucasfilm Ltd.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>John Williams and Thelma Schoonmaker set (or keep extending) records\u003c/h2>\n\u003cp>Williams, who has written much of the most beloved rousing movie music of the last 60 or so years, received his 54th nomination for the score of \u003cem>\u003ca href=\"https://www.kqed.org/arts/13930931/harrison-ford-gets-a-swashbuckling-sendoff-in-indiana-jones-and-the-dial-of-destiny\">Indiana Jones and the Dial of Destiny\u003c/a>\u003c/em>. It’s more nominations than any other living person has. And Schoonmaker, longtime collaborator of Martin Scorsese, became the most nominated editor ever when she was recognized for the ninth time, for his film \u003cem>Killers of the Flower Moon\u003c/em>. (She’s won for \u003cem>Raging Bull\u003c/em>, \u003cem>The Aviator\u003c/em> and \u003cem>The Departed\u003c/em>.) Both Williams and Schoonmaker are examples of essential collaborators without whom celebrated directors could not do their work, whether they’re making tragic epics or swashbuckling adventures.\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>Copyright 2024 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13950768/2024-oscar-nominations",
"authors": [
"byline_arts_13950768"
],
"categories": [
"arts_1",
"arts_74",
"arts_75"
],
"tags": [
"arts_21823",
"arts_3701",
"arts_9943",
"arts_3698"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13939926",
"label": "arts_137"
},
"arts_13950717": {
"type": "posts",
"id": "arts_13950717",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13950717",
"score": null,
"sort": [
1705954424000
]
},
"guestAuthors": [],
"slug": "the-last-fire-season-describes-living-through-the-2020-wildfires",
"title": "‘The Last Fire Season’ Describes Living Through the 2020 Wildfires",
"publishDate": 1705954424,
"format": "aside",
"headTitle": "‘The Last Fire Season’ Describes Living Through the 2020 Wildfires | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cfigure id=\"attachment_13950723\" class=\"wp-caption aligncenter\" style=\"max-width: 848px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950723\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-22-at-11.09.59-AM.png\" alt=\"Cover of ‘The Last Fire Season.’ Text and a poppy illustration.\" width=\"848\" height=\"1214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-22-at-11.09.59-AM.png 848w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-22-at-11.09.59-AM-800x1145.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-22-at-11.09.59-AM-160x229.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-22-at-11.09.59-AM-768x1099.png 768w\" sizes=\"(max-width: 848px) 100vw, 848px\">\u003cfigcaption class=\"wp-caption-text\">‘The Last Fire Season.’ \u003ccite>(Pantheon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Manjula Martin woke before dawn one morning in mid-August, 2020, in her home in West Sonoma County to a dry lightning storm.\u003c/p>\n\u003cp>“Above the redwoods fathomless clouds lingered like silence,” she writes. “From inside them the furious sky hurled its energy at millions of acres of dry, deep wood.” The forest surrounding her was all-too ready to burn.\u003c/p>\n\u003cp>[aside postid='arts_13845560']Martin (no relation to this reviewer) had lived through many prior Northern California fire seasons — she grew up in Santa Cruz, had lived in the Bay Area on and off throughout her adulthood, and had settled in her current home with her partner in 2017. But she knew immediately that this lightning storm represented an unprecedented danger, because its strikes hit “a landscape that was overgrown, dry from drought, and experiencing record-breaking heat and high winds.” She and Max began to pack, preparing to evacuate.\u003c/p>\n\u003cp>Thus begins \u003cem>The Last Fire Season\u003c/em>, a melding of memoir, natural history, and reportage that traces four months in 2020 when wildfires in California broke records, burning more than 4 million acres. Those lightning strikes — more than 10,000 of them — were responsible for 650 wildfires large enough to be named; one such fire, the August Complex, became the first recorded “gigafire” in the state’s modern history, spanning more than a million acres. Martin lived a few miles south of the Walbridge Fire, part of the LNU Lightning Complex, in a former logging camp and vacation resort that was a “fire trap” filled with wooden houses.\u003c/p>\n\u003cp>A former managing editor of the literary magazine \u003cem>Zoetrope\u003c/em>, Martin records what it was like to live through and alongside these conflagrations with a lyrical attention to detail and through a deeply personal lens. \u003cem>The Last Fire Season \u003c/em>unfolds in four major sections, one for each month of August through November 2020, tracing the movement of wildfires, placing them in ecological and human history, and grappling with their repercussions. As she recounts months spent dodging and being followed by wildfires, months when the siren on her local firehouse blared almost daily and when smoke overwhelmed her senses, Martin reflects on what it means to make one’s home in a place that is destined to burn, and to live “inside a damaged body on a damaged planet.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='science_1984200']Indeed, \u003cem>The Last Fire Season \u003c/em>is just as much about learning to live with chronic pain as with fire. Martin settled in the house in the forest when she was amid a cascading series of “atypical” medical crises — during the removal of her IUD, one of the device’s small plastic arms became lodged in the wall of her uterus, leading to infection and eventually necessitating a hysterectomy. As her scars healed but her pain did not, she tended a flower and fruit tree garden in her yard, casting it as her “companion in damage and renewal.”\u003c/p>\n\u003cp>Martin had learned from her father, an organic horticulturalist, that while we typically think of gardening as creation, it is in fact an act of human intervention — pruning a tree, for instance, allows a gardener to manipulate how it grows. In intervening on the land while living in a body that had itself been intervened on, she developed an understanding of the physical world “in terms beyond \u003cem>well \u003c/em>or \u003cem>unwell\u003c/em>, \u003cem>fertile \u003c/em>or \u003cem>sterile\u003c/em>, \u003cem>whole \u003c/em>or \u003cem>broken\u003c/em>.”\u003c/p>\n\u003cp>This perspective melds with Martin’s nuanced way of seeing fire as both something to fear and as a necessary element in the evolution of the Earth’s ecosystems. As she acknowledges, the Native peoples who first inhabited the land we now know as California had long appreciated the essential power of fire, using it as both a land management tool and an aspect of spiritual practice. When colonists displaced California’s Indigenous peoples and sought to eliminate their ways of life, they also “erased or pushed underground millennia of traditional ecological knowledge,” including how to wield fire for land protection and renewal. Using prescribed burns — or “good fire” — to clear hazardous fuel like dry underbrush is in fact key to preventing and limiting out-of-control wildfires like the ones that had Martin in a state of anxiety throughout the late summer and fall of 2020.\u003c/p>\n\u003cp>[aside postid='arts_13882943']While \u003cem>The Last Fire Season \u003c/em>is organized around those tense months when bad fire threatened the garden and forest that Martin had grown so attached to, some of the most effective passages come when she pulls back from the stream of her daily life to weave in research or reporting. Flash-forwards bring the reader along to observe a cross-cultural exchange of ecological knowledge between a group of Lake County Pomo Indians and Indigenous Mexican people, to encounter the aftermath of the 2020 fires in the Big Basin Redwoods State Park, and to witness a prescribed burn on an oak woodland near Martin’s home. These chapters both deepen the engagement with the question of how to live with fire and offer needed texture to a narrative that at times gets tedious in its granular observance of the present and the personal.\u003c/p>\n\u003cp>Zooming out also helps Martin come to terms with staying in Northern California amid climate change and the megafire era, and with her injuries and pain. For much of the book, these threads of inquiry proceed in parallel; when they synthesize, they truly sing. “Both manners of living with uncontrollable events required me to let go of any sense of an ending,” Martin writes. \u003cem>The Last Fire Season \u003c/em>eschews a redemptive arc in favor of witnessing and sitting with the discomfort of reality, with understanding that, as Martin puts it, “what happened to the land would happen to me.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Kristen Martin is working on a book on American orphanhood for Bold Type Books. Her writing has also appeared in ‘The New York Times Magazine’, ‘The Believer,’ ‘The Baffler,’ and elsewhere. She tweets at \u003ca href=\"https://urldefense.com/v3/__https:/twitter.com/kwistent__;!!Iwwt!H7wVnVZJJ3Dpum-jMLKuML7ytU_beY4dKPJxSUqeEvWf7VKkck5_W8HNUX_Y2g%24\">@kwistent\u003c/a>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org.\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Last+Fire+Season%27+describes+what+it+was+like+to+live+through+Calif.%27s+wildfires&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"blocks": [],
"excerpt": "Recounting months spent dodging wildfires, Manjula Martin considers what it means to create a home in a place destined to burn.",
"status": "publish",
"parent": 0,
"modified": 1726771036,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 13,
"wordCount": 1049
},
"headData": {
"title": "‘The Last Fire Season’ Describes Living Through the 2020 Wildfires | KQED",
"description": "Recounting months spent dodging wildfires, Manjula Martin considers what it means to create a home in a place destined to burn.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘The Last Fire Season’ Describes Living Through the 2020 Wildfires",
"datePublished": "2024-01-22T12:13:44-08:00",
"dateModified": "2024-09-19T11:37:16-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Kristen Martin",
"nprImageAgency": "Pantheon",
"nprStoryId": "1224441938",
"nprApiLink": "http://api.npr.org/query?id=1224441938&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "https://www.npr.org/2024/01/18/1224441938/book-review-manjula-martin-the-last-fire-season-on-california-wildfires?ft=nprml&f=1224441938",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 18 Jan 2024 08:18:00 -0500",
"nprStoryDate": "Thu, 18 Jan 2024 08:18:20 -0500",
"nprLastModifiedDate": "Thu, 18 Jan 2024 08:18:20 -0500",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13950717/the-last-fire-season-describes-living-through-the-2020-wildfires",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13950723\" class=\"wp-caption aligncenter\" style=\"max-width: 848px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950723\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-22-at-11.09.59-AM.png\" alt=\"Cover of ‘The Last Fire Season.’ Text and a poppy illustration.\" width=\"848\" height=\"1214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-22-at-11.09.59-AM.png 848w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-22-at-11.09.59-AM-800x1145.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-22-at-11.09.59-AM-160x229.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-22-at-11.09.59-AM-768x1099.png 768w\" sizes=\"(max-width: 848px) 100vw, 848px\">\u003cfigcaption class=\"wp-caption-text\">‘The Last Fire Season.’ \u003ccite>(Pantheon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Manjula Martin woke before dawn one morning in mid-August, 2020, in her home in West Sonoma County to a dry lightning storm.\u003c/p>\n\u003cp>“Above the redwoods fathomless clouds lingered like silence,” she writes. “From inside them the furious sky hurled its energy at millions of acres of dry, deep wood.” The forest surrounding her was all-too ready to burn.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13845560",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Martin (no relation to this reviewer) had lived through many prior Northern California fire seasons — she grew up in Santa Cruz, had lived in the Bay Area on and off throughout her adulthood, and had settled in her current home with her partner in 2017. But she knew immediately that this lightning storm represented an unprecedented danger, because its strikes hit “a landscape that was overgrown, dry from drought, and experiencing record-breaking heat and high winds.” She and Max began to pack, preparing to evacuate.\u003c/p>\n\u003cp>Thus begins \u003cem>The Last Fire Season\u003c/em>, a melding of memoir, natural history, and reportage that traces four months in 2020 when wildfires in California broke records, burning more than 4 million acres. Those lightning strikes — more than 10,000 of them — were responsible for 650 wildfires large enough to be named; one such fire, the August Complex, became the first recorded “gigafire” in the state’s modern history, spanning more than a million acres. Martin lived a few miles south of the Walbridge Fire, part of the LNU Lightning Complex, in a former logging camp and vacation resort that was a “fire trap” filled with wooden houses.\u003c/p>\n\u003cp>A former managing editor of the literary magazine \u003cem>Zoetrope\u003c/em>, Martin records what it was like to live through and alongside these conflagrations with a lyrical attention to detail and through a deeply personal lens. \u003cem>The Last Fire Season \u003c/em>unfolds in four major sections, one for each month of August through November 2020, tracing the movement of wildfires, placing them in ecological and human history, and grappling with their repercussions. As she recounts months spent dodging and being followed by wildfires, months when the siren on her local firehouse blared almost daily and when smoke overwhelmed her senses, Martin reflects on what it means to make one’s home in a place that is destined to burn, and to live “inside a damaged body on a damaged planet.”\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>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "science_1984200",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Indeed, \u003cem>The Last Fire Season \u003c/em>is just as much about learning to live with chronic pain as with fire. Martin settled in the house in the forest when she was amid a cascading series of “atypical” medical crises — during the removal of her IUD, one of the device’s small plastic arms became lodged in the wall of her uterus, leading to infection and eventually necessitating a hysterectomy. As her scars healed but her pain did not, she tended a flower and fruit tree garden in her yard, casting it as her “companion in damage and renewal.”\u003c/p>\n\u003cp>Martin had learned from her father, an organic horticulturalist, that while we typically think of gardening as creation, it is in fact an act of human intervention — pruning a tree, for instance, allows a gardener to manipulate how it grows. In intervening on the land while living in a body that had itself been intervened on, she developed an understanding of the physical world “in terms beyond \u003cem>well \u003c/em>or \u003cem>unwell\u003c/em>, \u003cem>fertile \u003c/em>or \u003cem>sterile\u003c/em>, \u003cem>whole \u003c/em>or \u003cem>broken\u003c/em>.”\u003c/p>\n\u003cp>This perspective melds with Martin’s nuanced way of seeing fire as both something to fear and as a necessary element in the evolution of the Earth’s ecosystems. As she acknowledges, the Native peoples who first inhabited the land we now know as California had long appreciated the essential power of fire, using it as both a land management tool and an aspect of spiritual practice. When colonists displaced California’s Indigenous peoples and sought to eliminate their ways of life, they also “erased or pushed underground millennia of traditional ecological knowledge,” including how to wield fire for land protection and renewal. Using prescribed burns — or “good fire” — to clear hazardous fuel like dry underbrush is in fact key to preventing and limiting out-of-control wildfires like the ones that had Martin in a state of anxiety throughout the late summer and fall of 2020.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13882943",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>While \u003cem>The Last Fire Season \u003c/em>is organized around those tense months when bad fire threatened the garden and forest that Martin had grown so attached to, some of the most effective passages come when she pulls back from the stream of her daily life to weave in research or reporting. Flash-forwards bring the reader along to observe a cross-cultural exchange of ecological knowledge between a group of Lake County Pomo Indians and Indigenous Mexican people, to encounter the aftermath of the 2020 fires in the Big Basin Redwoods State Park, and to witness a prescribed burn on an oak woodland near Martin’s home. These chapters both deepen the engagement with the question of how to live with fire and offer needed texture to a narrative that at times gets tedious in its granular observance of the present and the personal.\u003c/p>\n\u003cp>Zooming out also helps Martin come to terms with staying in Northern California amid climate change and the megafire era, and with her injuries and pain. For much of the book, these threads of inquiry proceed in parallel; when they synthesize, they truly sing. “Both manners of living with uncontrollable events required me to let go of any sense of an ending,” Martin writes. \u003cem>The Last Fire Season \u003c/em>eschews a redemptive arc in favor of witnessing and sitting with the discomfort of reality, with understanding that, as Martin puts it, “what happened to the land would happen to me.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Kristen Martin is working on a book on American orphanhood for Bold Type Books. Her writing has also appeared in ‘The New York Times Magazine’, ‘The Believer,’ ‘The Baffler,’ and elsewhere. She tweets at \u003ca href=\"https://urldefense.com/v3/__https:/twitter.com/kwistent__;!!Iwwt!H7wVnVZJJ3Dpum-jMLKuML7ytU_beY4dKPJxSUqeEvWf7VKkck5_W8HNUX_Y2g%24\">@kwistent\u003c/a>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org.\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Last+Fire+Season%27+describes+what+it+was+like+to+live+through+Calif.%27s+wildfires&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13950717/the-last-fire-season-describes-living-through-the-2020-wildfires",
"authors": [
"byline_arts_13950717"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_73"
],
"tags": [
"arts_585",
"arts_6024"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13813029",
"label": "arts_140"
},
"arts_13950698": {
"type": "posts",
"id": "arts_13950698",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13950698",
"score": null,
"sort": [
1705948826000
]
},
"guestAuthors": [],
"slug": "dave-eggers-wins-top-childrens-literature-award-for-the-eyes-and-the-impossible",
"title": "Dave Eggers Wins Top Children’s Literature Award for ‘The Eyes and the Impossible’",
"publishDate": 1705948826,
"format": "standard",
"headTitle": "Dave Eggers Wins Top Children’s Literature Award for ‘The Eyes and the Impossible’ | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>The top awards for children’s literature in 2024 were \u003ca href=\"https://www.ala.unikron.com/\">announced Monday\u003c/a> at the American Library Association’s annual Youth Media Awards. Author Dave Eggers won the John Newbery Medal, which is given to the most distinguished American children’s book published the previous year, for his middle grade book \u003cem>The Eyes and the Impossible\u003c/em>, which was illustrated by Shawn Harris. Author and illustrator Vashti Harrison won the Randolph Caldecott Medal for the most distinguished American picture book for children, for her book \u003cem>Big\u003c/em>.\u003c/p>\n\u003cp>In an interview with \u003ca href=\"https://www.npr.org/2023/05/09/1175071465/author-dave-eggers-channels-a-stray-dog-for-his-new-book\">\u003cem>All Things Considered\u003c/em>\u003c/a> last May, Eggers said that writing from the voice of a stray dog, as he does in \u003cem>The Eyes and the Impossible\u003c/em>, was “the most sort of liberating and joyful kind of writing I’ve ever done.”\u003c/p>\n\u003cfigure id=\"attachment_13950701\" class=\"wp-caption aligncenter\" style=\"max-width: 1028px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950701\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-22-at-10.31.01-AM.png\" alt=\"A book cover featuring an illustration of a dog running through the woods.\" width=\"1028\" height=\"1214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-22-at-10.31.01-AM.png 1028w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-22-at-10.31.01-AM-800x945.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-22-at-10.31.01-AM-1020x1205.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-22-at-10.31.01-AM-160x189.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-22-at-10.31.01-AM-768x907.png 768w\" sizes=\"(max-width: 1028px) 100vw, 1028px\">\u003cfigcaption class=\"wp-caption-text\">‘The Eyes and the Impossible.’ \u003ccite>(Knopf Books for Young Readers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Harrison, in her own \u003ca href=\"https://www.npr.org/2023/05/02/1173477768/author-illustrator-vashti-harrison-wants-her-book-and-the-word-big-to-affirm-kid\">\u003cem>All Things Considered\u003c/em>\u003c/a> interview last May, said that the impetus for \u003cem>Big\u003c/em>, which follows a little girl growing up, was “to make a story that followed a child on a journey towards self-love.” Both \u003ca href=\"https://apps.npr.org/best-books/#year=2023&book=260\">\u003cem>The Eyes and the Impossible\u003c/em>\u003c/a> and \u003ca href=\"#ks/#year=2023&book=47\">\u003cem>Big \u003c/em>\u003c/a>were also named as two of NPR’s \u003ca href=\"https://apps.npr.org/best-books/#year=2023&book=260\">Books We Love\u003c/a> in 2023.\u003c/p>\n\u003cp>[aside postid='arts_13950449']Harrison is the first Black woman to win the Caldecott Medal; her book \u003cem>Big\u003c/em> was also awarded both Coretta Scott King author and illustrator honors on Monday as well.\u003c/p>\n\u003cp>Five other Newbery honor books were also named Monday: \u003ca href=\"https://apps.npr.org/best-books/#year=2023&book=7\">\u003cem>Eagle Drums\u003c/em>,\u003c/a> written and illustrated by Nasuġraq Rainey Hopson; \u003cem>Elf Dog and Owl Head\u003c/em>, written by M.T. Anderson and illustrated by Junyi Wu; \u003ca href=\"https://apps.npr.org/best-books/#year=2023&book=164\">\u003cem>Mexikid: A Graphic Memoir\u003c/em>, \u003c/a>written and illustrated by Pedro Martín; \u003cem>Simon Sort of Says\u003c/em>, written by Erin Bow; and \u003cem>The Many Assassinations of Samir, the Seller of Dreams\u003c/em>, written by Daniel Nayeri and illustrated by Daniel Miyares.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Four other books took Caldecott honors: \u003cem>In Every Life\u003c/em>, illustrated and written by Marla Frazee; \u003ca href=\"https://apps.npr.org/best-books/#year=2023&book=135\">\u003cem>Jovita Wore Pants: The Story of a Mexican Freedom Fighter\u003c/em>,\u003c/a> illustrated by Molly Mendoza and written by Aida Salazar; \u003ca href=\"https://apps.npr.org/best-books/#year=2023&book=325\">\u003cem>There Was a Party for Langston\u003c/em>,\u003c/a> illustrated by Jerome Pumphrey and Jarrett Pumphrey, and written by Jason Reynolds; and \u003cem>The Truth About Dragons\u003c/em>, illustrated by Hanna Cha, and written by Julie Leung.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Dave+Eggers+wins+Newbery%2C+Vashti+Harrison+wins+Caldecott+in+2024+kids%27+lit+prizes&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"blocks": [],
"excerpt": "The San Francisco-based author won the John Newbery Medal for his tale about a stray dog.",
"status": "publish",
"parent": 0,
"modified": 1726771037,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 8,
"wordCount": 390
},
"headData": {
"title": "Dave Eggers Wins Top Children’s Literature Award for ‘The Eyes and the Impossible’ | KQED",
"description": "The San Francisco-based author won the John Newbery Medal for his tale about a stray dog.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Dave Eggers Wins Top Children’s Literature Award for ‘The Eyes and the Impossible’",
"datePublished": "2024-01-22T10:40:26-08:00",
"dateModified": "2024-09-19T11:37:17-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Anastasia Tsioulcas",
"nprStoryId": "1226051457",
"nprApiLink": "http://api.npr.org/query?id=1226051457&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "https://www.npr.org/2024/01/22/1226051457/newbery-caldecott-win-dave-eggers-vashti-harrison?ft=nprml&f=1226051457",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 22 Jan 2024 12:05:00 -0500",
"nprStoryDate": "Mon, 22 Jan 2024 11:44:44 -0500",
"nprLastModifiedDate": "Mon, 22 Jan 2024 12:05:35 -0500",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13950698/dave-eggers-wins-top-childrens-literature-award-for-the-eyes-and-the-impossible",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The top awards for children’s literature in 2024 were \u003ca href=\"https://www.ala.unikron.com/\">announced Monday\u003c/a> at the American Library Association’s annual Youth Media Awards. Author Dave Eggers won the John Newbery Medal, which is given to the most distinguished American children’s book published the previous year, for his middle grade book \u003cem>The Eyes and the Impossible\u003c/em>, which was illustrated by Shawn Harris. Author and illustrator Vashti Harrison won the Randolph Caldecott Medal for the most distinguished American picture book for children, for her book \u003cem>Big\u003c/em>.\u003c/p>\n\u003cp>In an interview with \u003ca href=\"https://www.npr.org/2023/05/09/1175071465/author-dave-eggers-channels-a-stray-dog-for-his-new-book\">\u003cem>All Things Considered\u003c/em>\u003c/a> last May, Eggers said that writing from the voice of a stray dog, as he does in \u003cem>The Eyes and the Impossible\u003c/em>, was “the most sort of liberating and joyful kind of writing I’ve ever done.”\u003c/p>\n\u003cfigure id=\"attachment_13950701\" class=\"wp-caption aligncenter\" style=\"max-width: 1028px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950701\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-22-at-10.31.01-AM.png\" alt=\"A book cover featuring an illustration of a dog running through the woods.\" width=\"1028\" height=\"1214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-22-at-10.31.01-AM.png 1028w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-22-at-10.31.01-AM-800x945.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-22-at-10.31.01-AM-1020x1205.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-22-at-10.31.01-AM-160x189.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-22-at-10.31.01-AM-768x907.png 768w\" sizes=\"(max-width: 1028px) 100vw, 1028px\">\u003cfigcaption class=\"wp-caption-text\">‘The Eyes and the Impossible.’ \u003ccite>(Knopf Books for Young Readers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Harrison, in her own \u003ca href=\"https://www.npr.org/2023/05/02/1173477768/author-illustrator-vashti-harrison-wants-her-book-and-the-word-big-to-affirm-kid\">\u003cem>All Things Considered\u003c/em>\u003c/a> interview last May, said that the impetus for \u003cem>Big\u003c/em>, which follows a little girl growing up, was “to make a story that followed a child on a journey towards self-love.” Both \u003ca href=\"https://apps.npr.org/best-books/#year=2023&book=260\">\u003cem>The Eyes and the Impossible\u003c/em>\u003c/a> and \u003ca href=\"#ks/#year=2023&book=47\">\u003cem>Big \u003c/em>\u003c/a>were also named as two of NPR’s \u003ca href=\"https://apps.npr.org/best-books/#year=2023&book=260\">Books We Love\u003c/a> in 2023.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13950449",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Harrison is the first Black woman to win the Caldecott Medal; her book \u003cem>Big\u003c/em> was also awarded both Coretta Scott King author and illustrator honors on Monday as well.\u003c/p>\n\u003cp>Five other Newbery honor books were also named Monday: \u003ca href=\"https://apps.npr.org/best-books/#year=2023&book=7\">\u003cem>Eagle Drums\u003c/em>,\u003c/a> written and illustrated by Nasuġraq Rainey Hopson; \u003cem>Elf Dog and Owl Head\u003c/em>, written by M.T. Anderson and illustrated by Junyi Wu; \u003ca href=\"https://apps.npr.org/best-books/#year=2023&book=164\">\u003cem>Mexikid: A Graphic Memoir\u003c/em>, \u003c/a>written and illustrated by Pedro Martín; \u003cem>Simon Sort of Says\u003c/em>, written by Erin Bow; and \u003cem>The Many Assassinations of Samir, the Seller of Dreams\u003c/em>, written by Daniel Nayeri and illustrated by Daniel Miyares.\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>Four other books took Caldecott honors: \u003cem>In Every Life\u003c/em>, illustrated and written by Marla Frazee; \u003ca href=\"https://apps.npr.org/best-books/#year=2023&book=135\">\u003cem>Jovita Wore Pants: The Story of a Mexican Freedom Fighter\u003c/em>,\u003c/a> illustrated by Molly Mendoza and written by Aida Salazar; \u003ca href=\"https://apps.npr.org/best-books/#year=2023&book=325\">\u003cem>There Was a Party for Langston\u003c/em>,\u003c/a> illustrated by Jerome Pumphrey and Jarrett Pumphrey, and written by Jason Reynolds; and \u003cem>The Truth About Dragons\u003c/em>, illustrated by Hanna Cha, and written by Julie Leung.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Dave+Eggers+wins+Newbery%2C+Vashti+Harrison+wins+Caldecott+in+2024+kids%27+lit+prizes&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13950698/dave-eggers-wins-top-childrens-literature-award-for-the-eyes-and-the-impossible",
"authors": [
"byline_arts_13950698"
],
"categories": [
"arts_1",
"arts_73",
"arts_75"
],
"tags": [
"arts_9943",
"arts_21882"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13950704",
"label": "arts_137"
},
"arts_13950649": {
"type": "posts",
"id": "arts_13950649",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13950649",
"score": null,
"sort": [
1705691854000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1705691854,
"format": "standard",
"title": "‘Inside the Yellow Cocoon Shell’ Is a Film Where a Big Screen Makes a Big Difference",
"headTitle": "‘Inside the Yellow Cocoon Shell’ Is a Film Where a Big Screen Makes a Big Difference | KQED",
"content": "\u003cp>I try not to be too dogmatic these days about telling people that there are certain movies they should see only on the big screen. That said, if there is one movie right now that you should see in a theater if you can, it’s the transfixing new drama \u003cem>Inside the Yellow Cocoon Shell\u003c/em>, from the Vietnamese writer and director Phạm Thiên Ân.\u003c/p>\n\u003cp>It’s the kind of film that envelops you with its gorgeous images and hypnotic rhythms, and it requires close, wide-awake attention to work its peculiar magic. Give it that attention, and you may find it as overwhelming as I did — an experience that makes you feel as if you’ve been quietly transported to another world.\u003c/p>\n\u003cp>[aside postid='arts_13950482']The story begins in Saigon in 2018, at a bustling outdoor dining area next door to a soccer game. Amid the crowd, three young men are having a meal and some heavy spiritual conversation. Two of them talk about matters of faith and destiny, while a third one, named Thien, mostly remains silent and looks none too interested in the discussion. Suddenly, there’s a loud crash, and the camera pans sideways to reveal the wreckage of a fatal motorbike collision. Nearly everyone runs over to see if they can help — everyone, that is, except Thien, who remains at his table, lost in thought.\u003c/p>\n\u003cp>It’s as if Thien, who’s played by the actor Le Phong Vu, doesn’t realize yet that he’s the protagonist of this movie, or that his life is about to take a major swerve. A few hours later, Thien is informed that the woman killed in the accident was none other than his sister-in-law, Teresa. Is it some cruel coincidence that he was there when it happened, but showed such indifference? Was it an act of divine grace that spared the life of Teresa’s 5-year-old son, Dao, who survived the crash with barely a scrape?\u003c/p>\n\u003cp>Either way, Thien must deal with the fallout by temporarily taking care of his nephew. And so begins a mysterious journey into the Vietnamese countryside, where Thien and Dao attend memorial services for Teresa, who was an observant Catholic.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Along the way, Thien reunites with old friends, including an old flame who’s now a nun. He tries to find his brother, Teresa’s estranged husband, who apparently hasn’t been seen for years. But it gradually becomes clear that Thien isn’t just looking for a person. He’s lost, too — and now he’s searching for himself.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IqdAUaqbhmk\u003c/p>\n\u003cp>The beauty of \u003cem>Inside the Yellow Cocoon Shell\u003c/em> is the way director Phạm invites us to search alongside Thien. Most of the movie is composed in long, unbroken takes, to quietly mesmerizing effect: By refusing to cut away or break his story into easily digestible segments, Phạm leaves you feeling as though you’re experiencing life through his characters’ eyes.\u003c/p>\n\u003cp>There’s one extraordinary shot that runs more than 20 minutes, in which Thien rides his bike down a dirt road, stops at the home of a village elder and goes inside for some conversation. You’re struck at first by the jaw-dropping virtuosity of the camerawork, but after a while, you forget about the technique and are simply caught up in the older man’s story. He talks about his lifelong efforts to perform acts of goodness and decency, in repentance for the violence he committed as a soldier during the Vietnam War.\u003c/p>\n\u003cp>\u003cem>[aside postid='arts_13940387']Inside the Yellow Cocoon Shell\u003c/em> is deeply invested in questions of good and evil, mortality and immortality. But while the movie offers a fascinating portrait of Vietnamese Christianity, unfolding in village homes crowded with Jesus paintings and figurines, it never suggests that the truth can be found within one religious tradition or doctrine. Taking in this movie, with its stunning landscapes and soundscapes, I was often reminded of the Thai filmmaker Apichatpong Weerasethakul, whose films, like \u003ca href=\"https://www.npr.org/2022/05/13/1098496509/memoria-is-a-marvelously-strange-sonic-detective-story\">\u003cem>Memoria\u003c/em> \u003c/a>or \u003cem>Syndromes and a Century\u003c/em>, are steeped in his Buddhist worldview.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As Thien’s journey continues, the narrative seems to slip between past and present, dream and reality, in ways that are baffling but also intoxicating. What matters here, finally, isn’t whether Thien finds the answers to his questions; what matters is that, after so many years of apparent apathy, he’s asking those questions at all. \u003cem>Inside the Yellow Cocoon Shell\u003c/em> is an entrancing work of art, but it’s also wise enough to leave its deepest mysteries unsolved.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2024 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Inside+the+Yellow+Cocoon+Shell%27+is+a+film+where+a+big+screen+makes+a+big+difference&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 812,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 12
},
"modified": 1705691854,
"excerpt": "Long, unbroken takes depict a man's journey into the Vietnamese countryside with his young nephew. The effect is mesmerizing.",
"headData": {
"twImgId": "",
"twTitle": "‘Inside the Yellow Cocoon Shell’ Is a Film Where a Big Screen Makes a Big Difference",
"socialTitle": "‘Inside the Yellow Cocoon Shell’ Review: A Meditative Masterpiece %%page%% %%sep%% KQED",
"ogTitle": "‘Inside the Yellow Cocoon Shell’ Is a Film Where a Big Screen Makes a Big Difference",
"ogImgId": "",
"twDescription": "",
"description": "Long, unbroken takes depict a man's journey into the Vietnamese countryside with his young nephew. The effect is mesmerizing.",
"title": "‘Inside the Yellow Cocoon Shell’ Review: A Meditative Masterpiece | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘Inside the Yellow Cocoon Shell’ Is a Film Where a Big Screen Makes a Big Difference",
"datePublished": "2024-01-19T11:17:34-08:00",
"dateModified": "2024-01-19T11:17:34-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "inside-the-yellow-cocoon-shell-vietnamese-movie-review-pham-thien-an",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1225325475&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Fri, 19 Jan 2024 05:00:26 -0500",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Fri, 19 Jan 2024 05:00:26 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2024/01/19/1225325475/inside-the-yellow-cocoon-shell-review?ft=nprml&f=1225325475",
"nprImageAgency": "Cercamon",
"nprStoryId": "1225325475",
"nprByline": "Justin Chang",
"sticky": false,
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"nprRetrievedStory": "1",
"nprPubDate": "Fri, 19 Jan 2024 05:00:00 -0500",
"path": "/arts/13950649/inside-the-yellow-cocoon-shell-vietnamese-movie-review-pham-thien-an",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I try not to be too dogmatic these days about telling people that there are certain movies they should see only on the big screen. That said, if there is one movie right now that you should see in a theater if you can, it’s the transfixing new drama \u003cem>Inside the Yellow Cocoon Shell\u003c/em>, from the Vietnamese writer and director Phạm Thiên Ân.\u003c/p>\n\u003cp>It’s the kind of film that envelops you with its gorgeous images and hypnotic rhythms, and it requires close, wide-awake attention to work its peculiar magic. Give it that attention, and you may find it as overwhelming as I did — an experience that makes you feel as if you’ve been quietly transported to another world.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13950482",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The story begins in Saigon in 2018, at a bustling outdoor dining area next door to a soccer game. Amid the crowd, three young men are having a meal and some heavy spiritual conversation. Two of them talk about matters of faith and destiny, while a third one, named Thien, mostly remains silent and looks none too interested in the discussion. Suddenly, there’s a loud crash, and the camera pans sideways to reveal the wreckage of a fatal motorbike collision. Nearly everyone runs over to see if they can help — everyone, that is, except Thien, who remains at his table, lost in thought.\u003c/p>\n\u003cp>It’s as if Thien, who’s played by the actor Le Phong Vu, doesn’t realize yet that he’s the protagonist of this movie, or that his life is about to take a major swerve. A few hours later, Thien is informed that the woman killed in the accident was none other than his sister-in-law, Teresa. Is it some cruel coincidence that he was there when it happened, but showed such indifference? Was it an act of divine grace that spared the life of Teresa’s 5-year-old son, Dao, who survived the crash with barely a scrape?\u003c/p>\n\u003cp>Either way, Thien must deal with the fallout by temporarily taking care of his nephew. And so begins a mysterious journey into the Vietnamese countryside, where Thien and Dao attend memorial services for Teresa, who was an observant Catholic.\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>Along the way, Thien reunites with old friends, including an old flame who’s now a nun. He tries to find his brother, Teresa’s estranged husband, who apparently hasn’t been seen for years. But it gradually becomes clear that Thien isn’t just looking for a person. He’s lost, too — and now he’s searching for himself.\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/IqdAUaqbhmk'\n title='//www.youtube.com/embed/IqdAUaqbhmk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The beauty of \u003cem>Inside the Yellow Cocoon Shell\u003c/em> is the way director Phạm invites us to search alongside Thien. Most of the movie is composed in long, unbroken takes, to quietly mesmerizing effect: By refusing to cut away or break his story into easily digestible segments, Phạm leaves you feeling as though you’re experiencing life through his characters’ eyes.\u003c/p>\n\u003cp>There’s one extraordinary shot that runs more than 20 minutes, in which Thien rides his bike down a dirt road, stops at the home of a village elder and goes inside for some conversation. You’re struck at first by the jaw-dropping virtuosity of the camerawork, but after a while, you forget about the technique and are simply caught up in the older man’s story. He talks about his lifelong efforts to perform acts of goodness and decency, in repentance for the violence he committed as a soldier during the Vietnam War.\u003c/p>\n\u003cp>\u003cem>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13940387",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Inside the Yellow Cocoon Shell\u003c/em> is deeply invested in questions of good and evil, mortality and immortality. But while the movie offers a fascinating portrait of Vietnamese Christianity, unfolding in village homes crowded with Jesus paintings and figurines, it never suggests that the truth can be found within one religious tradition or doctrine. Taking in this movie, with its stunning landscapes and soundscapes, I was often reminded of the Thai filmmaker Apichatpong Weerasethakul, whose films, like \u003ca href=\"https://www.npr.org/2022/05/13/1098496509/memoria-is-a-marvelously-strange-sonic-detective-story\">\u003cem>Memoria\u003c/em> \u003c/a>or \u003cem>Syndromes and a Century\u003c/em>, are steeped in his Buddhist worldview.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As Thien’s journey continues, the narrative seems to slip between past and present, dream and reality, in ways that are baffling but also intoxicating. What matters here, finally, isn’t whether Thien finds the answers to his questions; what matters is that, after so many years of apparent apathy, he’s asking those questions at all. \u003cem>Inside the Yellow Cocoon Shell\u003c/em> is an entrancing work of art, but it’s also wise enough to leave its deepest mysteries unsolved.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2024 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Inside+the+Yellow+Cocoon+Shell%27+is+a+film+where+a+big+screen+makes+a+big+difference&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13950649/inside-the-yellow-cocoon-shell-vietnamese-movie-review-pham-thien-an",
"authors": [
"byline_arts_13950649"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74",
"arts_75"
],
"tags": [
"arts_585",
"arts_2473"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13950650",
"label": "arts_140"
}
},
"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": 372,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 2506,
"relation": "eq"
},
"items": [
"arts_13951529",
"arts_13951471",
"arts_13951374",
"arts_13951300",
"arts_13951218",
"arts_13951067",
"arts_13950994",
"arts_13950974",
"arts_13950768",
"arts_13950717",
"arts_13950698",
"arts_13950649"
],
"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_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_69": {
"type": "terms",
"id": "arts_69",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "69",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Music",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 70,
"slug": "music",
"isLoading": false,
"link": "/arts/category/music"
},
"arts_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_9943": {
"type": "terms",
"id": "arts_9943",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "9943",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Awards",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Awards Archives | KQED Arts",
"ogDescription": null
},
"ttid": 9955,
"slug": "awards",
"isLoading": false,
"link": "/arts/tag/awards"
},
"arts_8417": {
"type": "terms",
"id": "arts_8417",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8417",
"found": true
},
"relationships": {},
"featImg": null,
"name": "awards shows",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "awards shows Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8429,
"slug": "awards-shows",
"isLoading": false,
"link": "/arts/tag/awards-shows"
},
"arts_1685": {
"type": "terms",
"id": "arts_1685",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1685",
"found": true
},
"relationships": {},
"featImg": null,
"name": "grammys",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "grammys Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1697,
"slug": "grammys",
"isLoading": false,
"link": "/arts/tag/grammys"
},
"arts_3026": {
"type": "terms",
"id": "arts_3026",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3026",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Taylor Swift",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Taylor Swift Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3038,
"slug": "taylor-swift",
"isLoading": false,
"link": "/arts/tag/taylor-swift"
},
"arts_76": {
"type": "terms",
"id": "arts_76",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "76",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Fashion/Design",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Fashion/Design Archives | KQED Arts",
"ogDescription": null
},
"ttid": 77,
"slug": "design",
"isLoading": false,
"link": "/arts/category/design"
},
"arts_140": {
"type": "terms",
"id": "arts_140",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "140",
"found": true
},
"relationships": {},
"name": "The Do List",
"slug": "the-do-list",
"taxonomy": "program",
"description": null,
"featImg": "https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Do-LIst-logo-2014-horizontal-015.png",
"headData": {
"title": "The Do List Archives | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 141,
"isLoading": false,
"link": "/arts/program/the-do-list"
},
"arts_990": {
"type": "terms",
"id": "arts_990",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "990",
"found": true
},
"relationships": {},
"featImg": null,
"name": "TV",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "TV Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1008,
"slug": "tv",
"isLoading": false,
"link": "/arts/category/tv"
},
"arts_10521": {
"type": "terms",
"id": "arts_10521",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10521",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Prime Video",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Prime Video Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10533,
"slug": "prime-video",
"isLoading": false,
"link": "/arts/tag/prime-video"
},
"arts_21913": {
"type": "terms",
"id": "arts_21913",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21913",
"found": true
},
"relationships": {},
"featImg": null,
"name": "reboot",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "reboot Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21925,
"slug": "reboot",
"isLoading": false,
"link": "/arts/tag/reboot"
},
"arts_769": {
"type": "terms",
"id": "arts_769",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "769",
"found": true
},
"relationships": {},
"featImg": null,
"name": "review",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "review Archives | KQED Arts",
"ogDescription": null
},
"ttid": 787,
"slug": "review",
"isLoading": false,
"link": "/arts/tag/review"
},
"arts_585": {
"type": "terms",
"id": "arts_585",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "585",
"found": true
},
"relationships": {},
"featImg": null,
"name": "thedolist",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "thedolist Archives | KQED Arts",
"ogDescription": null
},
"ttid": 590,
"slug": "thedolist",
"isLoading": false,
"link": "/arts/tag/thedolist"
},
"arts_3620": {
"type": "terms",
"id": "arts_3620",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3620",
"found": true
},
"relationships": {},
"featImg": null,
"name": "music industry",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "music industry Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3632,
"slug": "music-industry",
"isLoading": false,
"link": "/arts/tag/music-industry"
},
"arts_2137": {
"type": "terms",
"id": "arts_2137",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2137",
"found": true
},
"relationships": {},
"featImg": null,
"name": "social media",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "social media Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2149,
"slug": "social-media",
"isLoading": false,
"link": "/arts/tag/social-media"
},
"arts_8017": {
"type": "terms",
"id": "arts_8017",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8017",
"found": true
},
"relationships": {},
"featImg": null,
"name": "tiktok",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "tiktok Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8029,
"slug": "tiktok",
"isLoading": false,
"link": "/arts/tag/tiktok"
},
"arts_8237": {
"type": "terms",
"id": "arts_8237",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8237",
"found": true
},
"relationships": {},
"featImg": null,
"name": "FX",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "FX Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8249,
"slug": "fx",
"isLoading": false,
"link": "/arts/tag/fx"
},
"arts_21901": {
"type": "terms",
"id": "arts_21901",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21901",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Truman Capote",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Truman Capote Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21913,
"slug": "truman-capote",
"isLoading": false,
"link": "/arts/tag/truman-capote"
},
"arts_9222": {
"type": "terms",
"id": "arts_9222",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "9222",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Apple TV+",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Apple TV+ Archives | KQED Arts",
"ogDescription": null
},
"ttid": 9234,
"slug": "apple-tv",
"isLoading": false,
"link": "/arts/tag/apple-tv"
},
"arts_3038": {
"type": "terms",
"id": "arts_3038",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3038",
"found": true
},
"relationships": {},
"featImg": null,
"name": "World War II",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "World War II Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3050,
"slug": "world-war-ii",
"isLoading": false,
"link": "/arts/tag/world-war-ii"
},
"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_5573": {
"type": "terms",
"id": "arts_5573",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5573",
"found": true
},
"relationships": {},
"featImg": null,
"name": "mexico",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "mexico Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5585,
"slug": "mexico",
"isLoading": false,
"link": "/arts/tag/mexico"
},
"arts_5391": {
"type": "terms",
"id": "arts_5391",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5391",
"found": true
},
"relationships": {},
"featImg": null,
"name": "china",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "china Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5403,
"slug": "china",
"isLoading": false,
"link": "/arts/tag/china"
},
"arts_21823": {
"type": "terms",
"id": "arts_21823",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21823",
"found": true
},
"relationships": {},
"featImg": null,
"name": "2024",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "2024 Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21835,
"slug": "2024",
"isLoading": false,
"link": "/arts/tag/2024"
},
"arts_3701": {
"type": "terms",
"id": "arts_3701",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3701",
"found": true
},
"relationships": {},
"featImg": null,
"name": "academy awards",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "academy awards Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3713,
"slug": "academy-awards",
"isLoading": false,
"link": "/arts/tag/academy-awards"
},
"arts_3698": {
"type": "terms",
"id": "arts_3698",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3698",
"found": true
},
"relationships": {},
"featImg": null,
"name": "oscars",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "oscars Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3710,
"slug": "oscars",
"isLoading": false,
"link": "/arts/tag/oscars"
},
"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_6024": {
"type": "terms",
"id": "arts_6024",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6024",
"found": true
},
"relationships": {},
"featImg": null,
"name": "wildfires",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "wildfires Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6036,
"slug": "wildfires",
"isLoading": false,
"link": "/arts/tag/wildfires"
},
"arts_21882": {
"type": "terms",
"id": "arts_21882",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21882",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Dave Eggers",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Dave Eggers Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21894,
"slug": "dave-eggers",
"isLoading": false,
"link": "/arts/tag/dave-eggers"
},
"arts_2473": {
"type": "terms",
"id": "arts_2473",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2473",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Vietnam",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Vietnam Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2485,
"slug": "vietnam",
"isLoading": false,
"link": "/arts/tag/vietnam"
}
},
"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
}
}
