‘Mel Brooks: The 99 Year Old Man!’ Is a Fitting — and Very Funny — Tribute
New Chris Pratt Movie ‘Mercy’ Is a Total Trial
Entrancing ‘Testament of Ann Lee’ Relays the Shakers’ Saga in Song and Dance
Music and All That Jazz at This Year’s Noir City Film Festival
‘28 Years Later: The Bone Temple’ Triumphantly Subverts the Classic Zombie Movie
The Complete List of 2026 Golden Globe Award Winners
‘Dead Man’s Wire’ Is a Retro Thriller That’s Pertinent to the Present
The Golden Globes Are This Week — What To Know About the First Major Awards of the Season
Asylum-Seekers’ Stories Come to The Freight in Berkeley
Sponsored
Player sponsored by
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_13985712": {
"type": "attachments",
"id": "arts_13985712",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13985712",
"found": true
},
"title": "mel and judd",
"publishDate": 1769035889,
"status": "inherit",
"parent": 13985711,
"modified": 1769036039,
"caption": "Mel Brooks and Judd Apatow in new documentary, ‘Mel Brooks: The 99 Year Old Man!’ ",
"credit": "HBO Max via AP",
"altTag": "An elderly man wearing a suit with no tie sits on a beige couch smiling broadly. At his side is a middle aged man in jeans and a polo shirt, also laughing.",
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/mel-and-judd-160x110.png",
"width": 160,
"height": 110,
"mimeType": "image/png"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/mel-and-judd-768x528.png",
"width": 768,
"height": 528,
"mimeType": "image/png"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/mel-and-judd-1536x1055.png",
"width": 1536,
"height": 1055,
"mimeType": "image/png"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/mel-and-judd-672x372.png",
"width": 672,
"height": 372,
"mimeType": "image/png"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/mel-and-judd-1038x576.png",
"width": 1038,
"height": 576,
"mimeType": "image/png"
},
"npr-cds-wide": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/mel-and-judd-1200x675.png",
"width": 1200,
"height": 675,
"mimeType": "image/png"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/mel-and-judd.png",
"width": 2000,
"height": 1374
}
},
"fetchFailed": false,
"isLoading": false
},
"arts_13985708": {
"type": "attachments",
"id": "arts_13985708",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13985708",
"found": true
},
"title": "mercy",
"publishDate": 1769034776,
"status": "inherit",
"parent": 13985705,
"modified": 1769034877,
"caption": "Kali Reis and Chris Pratt in ‘Mercy.’ ",
"credit": "Justin Lurbin/Amazon MGM Studios via AP",
"altTag": "A Black woman wearing a black leather jacket with her hair tied back in a long ponytail, eyes a white man suspiciously. He is wearing a white shirt with a black tactical vest on top.",
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/mercy-160x109.png",
"width": 160,
"height": 109,
"mimeType": "image/png"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/mercy-768x523.png",
"width": 768,
"height": 523,
"mimeType": "image/png"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/mercy-1536x1045.png",
"width": 1536,
"height": 1045,
"mimeType": "image/png"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/mercy-672x372.png",
"width": 672,
"height": 372,
"mimeType": "image/png"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/mercy-1038x576.png",
"width": 1038,
"height": 576,
"mimeType": "image/png"
},
"npr-cds-wide": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/mercy-1200x675.png",
"width": 1200,
"height": 675,
"mimeType": "image/png"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/mercy.png",
"width": 2000,
"height": 1361
}
},
"fetchFailed": false,
"isLoading": false
},
"arts_13985683": {
"type": "attachments",
"id": "arts_13985683",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13985683",
"found": true
},
"title": "TTAL_SG_00001_v1_2000",
"publishDate": 1769031113,
"status": "inherit",
"parent": 13985662,
"modified": 1769031189,
"caption": "Amanda Seyfried and ensemble in 'The Testament of Ann Lee.'",
"credit": "Searchlight Pictures/William Rexer",
"altTag": "group of people in 18th-century clothes with arms extended in ecstatic dance",
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00001_v1_2000-160x67.jpg",
"width": 160,
"height": 67,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00001_v1_2000-768x322.jpg",
"width": 768,
"height": 322,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00001_v1_2000-1536x644.jpg",
"width": 1536,
"height": 644,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00001_v1_2000-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00001_v1_2000-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"npr-cds-wide": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00001_v1_2000-1200x675.jpg",
"width": 1200,
"height": 675,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00001_v1_2000.jpg",
"width": 2000,
"height": 838
}
},
"fetchFailed": false,
"isLoading": false
},
"arts_13985508": {
"type": "attachments",
"id": "arts_13985508",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13985508",
"found": true
},
"title": "Noir.AManCalledAdam.2",
"publishDate": 1768519078,
"status": "inherit",
"parent": 13985320,
"modified": 1768519179,
"caption": "Sammy Davis Jr. in ‘A Man Called Adam,’ part of this year's Noir City film festival in Oakland.",
"credit": "Embassy Pictures",
"altTag": "A slendar Black man sings into a microphone, flanked by a bassist and trombonist, while holding a cornet in a black and white image.",
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.AManCalledAdam.2-160x120.jpg",
"width": 160,
"height": 120,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.AManCalledAdam.2-768x574.jpg",
"width": 768,
"height": 574,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.AManCalledAdam.2-1536x1149.jpg",
"width": 1536,
"height": 1149,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.AManCalledAdam.2-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.AManCalledAdam.2-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"npr-cds-wide": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.AManCalledAdam.2-1200x675.jpg",
"width": 1200,
"height": 675,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.AManCalledAdam.2.jpg",
"width": 2000,
"height": 1496
}
},
"fetchFailed": false,
"isLoading": false
},
"arts_13985409": {
"type": "attachments",
"id": "arts_13985409",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13985409",
"found": true
},
"title": "chi 28 years",
"publishDate": 1768422311,
"status": "inherit",
"parent": 13985406,
"modified": 1768422674,
"caption": "MMA fighter Chi Lewis-Parry plays a leader of the undead in ‘28 Years Later: The Bone Temple.’",
"credit": "Columbia Pictures/Sony Pictures via AP",
"altTag": "A very muscular man clad only in a loin cloth crouches with one knee on the ground, outside in the wilderness. He is screaming wildly.",
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/chi-28-years-160x106.png",
"width": 160,
"height": 106,
"mimeType": "image/png"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/chi-28-years-768x510.png",
"width": 768,
"height": 510,
"mimeType": "image/png"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/chi-28-years-1536x1019.png",
"width": 1536,
"height": 1019,
"mimeType": "image/png"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/chi-28-years-672x372.png",
"width": 672,
"height": 372,
"mimeType": "image/png"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/chi-28-years-1038x576.png",
"width": 1038,
"height": 576,
"mimeType": "image/png"
},
"npr-cds-wide": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/chi-28-years-1200x675.png",
"width": 1200,
"height": 675,
"mimeType": "image/png"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/chi-28-years.png",
"width": 2000,
"height": 1327
}
},
"fetchFailed": false,
"isLoading": false
},
"arts_13985300": {
"type": "attachments",
"id": "arts_13985300",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13985300",
"found": true
},
"title": "83rd Annual Golden Globe Awards - Press Room",
"publishDate": 1768194239,
"status": "inherit",
"parent": 13985298,
"modified": 1768194360,
"caption": "(L-R) Audrey Nuna, Ejae and Rei Ami, winners of the Best Original Song, Motion Picture for \"Golden\" from ‘KPop Demon Hunters’ at the 83rd Annual Golden Globe Awards. ",
"credit": "Jeff Kravitz/FilmMagic",
"altTag": "Three glamorous young Asian women stand together on a red carpet, all wearing black evening gowns. Two are holding Golden Globe awards.",
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/demon-hunters-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/demon-hunters-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/demon-hunters-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/demon-hunters-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/demon-hunters-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"npr-cds-wide": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/demon-hunters-1200x675.jpg",
"width": 1200,
"height": 675,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/demon-hunters.jpg",
"width": 2000,
"height": 1333
}
},
"fetchFailed": false,
"isLoading": false
},
"arts_13985197": {
"type": "attachments",
"id": "arts_13985197",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13985197",
"found": true
},
"title": "dead man's",
"publishDate": 1767827535,
"status": "inherit",
"parent": 13985196,
"modified": 1767827706,
"caption": "Dacre Montgomery and Bill Skarsgård in ‘Dead Man’s Wire.’ ",
"credit": "Row K via AP",
"altTag": "A fearful looking man holds his hands up as another man behind him holds a gun to his back. Both are wearing 1970s-era clothing.",
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/dead-mans-160x107.png",
"width": 160,
"height": 107,
"mimeType": "image/png"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/dead-mans-768x515.png",
"width": 768,
"height": 515,
"mimeType": "image/png"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/dead-mans-1536x1031.png",
"width": 1536,
"height": 1031,
"mimeType": "image/png"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/dead-mans-672x372.png",
"width": 672,
"height": 372,
"mimeType": "image/png"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/dead-mans-1038x576.png",
"width": 1038,
"height": 576,
"mimeType": "image/png"
},
"npr-cds-wide": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/dead-mans-1200x675.png",
"width": 1200,
"height": 675,
"mimeType": "image/png"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/dead-mans.png",
"width": 2000,
"height": 1342
}
},
"fetchFailed": false,
"isLoading": false
},
"arts_13985110": {
"type": "attachments",
"id": "arts_13985110",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13985110",
"found": true
},
"title": "chase.infiniti.onebattle",
"publishDate": 1767632267,
"status": "inherit",
"parent": 13985108,
"modified": 1767632386,
"caption": "Chase Infiniti and Teyana Taylor (reflected in mirror) in ‘One Battle After Another,’ director Paul Thomas Anderson’s awards-season favorite.",
"credit": "Warner Bros. Pictures",
"altTag": "A young Black woman in a white top and black leather jacket faces an older Black woman, whose back is shown to the camera and whose reflection is shown in a bathroom mirror",
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/chase.infiniti.onebattle-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/chase.infiniti.onebattle-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/chase.infiniti.onebattle-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/chase.infiniti.onebattle-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"npr-cds-wide": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/chase.infiniti.onebattle-1200x675.jpg",
"width": 1200,
"height": 675,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/chase.infiniti.onebattle.jpg",
"width": 1220,
"height": 814
}
},
"fetchFailed": false,
"isLoading": false
},
"arts_13985086": {
"type": "attachments",
"id": "arts_13985086",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13985086",
"found": true
},
"title": "NSS4_2000",
"publishDate": 1767117529,
"status": "inherit",
"parent": 13985083,
"modified": 1767117834,
"caption": "A still from the short documentary 'No Separate Survival,' featuring stories gathered in arts workshops from four asylum-seekers working with the East Bay Sanctuary Covenant.",
"credit": "Shabnam Piryaei",
"altTag": "person holds phone up while creating video using small toys, subtitle reads 'and living under the shadows.'",
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NSS4_2000-160x90.jpg",
"width": 160,
"height": 90,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NSS4_2000-768x432.jpg",
"width": 768,
"height": 432,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NSS4_2000-1536x864.jpg",
"width": 1536,
"height": 864,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NSS4_2000-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NSS4_2000-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"npr-cds-wide": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NSS4_2000-1200x675.jpg",
"width": 1200,
"height": 675,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NSS4_2000.jpg",
"width": 2000,
"height": 1125
}
},
"fetchFailed": false,
"isLoading": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false
},
"authorsReducer": {
"byline_arts_13985711": {
"type": "authors",
"id": "byline_arts_13985711",
"meta": {
"override": true
},
"slug": "byline_arts_13985711",
"name": "Jake Coyle, Associated Press",
"isLoading": false
},
"byline_arts_13985705": {
"type": "authors",
"id": "byline_arts_13985705",
"meta": {
"override": true
},
"slug": "byline_arts_13985705",
"name": "Lindsey Bahr, Associated Press",
"isLoading": false
},
"byline_arts_13985406": {
"type": "authors",
"id": "byline_arts_13985406",
"meta": {
"override": true
},
"slug": "byline_arts_13985406",
"name": "Mark Kennedy, Associated Press",
"isLoading": false
},
"byline_arts_13985298": {
"type": "authors",
"id": "byline_arts_13985298",
"meta": {
"override": true
},
"slug": "byline_arts_13985298",
"name": "Associated Press",
"isLoading": false
},
"byline_arts_13985196": {
"type": "authors",
"id": "byline_arts_13985196",
"meta": {
"override": true
},
"slug": "byline_arts_13985196",
"name": "Jake Coyle, Associated Press",
"isLoading": false
},
"byline_arts_13985108": {
"type": "authors",
"id": "byline_arts_13985108",
"meta": {
"override": true
},
"slug": "byline_arts_13985108",
"name": "Associated Press",
"isLoading": false
},
"mfox": {
"type": "authors",
"id": "22",
"meta": {
"index": "authors_1716337520",
"id": "22",
"found": true
},
"name": "Michael Fox",
"firstName": "Michael",
"lastName": "Fox",
"slug": "mfox",
"email": "foxonfilm@yahoo.com",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "Michael Fox has written about film for dozens of publications since 1987. He is a founding member of the San Francisco Bay Area Film Critics Circle.",
"avatar": "https://secure.gravatar.com/avatar/81710be6517181c0d40977bb09011d5f?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"contributor"
]
}
],
"headData": {
"title": "Michael Fox | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/81710be6517181c0d40977bb09011d5f?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/81710be6517181c0d40977bb09011d5f?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/mfox"
},
"shotchkiss": {
"type": "authors",
"id": "61",
"meta": {
"index": "authors_1716337520",
"id": "61",
"found": true
},
"name": "Sarah Hotchkiss",
"firstName": "Sarah",
"lastName": "Hotchkiss",
"slug": "shotchkiss",
"email": "shotchkiss@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Senior Editor",
"bio": "Sarah Hotchkiss is a San Francisco \u003ca href=\"http://www.sarahhotchkiss.com\">artist\u003c/a> and arts writer. In 2019, she received the Dorothea & Leo Rabkin Foundation grant for visual art journalism and in 2020 she received a Society of Professional Journalists, Northern California award for excellence in arts and culture reporting.",
"avatar": "https://secure.gravatar.com/avatar/ca38c7f54590856cd4947d26274f8a90?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"Contributor",
"administrator"
]
},
{
"site": "artschool",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"administrator"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "spark",
"roles": [
"editor"
]
},
{
"site": "checkplease",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Sarah Hotchkiss | KQED",
"description": "Senior Editor",
"ogImgSrc": "https://secure.gravatar.com/avatar/ca38c7f54590856cd4947d26274f8a90?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/ca38c7f54590856cd4947d26274f8a90?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/shotchkiss"
},
"gmeline": {
"type": "authors",
"id": "185",
"meta": {
"index": "authors_1716337520",
"id": "185",
"found": true
},
"name": "Gabe Meline",
"firstName": "Gabe",
"lastName": "Meline",
"slug": "gmeline",
"email": "gmeline@kqed.org",
"display_author_email": false,
"staff_mastheads": [
"arts"
],
"title": "Senior Editor, KQED Arts & Culture",
"bio": "Gabe Meline entered journalism at age 15 making photocopied zines, and has since earned awards from the Edward R. Murrow Awards, the Society for Professional Journalists, the Online Journalism Awards, the Association of Alternative Newsweeklies and the California Newspaper Publishers Association. Prior to KQED, he was the editor of the \u003cem>North Bay Bohemian\u003c/em> and a touring musician. He lives with his wife, his daughter, and a 1964 Volvo in his hometown of Santa Rosa, CA.",
"avatar": "https://secure.gravatar.com/avatar/80e9715844c5fc3f07edac5b08973b76?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": "gmeline",
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "artschool",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"author"
]
},
{
"site": "pop",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "food",
"roles": [
"editor"
]
},
{
"site": "liveblog",
"roles": [
"editor"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Gabe Meline | KQED",
"description": "Senior Editor, KQED Arts & Culture",
"ogImgSrc": "https://secure.gravatar.com/avatar/80e9715844c5fc3f07edac5b08973b76?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/80e9715844c5fc3f07edac5b08973b76?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/gmeline"
}
},
"breakingNewsReducer": {},
"pagesReducer": {},
"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_13985711": {
"type": "posts",
"id": "arts_13985711",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13985711",
"score": null,
"sort": [
1769094113000
]
},
"guestAuthors": [],
"slug": "mel-brooks-the-99-year-old-man-documentary-review-hbo-max-judd-apatow",
"title": "‘Mel Brooks: The 99 Year Old Man!’ Is a Fitting — and Very Funny — Tribute",
"publishDate": 1769094113,
"format": "standard",
"headTitle": "‘Mel Brooks: The 99 Year Old Man!’ Is a Fitting — and Very Funny — Tribute | KQED",
"labelTerm": {},
"content": "\u003cp>It’s not often we get to pay tribute, in full, to our giants while they’re still with us. But in \u003cem>Mel Brooks: The 99 Year Old Man!\u003c/em> Judd Apatow dutifully and affectionately celebrates the laugh-filled life of a comedy legend who’s still here to tell the story — and the jokes — himself.\u003c/p>\n\u003cp>\u003cem>The 99 Year Old Man\u003c/em>, which debuts Thursday in two parts on HBO and HBO Max, is a big-hearted tribute to Brooks, an indefatigable comic force who did more than most anyone to lighten the mood of the 20th century. At 99 (he’ll turn 100 in June), Brooks remains a remarkably great raconteur.\u003c/p>\n\u003cp>[aside postid='arts_13985320']One of the cleverest tricks by directors Apatow and Michael Bonfiglio is playing some of Brooks’ stories — like a memorable lunch with Cary Grant — across not just his sit-down interviews with them, but over multiple talk show appearances. He’s been telling some of these jokes for decades. It doesn’t matter. They’re still good.\u003c/p>\n\u003cp>\u003cem>The 99 Year Old Man\u003c/em> takes the whole life in: the formative childhood in Brooklyn; the Sid Caesar-aided entry to \u003cem>Your Show of Shows\u003c/em>; the lifelong friendship with Carl Reiner; the 2000 Year Old Man sketches; \u003cem>The Producers\u003c/em>; the marriage to Anne Bancroft; \u003cem>Blazing Saddles\u003c/em>, and beyond.\u003c/p>\n\u003cp>But if there’s an ongoing question in \u003cem>The 99 Year Old Man\u003c/em>, it’s posed early by Apatow, who appears on-screen as Brooks’ interviewer. Do people really know who he is? “No,” Brooks answers straightaway.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That might sound like an odd answer for someone who has so unabashedly lived nearly a century in the public eye. Yet Brooks has been such a non-stop performer that it can sometimes be difficult to see where the schtick ends and the self begins.\u003c/p>\n\u003cp>One person describes Brooks, as a newborn, thinking the delivery doctor smacking him on the rear was applause. In an earlier clip, an interviewer laments Brooks’ apparent lack of introspection. He replies that he’s merely “a coalescence of vapor.” When Brooks gave his Oscar speech, for the screenplay to \u003cem>The Producers\u003c/em>, he said he would speak from the heart: “Ba-bum, ba-bum.”\u003c/p>\n\u003cp>So is what’s inside Brooks just jokes? I’d say — and I think this is what makes \u003cem>The 99 Year Old Man\u003c/em> not just an exhaustive documentary but a moving and even stirring one — it’s more the opposite. Brooks’ comedy, from the “2000 Year Old Man” to \u003cem>History of the World, Part I\u003c/em>, has always derived from something deeper, more personal and intrinsically Jewish than its slapstick qualities sometimes have suggested.\u003c/p>\n\u003cp>“Comedy is a sensational and sometimes spectacular political weapon,” Brooks says in the film.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=eKo_urZAm9o\u003c/p>\n\u003cp>There are countless big names who come in to speak to Brooks’ boldness as a comedian, among them Dave Chappelle, Jerry Seinfeld, Sarah Silverman, Adam Sandler and Conan O’Brien. But I’m tempted to think Brooks’ legacy is in how, for him, life and comedy are one: pulse and punchline together.\u003c/p>\n\u003cp>You can see that in Brooks’ decades of marriage with Bancroft, who describes, every time her husband came home as like a party. And you can see it in Brooks’ undying friendship with Reiner. After the deaths of their wives, the two friends would nightly meet to eat deli sandwiches and watch old movies. Reiner once recalled they’d watch films “with lines like ‘Secure the perimeter!’”\u003c/p>\n\u003cp>[aside postid='arts_13985662']Bancroft died in 2005 and Reiner in 2020. Any life that stretches as long as Brooks’ takes on an elegiac quality. Appearing in the documentary, before their deaths, are both Rob Reiner and David Lynch (whom Brooks, a believer, got to direct \u003cem>The Elephant Man\u003c/em>).\u003c/p>\n\u003cp>But the losses that add up in Brooks’ life never outstrip the laughter. You’re left wondering if Brooks is one of the funniest people to ever live, or one of the wisest.\u003c/p>\n\u003cp>“Comedy is lively. Comedy is joy,” he says. “And that’s what keeps us going. We have to look forward to little happinesses, little joys.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Mel Brooks: The 99 Year Old Man!’ begins streaming on HBO Max on Jan. 22, 2026.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Judd Apatow’s two-part HBO documentary explores the life, loves and losses of a comedy legend.",
"status": "publish",
"parent": 0,
"modified": 1769036603,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 17,
"wordCount": 756
},
"headData": {
"title": "Movie Review: ‘Mel Brooks: The 99 Year Old Man!’ on HBO | KQED",
"description": "Judd Apatow’s two-part HBO documentary explores the life, loves and losses of a comedy legend.",
"ogTitle": "‘Mel Brooks: The 99 Year Old Man!’ Is a Fitting and Funny Tribute",
"ogDescription": "",
"ogImgId": "",
"twTitle": "‘Mel Brooks: The 99 Year Old Man!’ Is a Fitting and Funny Tribute",
"twDescription": "",
"twImgId": "",
"socialTitle": "Movie Review: ‘Mel Brooks: The 99 Year Old Man!’ on HBO %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘Mel Brooks: The 99 Year Old Man!’ Is a Fitting — and Very Funny — Tribute",
"datePublished": "2026-01-22T07:01:53-08:00",
"dateModified": "2026-01-21T15:03:23-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 74,
"slug": "movies",
"name": "Movies"
},
"source": "The Do List",
"sourceUrl": "https://www.kqed.org/thedolist",
"sticky": false,
"nprByline": "Jake Coyle, Associated Press",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13985711/mel-brooks-the-99-year-old-man-documentary-review-hbo-max-judd-apatow",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s not often we get to pay tribute, in full, to our giants while they’re still with us. But in \u003cem>Mel Brooks: The 99 Year Old Man!\u003c/em> Judd Apatow dutifully and affectionately celebrates the laugh-filled life of a comedy legend who’s still here to tell the story — and the jokes — himself.\u003c/p>\n\u003cp>\u003cem>The 99 Year Old Man\u003c/em>, which debuts Thursday in two parts on HBO and HBO Max, is a big-hearted tribute to Brooks, an indefatigable comic force who did more than most anyone to lighten the mood of the 20th century. At 99 (he’ll turn 100 in June), Brooks remains a remarkably great raconteur.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13985320",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>One of the cleverest tricks by directors Apatow and Michael Bonfiglio is playing some of Brooks’ stories — like a memorable lunch with Cary Grant — across not just his sit-down interviews with them, but over multiple talk show appearances. He’s been telling some of these jokes for decades. It doesn’t matter. They’re still good.\u003c/p>\n\u003cp>\u003cem>The 99 Year Old Man\u003c/em> takes the whole life in: the formative childhood in Brooklyn; the Sid Caesar-aided entry to \u003cem>Your Show of Shows\u003c/em>; the lifelong friendship with Carl Reiner; the 2000 Year Old Man sketches; \u003cem>The Producers\u003c/em>; the marriage to Anne Bancroft; \u003cem>Blazing Saddles\u003c/em>, and beyond.\u003c/p>\n\u003cp>But if there’s an ongoing question in \u003cem>The 99 Year Old Man\u003c/em>, it’s posed early by Apatow, who appears on-screen as Brooks’ interviewer. Do people really know who he is? “No,” Brooks answers straightaway.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That might sound like an odd answer for someone who has so unabashedly lived nearly a century in the public eye. Yet Brooks has been such a non-stop performer that it can sometimes be difficult to see where the schtick ends and the self begins.\u003c/p>\n\u003cp>One person describes Brooks, as a newborn, thinking the delivery doctor smacking him on the rear was applause. In an earlier clip, an interviewer laments Brooks’ apparent lack of introspection. He replies that he’s merely “a coalescence of vapor.” When Brooks gave his Oscar speech, for the screenplay to \u003cem>The Producers\u003c/em>, he said he would speak from the heart: “Ba-bum, ba-bum.”\u003c/p>\n\u003cp>So is what’s inside Brooks just jokes? I’d say — and I think this is what makes \u003cem>The 99 Year Old Man\u003c/em> not just an exhaustive documentary but a moving and even stirring one — it’s more the opposite. Brooks’ comedy, from the “2000 Year Old Man” to \u003cem>History of the World, Part I\u003c/em>, has always derived from something deeper, more personal and intrinsically Jewish than its slapstick qualities sometimes have suggested.\u003c/p>\n\u003cp>“Comedy is a sensational and sometimes spectacular political weapon,” Brooks says in the film.\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/eKo_urZAm9o'\n title='//www.youtube.com/embed/eKo_urZAm9o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There are countless big names who come in to speak to Brooks’ boldness as a comedian, among them Dave Chappelle, Jerry Seinfeld, Sarah Silverman, Adam Sandler and Conan O’Brien. But I’m tempted to think Brooks’ legacy is in how, for him, life and comedy are one: pulse and punchline together.\u003c/p>\n\u003cp>You can see that in Brooks’ decades of marriage with Bancroft, who describes, every time her husband came home as like a party. And you can see it in Brooks’ undying friendship with Reiner. After the deaths of their wives, the two friends would nightly meet to eat deli sandwiches and watch old movies. Reiner once recalled they’d watch films “with lines like ‘Secure the perimeter!’”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13985662",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Bancroft died in 2005 and Reiner in 2020. Any life that stretches as long as Brooks’ takes on an elegiac quality. Appearing in the documentary, before their deaths, are both Rob Reiner and David Lynch (whom Brooks, a believer, got to direct \u003cem>The Elephant Man\u003c/em>).\u003c/p>\n\u003cp>But the losses that add up in Brooks’ life never outstrip the laughter. You’re left wondering if Brooks is one of the funniest people to ever live, or one of the wisest.\u003c/p>\n\u003cp>“Comedy is lively. Comedy is joy,” he says. “And that’s what keeps us going. We have to look forward to little happinesses, little joys.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Mel Brooks: The 99 Year Old Man!’ begins streaming on HBO Max on Jan. 22, 2026.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13985711/mel-brooks-the-99-year-old-man-documentary-review-hbo-max-judd-apatow",
"authors": [
"byline_arts_13985711"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74",
"arts_75",
"arts_22313"
],
"tags": [
"arts_549",
"arts_13672",
"arts_22602",
"arts_585"
],
"featImg": "arts_13985712",
"label": "source_arts_13985711"
},
"arts_13985705": {
"type": "posts",
"id": "arts_13985705",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13985705",
"score": null,
"sort": [
1769034999000
]
},
"guestAuthors": [],
"slug": "mercy-movie-review-ai-judge-rebecca-ferguson-chair-hell",
"title": "New Chris Pratt Movie ‘Mercy’ Is a Total Trial",
"publishDate": 1769034999,
"format": "standard",
"headTitle": "New Chris Pratt Movie ‘Mercy’ Is a Total Trial | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>It’s a bold filmmaking choice to have a countdown clock on the screen for most of your movie.\u003c/p>\n\u003cp>In the best-case scenario for a movie like \u003cem>Mercy\u003c/em>, in which a Los Angeles detective has to prove his innocence to an artificial intelligence judge within said time limit, it heightens the tension. Who hasn’t gotten sweaty palms in, say, a \u003cem>Mission: Impossible\u003c/em> movie when the bomb is ticking down and Tom Cruise still hasn’t cleared the building? Why not just extend it for the duration?\u003c/p>\n\u003cp>[aside postid='arts_13985320']Perhaps in a better movie it might have worked. Sadly in \u003cem>Mercy\u003c/em>, in theaters Thursday, it’s an ever-present reminder of just how much longer you must endure until you too are free of Chris Pratt, Rebecca Ferguson and that chair.\u003c/p>\n\u003cp>In \u003cem>Mercy’\u003c/em>s near-future Los Angeles, AI has been adopted by law enforcement and the judicial system to more efficiently clean up the city’s crime and blight problem. It’s a potent and not too far-flung idea that might have been a fascinating and provocative premise for a movie attempting to grapple with the implications of so-called progress that had the potential to be a worthy companion to another Cruise movie, \u003cem>Minority Report\u003c/em>. But that would have required a more serious script than screenwriter Marco van Belle’s and more vision than filmmaker Timur Bekmambetov managed to muster.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dSS4yqd0x6o\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When Pratt’s character, Chris Raven, wakes up, barefoot and strapped into an electric chair sitting in the middle of an oddly large room that looks a bit like the holodeck, he’s informed by an IMAX-sized AI judge (Ferguson) that he has 90 minutes to prove he didn’t kill his wife (Annabelle Wallis). In this world, the incarcerated are guilty until proved innocent. They’ve cut lawyers and juries out of the equation as well. Instead, the accused have everyone’s digital footprint at their disposal to help build their own case. For Raven, that means everything from ring cam footage to his teenage daughter’s secret Instagram account.\u003c/p>\n\u003cp>Unfortunately for Raven, he woke up with some gaps in his memory between angrily busting into his home to confront his wife about something and being arrested and bludgeoned at a bar later that day. Raven was also one of the original champions of the AI judge system, which in a more curious script might have resulted in some real stakes. This story is more hung up on increasingly tortured plot contrivances, however, including Raven’s drinking problem following the death of a partner killed on the job. To its credit, the story does really keep it ambiguous as to whether Raven did it or not, but to say that it earns any sort of investment in the outcome is a stretch.\u003c/p>\n\u003cp>[aside postid='arts_13985662']One of the most confounding choices is to have a real actor playing the AI judge. Wouldn’t it have been more interesting and provocative to use an AI creation as the impartial Judge Maddox instead of stripping Ferguson of all emotion and charisma in the role? At times, it feels as tedious as watching a stranger’s increasingly frustrating call with a robotic customer service representative play out in real time.\u003c/p>\n\u003cp>For how reliant this movie is on screens and keeping Pratt alone, one might assume that \u003cem>Mercy\u003c/em> was a socially distanced, COVID-era leftover instead of something made in 2024. Kali Reis, playing another LAPD agent named Jaq who decides to help Raven investigate on the ground is the one that gets to be out in the real-world chasing leads and hunches. But for the most part, she’s seen only through FaceTime and bodycam footage. Like Raven, we’re largely stuck in the chair watching things play out on multiple screens, acutely aware of just how much time is left.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Mercy’ is released nationwide on Jan. 22, 2026.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "A man who may or may not have killed his wife goes head-to-head with an AI judge in this futuristic dud.",
"status": "publish",
"parent": 0,
"modified": 1769034999,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 11,
"wordCount": 684
},
"headData": {
"title": "Movie Review: ‘Mercy,’ Starring Chris Pratt | KQED",
"description": "A man who may or may not have killed his wife goes head-to-head with an AI judge in this futuristic dud.",
"ogTitle": "New Chris Pratt Movie ‘Mercy’ Is a Total Trial",
"ogDescription": "",
"ogImgId": "",
"twTitle": "New Chris Pratt Movie ‘Mercy’ Is a Total Trial",
"twDescription": "",
"twImgId": "",
"socialTitle": "Movie Review: ‘Mercy,’ Starring Chris Pratt%%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "New Chris Pratt Movie ‘Mercy’ Is a Total Trial",
"datePublished": "2026-01-21T14:36:39-08:00",
"dateModified": "2026-01-21T14:36:39-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 74,
"slug": "movies",
"name": "Movies"
},
"sticky": false,
"nprByline": "Lindsey Bahr, Associated Press",
"nprStoryId": "kqed-13985705",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13985705/mercy-movie-review-ai-judge-rebecca-ferguson-chair-hell",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s a bold filmmaking choice to have a countdown clock on the screen for most of your movie.\u003c/p>\n\u003cp>In the best-case scenario for a movie like \u003cem>Mercy\u003c/em>, in which a Los Angeles detective has to prove his innocence to an artificial intelligence judge within said time limit, it heightens the tension. Who hasn’t gotten sweaty palms in, say, a \u003cem>Mission: Impossible\u003c/em> movie when the bomb is ticking down and Tom Cruise still hasn’t cleared the building? Why not just extend it for the duration?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13985320",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Perhaps in a better movie it might have worked. Sadly in \u003cem>Mercy\u003c/em>, in theaters Thursday, it’s an ever-present reminder of just how much longer you must endure until you too are free of Chris Pratt, Rebecca Ferguson and that chair.\u003c/p>\n\u003cp>In \u003cem>Mercy’\u003c/em>s near-future Los Angeles, AI has been adopted by law enforcement and the judicial system to more efficiently clean up the city’s crime and blight problem. It’s a potent and not too far-flung idea that might have been a fascinating and provocative premise for a movie attempting to grapple with the implications of so-called progress that had the potential to be a worthy companion to another Cruise movie, \u003cem>Minority Report\u003c/em>. But that would have required a more serious script than screenwriter Marco van Belle’s and more vision than filmmaker Timur Bekmambetov managed to muster.\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/dSS4yqd0x6o'\n title='//www.youtube.com/embed/dSS4yqd0x6o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When Pratt’s character, Chris Raven, wakes up, barefoot and strapped into an electric chair sitting in the middle of an oddly large room that looks a bit like the holodeck, he’s informed by an IMAX-sized AI judge (Ferguson) that he has 90 minutes to prove he didn’t kill his wife (Annabelle Wallis). In this world, the incarcerated are guilty until proved innocent. They’ve cut lawyers and juries out of the equation as well. Instead, the accused have everyone’s digital footprint at their disposal to help build their own case. For Raven, that means everything from ring cam footage to his teenage daughter’s secret Instagram account.\u003c/p>\n\u003cp>Unfortunately for Raven, he woke up with some gaps in his memory between angrily busting into his home to confront his wife about something and being arrested and bludgeoned at a bar later that day. Raven was also one of the original champions of the AI judge system, which in a more curious script might have resulted in some real stakes. This story is more hung up on increasingly tortured plot contrivances, however, including Raven’s drinking problem following the death of a partner killed on the job. To its credit, the story does really keep it ambiguous as to whether Raven did it or not, but to say that it earns any sort of investment in the outcome is a stretch.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13985662",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>One of the most confounding choices is to have a real actor playing the AI judge. Wouldn’t it have been more interesting and provocative to use an AI creation as the impartial Judge Maddox instead of stripping Ferguson of all emotion and charisma in the role? At times, it feels as tedious as watching a stranger’s increasingly frustrating call with a robotic customer service representative play out in real time.\u003c/p>\n\u003cp>For how reliant this movie is on screens and keeping Pratt alone, one might assume that \u003cem>Mercy\u003c/em> was a socially distanced, COVID-era leftover instead of something made in 2024. Kali Reis, playing another LAPD agent named Jaq who decides to help Raven investigate on the ground is the one that gets to be out in the real-world chasing leads and hunches. But for the most part, she’s seen only through FaceTime and bodycam footage. Like Raven, we’re largely stuck in the chair watching things play out on multiple screens, acutely aware of just how much time is left.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Mercy’ is released nationwide on Jan. 22, 2026.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13985705/mercy-movie-review-ai-judge-rebecca-ferguson-chair-hell",
"authors": [
"byline_arts_13985705"
],
"categories": [
"arts_1",
"arts_74",
"arts_75"
],
"tags": [
"arts_11718"
],
"featImg": "arts_13985708",
"label": "arts"
},
"arts_13985662": {
"type": "posts",
"id": "arts_13985662",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13985662",
"score": null,
"sort": [
1769032958000
]
},
"guestAuthors": [],
"slug": "the-testament-of-ann-lee-movie-review-shakers-amanda-seyfried",
"title": "Entrancing ‘Testament of Ann Lee’ Relays the Shakers’ Saga in Song and Dance",
"publishDate": 1769032958,
"format": "standard",
"headTitle": "Entrancing ‘Testament of Ann Lee’ Relays the Shakers’ Saga in Song and Dance | KQED",
"labelTerm": {},
"content": "\u003cp>A film about faith and other leaps, Mona Fastvold’s remarkable \u003cem>The Testament of Ann Lee\u003c/em> does not ask us to endorse or embrace the tenets of the 18th-century English sect called United Society of Believers in Christ’s Second Coming, aka Shaking Quakers, aka the Shakers. Given that an important principle of co-founder Ann Lee (Amanda Seyfried) was celibacy, many viewers would find that a bridge too far.\u003c/p>\n\u003cp>[aside postid='arts_13985705']Several of the Shakers’ other core values, like cooperation, collaboration, ecstasy and equality among genders resonate clearly, especially for anyone who can recall the Northern California communes of the 1960s and 70s. The pleasure and power of \u003cem>The Testament of Ann Lee\u003c/em> (opening Jan. 23), though, is not to be found in the utopian speeches but in surrendering to the selfless exhibition of true believers believing. If you are willing to be entranced — to accede from time to time to a trance state — you will have a uniquely thrilling time at the movies.\u003c/p>\n\u003cp>The story opens in the 1740s in Manchester, England, where the child Ann labors in a textile factory. As she grows up, her spiritual journey takes her to Jane and James Wardley (Stacy Martin and Scott Handy), through whose fervid Quaker prayer group she meets her husband Abraham Standerin (Christopher Abbott) and develops her specific philosophy.\u003c/p>\n\u003cfigure id=\"attachment_13985686\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985686\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00144_v2_2000.jpg\" alt=\"man and woman face each other in room of people\" width=\"2000\" height=\"827\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00144_v2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00144_v2_2000-160x66.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00144_v2_2000-768x318.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00144_v2_2000-1536x635.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Christopher Abbott and Amanda Seyfried in ‘The Testament of Ann Lee.’ \u003ccite>(Searchlight Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Marriage brings physical and psychic pain, and Ann’s crucible is further forged in the fire of family tragedy. Even as she is accepted by many of the Wardley circle and her stalwart brother William (Lewis Pullman) as the true leader, Mother Ann (as she is now called) captures the unwelcome attention of the powers-that-be and is incarcerated for a couple weeks.\u003c/p>\n\u003cp>The Shakers’ saga comes into focus as a familiar dynamic of nonconformity and determination, fueled by the certainty of religious faith, running into both official and street opposition, with blood being spilled. We judge for ourselves how much of the animosity is an overreaction to noisy praying and how much is fear and hatred of a powerful woman.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The departure of the Shakers by boat to America in 1774, trading the Old World for the New, is a hugely important development for the sect. The movie opens up as well, with Manchester’s drab, chilly confines replaced by America’s broad vistas and natural light.\u003c/p>\n\u003cp>Fastvold and Brady Corbet’s literate script, brought to pulsing life by a committed cast led by Seyfried, carries \u003cem>The Testament of Ann Lee\u003c/em> a long way. But a wholly unexpected element puts the film over the top.\u003c/p>\n\u003cfigure id=\"attachment_13985685\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985685\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00063_v2_2000.jpg\" alt=\"woman and man on deck of sailing ship\" width=\"2000\" height=\"828\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00063_v2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00063_v2_2000-160x66.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00063_v2_2000-768x318.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00063_v2_2000-1536x636.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Amanda Seyfried and Lewis Pullman journey to America in ‘The Testament of Ann Lee.’ \u003ccite>(Searchlight Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Vincent Minnelli and Bob Fosse artfully demonstrated, music and movement — song and dance — are powerful vehicles for not only conveying deep emotions but enrolling audiences in leaps of joy and amazement and flights of mind. Daring to dare is the sentiment at the heart of a movie musical, and the quality that moviegoers respond to.\u003c/p>\n\u003cp>\u003cem>The Testament of Ann Lee\u003c/em> isn’t exactly a musical in the sense that the songs don’t tell the story. Fastvold and composer Daniel Blumberg (whose score for Fastvold and Corbet’s \u003cem>The Brutalist\u003c/em> won the Oscar last year) chose a dozen melodies from the Shaker hymnal archive, and Celia Rowlson-Hall choreographed a mix of individual and ensemble numbers.\u003c/p>\n\u003cp>[aside postid='arts_13985320']These dances don’t just prevent \u003cem>The Testament of Ann Lee\u003c/em> from succumbing to the stuck-in-wax fate of a lot of standard biopics and period pieces. They bring the magic, and the entrancement, without feeling anachronistic and pulling us out of the 18th century.\u003c/p>\n\u003cp>\u003cem>The Testament of Ann Lee\u003c/em> is set in a world very different from ours and also not so different, a world of mysteries and dangers where people fear new ideas and are made to fear newcomers. Where superstitions or religious dogma or conspiracy theories are cited to soothe our uncertainty.\u003c/p>\n\u003cp>Perhaps every utopian endeavor is fated to come to an end, whether from internal dynamics or external forces. Maybe our task is to take inspiration from the faith and the effort. \u003cem>The Testament of Ann Lee\u003c/em> asks us to consider whether we are on the side of the creators or the destroyers.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘The Testament of Ann Lee’ opens Jan. 23, 2026 in Bay Area theaters.\u003c/i>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Mona Fastvold‘s drama with songs is an inspired recounting of the Shakers’ 18th-century religious sect.",
"status": "publish",
"parent": 0,
"modified": 1769042923,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 15,
"wordCount": 764
},
"headData": {
"title": "‘Testament of Ann Lee’ Review: Shaker History Entrances | KQED",
"description": "Mona Fastvold‘s drama with songs is an inspired recounting of the Shakers’ 18th-century religious sect.",
"ogTitle": "Entrancing ‘Testament of Ann Lee’ Relays the Shakers’ Saga in Song and Dance",
"ogDescription": "",
"ogImgId": "",
"twTitle": "Entrancing ‘Testament of Ann Lee’ Relays the Shakers’ Saga in Song and Dance",
"twDescription": "",
"twImgId": "",
"socialTitle": "‘Testament of Ann Lee’ Review: Shaker History Entrances %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Entrancing ‘Testament of Ann Lee’ Relays the Shakers’ Saga in Song and Dance",
"datePublished": "2026-01-21T14:02:38-08:00",
"dateModified": "2026-01-21T16:48:43-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"source": "The Do List",
"sourceUrl": "https://www.kqed.org/thedolist",
"sticky": false,
"nprStoryId": "kqed-13985662",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13985662/the-testament-of-ann-lee-movie-review-shakers-amanda-seyfried",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A film about faith and other leaps, Mona Fastvold’s remarkable \u003cem>The Testament of Ann Lee\u003c/em> does not ask us to endorse or embrace the tenets of the 18th-century English sect called United Society of Believers in Christ’s Second Coming, aka Shaking Quakers, aka the Shakers. Given that an important principle of co-founder Ann Lee (Amanda Seyfried) was celibacy, many viewers would find that a bridge too far.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13985705",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Several of the Shakers’ other core values, like cooperation, collaboration, ecstasy and equality among genders resonate clearly, especially for anyone who can recall the Northern California communes of the 1960s and 70s. The pleasure and power of \u003cem>The Testament of Ann Lee\u003c/em> (opening Jan. 23), though, is not to be found in the utopian speeches but in surrendering to the selfless exhibition of true believers believing. If you are willing to be entranced — to accede from time to time to a trance state — you will have a uniquely thrilling time at the movies.\u003c/p>\n\u003cp>The story opens in the 1740s in Manchester, England, where the child Ann labors in a textile factory. As she grows up, her spiritual journey takes her to Jane and James Wardley (Stacy Martin and Scott Handy), through whose fervid Quaker prayer group she meets her husband Abraham Standerin (Christopher Abbott) and develops her specific philosophy.\u003c/p>\n\u003cfigure id=\"attachment_13985686\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985686\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00144_v2_2000.jpg\" alt=\"man and woman face each other in room of people\" width=\"2000\" height=\"827\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00144_v2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00144_v2_2000-160x66.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00144_v2_2000-768x318.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00144_v2_2000-1536x635.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Christopher Abbott and Amanda Seyfried in ‘The Testament of Ann Lee.’ \u003ccite>(Searchlight Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Marriage brings physical and psychic pain, and Ann’s crucible is further forged in the fire of family tragedy. Even as she is accepted by many of the Wardley circle and her stalwart brother William (Lewis Pullman) as the true leader, Mother Ann (as she is now called) captures the unwelcome attention of the powers-that-be and is incarcerated for a couple weeks.\u003c/p>\n\u003cp>The Shakers’ saga comes into focus as a familiar dynamic of nonconformity and determination, fueled by the certainty of religious faith, running into both official and street opposition, with blood being spilled. We judge for ourselves how much of the animosity is an overreaction to noisy praying and how much is fear and hatred of a powerful woman.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The departure of the Shakers by boat to America in 1774, trading the Old World for the New, is a hugely important development for the sect. The movie opens up as well, with Manchester’s drab, chilly confines replaced by America’s broad vistas and natural light.\u003c/p>\n\u003cp>Fastvold and Brady Corbet’s literate script, brought to pulsing life by a committed cast led by Seyfried, carries \u003cem>The Testament of Ann Lee\u003c/em> a long way. But a wholly unexpected element puts the film over the top.\u003c/p>\n\u003cfigure id=\"attachment_13985685\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985685\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00063_v2_2000.jpg\" alt=\"woman and man on deck of sailing ship\" width=\"2000\" height=\"828\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00063_v2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00063_v2_2000-160x66.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00063_v2_2000-768x318.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00063_v2_2000-1536x636.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Amanda Seyfried and Lewis Pullman journey to America in ‘The Testament of Ann Lee.’ \u003ccite>(Searchlight Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Vincent Minnelli and Bob Fosse artfully demonstrated, music and movement — song and dance — are powerful vehicles for not only conveying deep emotions but enrolling audiences in leaps of joy and amazement and flights of mind. Daring to dare is the sentiment at the heart of a movie musical, and the quality that moviegoers respond to.\u003c/p>\n\u003cp>\u003cem>The Testament of Ann Lee\u003c/em> isn’t exactly a musical in the sense that the songs don’t tell the story. Fastvold and composer Daniel Blumberg (whose score for Fastvold and Corbet’s \u003cem>The Brutalist\u003c/em> won the Oscar last year) chose a dozen melodies from the Shaker hymnal archive, and Celia Rowlson-Hall choreographed a mix of individual and ensemble numbers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13985320",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>These dances don’t just prevent \u003cem>The Testament of Ann Lee\u003c/em> from succumbing to the stuck-in-wax fate of a lot of standard biopics and period pieces. They bring the magic, and the entrancement, without feeling anachronistic and pulling us out of the 18th century.\u003c/p>\n\u003cp>\u003cem>The Testament of Ann Lee\u003c/em> is set in a world very different from ours and also not so different, a world of mysteries and dangers where people fear new ideas and are made to fear newcomers. Where superstitions or religious dogma or conspiracy theories are cited to soothe our uncertainty.\u003c/p>\n\u003cp>Perhaps every utopian endeavor is fated to come to an end, whether from internal dynamics or external forces. Maybe our task is to take inspiration from the faith and the effort. \u003cem>The Testament of Ann Lee\u003c/em> asks us to consider whether we are on the side of the creators or the destroyers.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘The Testament of Ann Lee’ opens Jan. 23, 2026 in Bay Area theaters.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13985662/the-testament-of-ann-lee-movie-review-shakers-amanda-seyfried",
"authors": [
"22"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74",
"arts_22313"
],
"tags": [
"arts_10278",
"arts_977",
"arts_769",
"arts_585"
],
"featImg": "arts_13985683",
"label": "source_arts_13985662"
},
"arts_13985320": {
"type": "posts",
"id": "arts_13985320",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13985320",
"score": null,
"sort": [
1768519612000
]
},
"guestAuthors": [],
"slug": "noir-city-2026-music-jazz-murder-grand-lake-oakland",
"title": "Music and All That Jazz at This Year’s Noir City Film Festival",
"publishDate": 1768519612,
"format": "standard",
"headTitle": "Music and All That Jazz at This Year’s Noir City Film Festival | KQED",
"labelTerm": {},
"content": "\u003cp>Treachery and deceit swirl all around us. Every awards season, it seems, there’s an \u003ca href=\"https://www.kqed.org/arts/tag/oscars\">Oscar\u003c/a> given to the right person, but for the wrong film. Sometimes it’s an actor (Al Pacino for \u003cem>Scent of a Woman\u003c/em>), sometimes it’s a director (Martin Scorcese for \u003cem>The Departed\u003c/em>).\u003c/p>\n\u003cp>And sometimes it’s a singer.\u003c/p>\n\u003cp>If you see any movie at this year’s \u003ca href=\"https://www.noircity.com/\">Noir City\u003c/a> festival, running Jan. 16–25 at Oakland’s \u003ca href=\"https://www.kqed.org/arts/tag/grand-lake-theatre\">Grand Lake Theatre\u003c/a>, make it \u003cem>The Man With the Golden Arm\u003c/em>, starring Frank Sinatra. At the time a skinny crooner who’d just won Best Supporting Actor for \u003cem>From Here to Eternity\u003c/em>, Ol’ Blue Eyes turns in his actual greatest-ever acting performance as a jazz drummer \u003ca href=\"https://www.youtube.com/watch?v=MmqTc07linY\">desperately trying\u003c/a> — with girlfriend Kim Novak — to kick his debilitating heroin addiction.\u003c/p>\n\u003cfigure id=\"attachment_13985493\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985493\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.ManWithGoldenArm.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.ManWithGoldenArm.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.ManWithGoldenArm-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.ManWithGoldenArm-768x512.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Frank Sinatra and Kim Novak in ‘The Man With the Golden Arm,’ directed by Otto Preminger in 1955. \u003ccite>(United Artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Screening in a double feature at Noir City with \u003cem>The Sweet Smell of Success\u003c/em> (from the bygone age of 1957, when critics actually held power over performing artists’ fortunes), \u003cem>The Man With the Golden Arm\u003c/em>, with its pulsing, blaring jazz music by Elmer Bernstein, marked a sea change in film scores.\u003c/p>\n\u003cp>Eddie Muller knows the cliché all too well of a black-and-white noir movie from the 1940s, with its “a lonesome wailing saxophone.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Except that brass instruments were hardly used at all in 1940s scores, Muller explains in a recent interview. “In the 1940s, Hollywood had their studio orchestras, and were still beholden to that classic European orchestral score approach,” he says. “But in the ’50s, that really changed, and \u003cem>The Man With the Golden Arm\u003c/em> had a lot to do with that.”\u003c/p>\n\u003cfigure id=\"attachment_13985492\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985492\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.TheManILove.jpg\" alt=\"\" width=\"800\" height=\"584\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.TheManILove.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.TheManILove-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.TheManILove-768x561.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ida Lupino as a lounge singer in ‘The Man I Love,’ directed by Raoul Walsh in 1947. \u003ccite>(Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s the kind of deep knowledge I anticipated from a conversation with Muller, who since 2003 has hosted Noir City, a celebration of all things double-crossing and murderous on the silver screen. Each year, the hugely popular festival follows a theme; the first year I attended and realized I’d found my people, it was newspapers. This year’s is music.\u003c/p>\n\u003cp>That includes films like \u003cem>Gilda\u003c/em>, with Rita Hayworth’s famous glove-removing nightclub performance of “\u003ca href=\"https://www.youtube.com/watch?v=hllEi7bJ4os\">Put the Blame on Me\u003c/a>,” and \u003cem>A Man Called Adam\u003c/em>, starring Sammy Davis Jr. as an alcoholic, self-sabotaging singer and cornet player.\u003c/p>\n\u003cp>It also includes some films that, Muller admits, stretch the definition of film noir, including not one but two Doris Day movies.\u003c/p>\n\u003cfigure id=\"attachment_13985491\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985491\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.YoungManWithaHorn.jpg\" alt=\"\" width=\"800\" height=\"584\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.YoungManWithaHorn.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.YoungManWithaHorn-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.YoungManWithaHorn-768x561.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Doris Day and Kirk Douglas in ‘Young Man With a Horn,’ based on the life of Bix Beiderbecke and directed by Michael Curtiz in 1950. \u003ccite>(Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When people see \u003cem>Love Me or Leave Me\u003c/em>, they assume ‘Oh, that’s a Doris Day musical,’” Muller says, adding that people have asked him: How can you possibly pass that off as noir?\u003c/p>\n\u003cp>“And you know, the answer is that Ruth Etting had a very, very noir life,” he explains.\u003c/p>\n\u003cp>Etting, a singer and actress who endured threats, a messy divorce and a murder attempt, is portrayed in \u003cem>Love Me Or Leave Me\u003c/em> not in gritty black and white, but full MGM Technicolor. Likewise, \u003cem>Pete Kelly’s Blues\u003c/em>, with Jack Webb and Janet Leigh, is also in color. But its story is grimy, and its stellar performances by Ella Fitzgerald and Peggy Lee fit the festival’s theme too well to be overlooked.\u003c/p>\n\u003cp>[aside postID='arts_13980003']Speaking of jazz performances, Muller’s lined up a schedule of them to precede each screening, with pianists, guitarists, tap dancers and singer Elizabeth Bougerol (she’s the one on the \u003ca href=\"https://www.noircity.com/\">festival poster\u003c/a> this year, spattered in blood). And he’s more than ready to get on stage and make converts of any noir-naysayers, like the woman behind me at the December festival preview at the Grand Lake, who saw the Elvis Presley film \u003cem>King Creole\u003c/em> flash on screen and remarked “Elvis?! Really?”\u003c/p>\n\u003cp>Muller’s response to that is straightforward: “Watch the movie! It’s gangsters, it’s everything. It’s a typical noir story except the guy is a rock singer.” While other Elvis movies were certified fluff for teenagers, he says, “this one has a serious crime element, it’s in black and white … Like, that’s \u003cem>the\u003c/em> Elvis noir movie.”\u003c/p>\n\u003cfigure id=\"attachment_13985490\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985490\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.RoundMidnight.jpg\" alt=\"\" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.RoundMidnight.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.RoundMidnight-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.RoundMidnight-768x510.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dexter Gordon in ‘Round Midnight,’ directed by Bertrand Tavernier in 1986. \u003ccite>(Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year also marks the festival’s fourth year at the Grand Lake after leaving its longtime home at the Castro Theatre, which reopens next month to host more concerts than films in a renovated auditorium without its original theater-style seating.\u003c/p>\n\u003cp>Does Muller ever miss the Castro? “I don’t think about it, honestly,” he says. “What I regret is that San Francisco has no opulent single-screen movie palaces anymore. Like, how is that even possible?”\u003c/p>\n\u003cp>Meanwhile, Muller’s happy at the Grand Lake, a glorious 1926 movie palace with a curtain, a Wurlitzer and a community of film lovers who huddle together in the dark each year for a few hours of treachery and deceit on screen.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.noircity.com/\">Noir City 23: Face the Music!\u003c/a> runs Jan. 16–25, 2026 at the Grand Lake Theatre (3200 Grand Ave., Oakland). \u003ca href=\"https://www.noircity.com/\">Tickets and more information here\u003c/a>. \u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "This year's festival of betrayal and grit may stretch your conception of film noir at Oakland's Grand Lake Theatre.",
"status": "publish",
"parent": 0,
"modified": 1768519612,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 20,
"wordCount": 954
},
"headData": {
"title": "Music and All That Jazz at This Year’s Noir City Film Festival | KQED",
"description": "This year's festival of betrayal and grit may stretch your conception of film noir at Oakland's Grand Lake Theatre.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Music and All That Jazz at This Year’s Noir City Film Festival",
"datePublished": "2026-01-15T15:26:52-08:00",
"dateModified": "2026-01-15T15:26:52-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"source": "The Do List",
"sourceUrl": "https://www.kqed.org/thedolist",
"sticky": false,
"nprStoryId": "kqed-13985320",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13985320/noir-city-2026-music-jazz-murder-grand-lake-oakland",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Treachery and deceit swirl all around us. Every awards season, it seems, there’s an \u003ca href=\"https://www.kqed.org/arts/tag/oscars\">Oscar\u003c/a> given to the right person, but for the wrong film. Sometimes it’s an actor (Al Pacino for \u003cem>Scent of a Woman\u003c/em>), sometimes it’s a director (Martin Scorcese for \u003cem>The Departed\u003c/em>).\u003c/p>\n\u003cp>And sometimes it’s a singer.\u003c/p>\n\u003cp>If you see any movie at this year’s \u003ca href=\"https://www.noircity.com/\">Noir City\u003c/a> festival, running Jan. 16–25 at Oakland’s \u003ca href=\"https://www.kqed.org/arts/tag/grand-lake-theatre\">Grand Lake Theatre\u003c/a>, make it \u003cem>The Man With the Golden Arm\u003c/em>, starring Frank Sinatra. At the time a skinny crooner who’d just won Best Supporting Actor for \u003cem>From Here to Eternity\u003c/em>, Ol’ Blue Eyes turns in his actual greatest-ever acting performance as a jazz drummer \u003ca href=\"https://www.youtube.com/watch?v=MmqTc07linY\">desperately trying\u003c/a> — with girlfriend Kim Novak — to kick his debilitating heroin addiction.\u003c/p>\n\u003cfigure id=\"attachment_13985493\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985493\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.ManWithGoldenArm.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.ManWithGoldenArm.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.ManWithGoldenArm-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.ManWithGoldenArm-768x512.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Frank Sinatra and Kim Novak in ‘The Man With the Golden Arm,’ directed by Otto Preminger in 1955. \u003ccite>(United Artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Screening in a double feature at Noir City with \u003cem>The Sweet Smell of Success\u003c/em> (from the bygone age of 1957, when critics actually held power over performing artists’ fortunes), \u003cem>The Man With the Golden Arm\u003c/em>, with its pulsing, blaring jazz music by Elmer Bernstein, marked a sea change in film scores.\u003c/p>\n\u003cp>Eddie Muller knows the cliché all too well of a black-and-white noir movie from the 1940s, with its “a lonesome wailing saxophone.”\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>Except that brass instruments were hardly used at all in 1940s scores, Muller explains in a recent interview. “In the 1940s, Hollywood had their studio orchestras, and were still beholden to that classic European orchestral score approach,” he says. “But in the ’50s, that really changed, and \u003cem>The Man With the Golden Arm\u003c/em> had a lot to do with that.”\u003c/p>\n\u003cfigure id=\"attachment_13985492\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985492\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.TheManILove.jpg\" alt=\"\" width=\"800\" height=\"584\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.TheManILove.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.TheManILove-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.TheManILove-768x561.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ida Lupino as a lounge singer in ‘The Man I Love,’ directed by Raoul Walsh in 1947. \u003ccite>(Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s the kind of deep knowledge I anticipated from a conversation with Muller, who since 2003 has hosted Noir City, a celebration of all things double-crossing and murderous on the silver screen. Each year, the hugely popular festival follows a theme; the first year I attended and realized I’d found my people, it was newspapers. This year’s is music.\u003c/p>\n\u003cp>That includes films like \u003cem>Gilda\u003c/em>, with Rita Hayworth’s famous glove-removing nightclub performance of “\u003ca href=\"https://www.youtube.com/watch?v=hllEi7bJ4os\">Put the Blame on Me\u003c/a>,” and \u003cem>A Man Called Adam\u003c/em>, starring Sammy Davis Jr. as an alcoholic, self-sabotaging singer and cornet player.\u003c/p>\n\u003cp>It also includes some films that, Muller admits, stretch the definition of film noir, including not one but two Doris Day movies.\u003c/p>\n\u003cfigure id=\"attachment_13985491\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985491\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.YoungManWithaHorn.jpg\" alt=\"\" width=\"800\" height=\"584\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.YoungManWithaHorn.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.YoungManWithaHorn-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.YoungManWithaHorn-768x561.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Doris Day and Kirk Douglas in ‘Young Man With a Horn,’ based on the life of Bix Beiderbecke and directed by Michael Curtiz in 1950. \u003ccite>(Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When people see \u003cem>Love Me or Leave Me\u003c/em>, they assume ‘Oh, that’s a Doris Day musical,’” Muller says, adding that people have asked him: How can you possibly pass that off as noir?\u003c/p>\n\u003cp>“And you know, the answer is that Ruth Etting had a very, very noir life,” he explains.\u003c/p>\n\u003cp>Etting, a singer and actress who endured threats, a messy divorce and a murder attempt, is portrayed in \u003cem>Love Me Or Leave Me\u003c/em> not in gritty black and white, but full MGM Technicolor. Likewise, \u003cem>Pete Kelly’s Blues\u003c/em>, with Jack Webb and Janet Leigh, is also in color. But its story is grimy, and its stellar performances by Ella Fitzgerald and Peggy Lee fit the festival’s theme too well to be overlooked.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13980003",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Speaking of jazz performances, Muller’s lined up a schedule of them to precede each screening, with pianists, guitarists, tap dancers and singer Elizabeth Bougerol (she’s the one on the \u003ca href=\"https://www.noircity.com/\">festival poster\u003c/a> this year, spattered in blood). And he’s more than ready to get on stage and make converts of any noir-naysayers, like the woman behind me at the December festival preview at the Grand Lake, who saw the Elvis Presley film \u003cem>King Creole\u003c/em> flash on screen and remarked “Elvis?! Really?”\u003c/p>\n\u003cp>Muller’s response to that is straightforward: “Watch the movie! It’s gangsters, it’s everything. It’s a typical noir story except the guy is a rock singer.” While other Elvis movies were certified fluff for teenagers, he says, “this one has a serious crime element, it’s in black and white … Like, that’s \u003cem>the\u003c/em> Elvis noir movie.”\u003c/p>\n\u003cfigure id=\"attachment_13985490\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985490\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.RoundMidnight.jpg\" alt=\"\" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.RoundMidnight.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.RoundMidnight-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.RoundMidnight-768x510.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dexter Gordon in ‘Round Midnight,’ directed by Bertrand Tavernier in 1986. \u003ccite>(Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year also marks the festival’s fourth year at the Grand Lake after leaving its longtime home at the Castro Theatre, which reopens next month to host more concerts than films in a renovated auditorium without its original theater-style seating.\u003c/p>\n\u003cp>Does Muller ever miss the Castro? “I don’t think about it, honestly,” he says. “What I regret is that San Francisco has no opulent single-screen movie palaces anymore. Like, how is that even possible?”\u003c/p>\n\u003cp>Meanwhile, Muller’s happy at the Grand Lake, a glorious 1926 movie palace with a curtain, a Wurlitzer and a community of film lovers who huddle together in the dark each year for a few hours of treachery and deceit on screen.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.noircity.com/\">Noir City 23: Face the Music!\u003c/a> runs Jan. 16–25, 2026 at the Grand Lake Theatre (3200 Grand Ave., Oakland). \u003ca href=\"https://www.noircity.com/\">Tickets and more information here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13985320/noir-city-2026-music-jazz-murder-grand-lake-oakland",
"authors": [
"185"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74",
"arts_69",
"arts_22313"
],
"tags": [
"arts_10278",
"arts_1201",
"arts_22393",
"arts_22117",
"arts_1143",
"arts_585"
],
"featImg": "arts_13985508",
"label": "source_arts_13985320"
},
"arts_13985406": {
"type": "posts",
"id": "arts_13985406",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13985406",
"score": null,
"sort": [
1768422914000
]
},
"guestAuthors": [],
"slug": "28-years-later-bone-temple-movie-review-nia-dacosta-new-zombies",
"title": "‘28 Years Later: The Bone Temple’ Triumphantly Subverts the Classic Zombie Movie",
"publishDate": 1768422914,
"format": "standard",
"headTitle": "‘28 Years Later: The Bone Temple’ Triumphantly Subverts the Classic Zombie Movie | KQED",
"labelTerm": {},
"content": "\u003cp>You know what zombie movies never seem to have enough of? Dancing. They’ve got gore and screaming and lots of guttural snarling, but no boogie. That all changes with \u003cem>28 Years Later: The Bone Temple\u003c/em> and the dancing here is to — naturally off-kilter — 1980s heroes Duran Duran.\u003c/p>\n\u003cp>The fourth entry in an ever-more engrossing franchise is absolutely bonkers — and a triumph. It mixes dark, queasy disembowelment and laugh-out-loud humor in a way that both subverts the genre and leads a way out of it, too.\u003c/p>\n\u003cp>[aside postid='arts_13977694']Nia DaCosta directs from a returning Alex Garland script and it starts right where 2025’s \u003ca href=\"https://www.kqed.org/arts/13977694/28-years-later-movie-review-danny-boyle-rage-zombies-uk-horror\">\u003cem>28 Years Later\u003c/em>\u003c/a> — directed by Danny Boyle — left off. If this is your first encounter with the series, you don’t necessarily need to go back to 2002’s \u003cem>28 Days Later\u003c/em> but at least to last year’s entry.\u003c/p>\n\u003cp>Garland’s script crackles with jokes about Britain’s National Health Service and \u003cem>Teletubbies\u003c/em> as it sets up an ultimate showdown between good and evil across a flower-and-meadow countryside. DaCosta is fabulous, leaning into the dark and the light with assurance, nailing the twisted tone and celebrating the weirdness.\u003c/p>\n\u003cp>We pick up immediately after Alfie Williams’ Spike is rescued from a gang of zombies — excuse me, a gang of infected — by another gang of predators led by Sir Jimmy Crystal, whom we first met as an 8-year-old orphan in the last movie. He’s all grown up and become a sadistic satanist, which happens sometimes without good adulting.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Jimmy — played by a diabolical Jack O’Connell in a tracksuit and gold chains, like a low-level Mafia lieutenant from \u003cem>The Sopranos\u003c/em> — leads a band of young psychopaths, as deadly to both virus survivors as the snarling, semi-human infected. They don blond wigs and each is named Jimmy. There’s a whiff of \u003cem>A Clockwork Orange\u003c/em> about them — menacing, prone to ultraviolence, gleeful in destruction. “Does that sound like normal screaming, Jimmy?” one asks. Spike, bless his heart, doesn’t belong here.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=EOwTdTZA8D8\u003c/p>\n\u003cp>Sir Jimmy’s opposite number is also out there, the scientist-doctor Dr. Ian Kelson, who hopes to find a cure for the virus. He’s a humanist, with a huge heart and open arms, even if he does construct tall pillars out of the bleached bones of the dead. That sounds bad, but he does it to memorialize them, an in memoriam segment made out of calcium.\u003c/p>\n\u003cp>Kelson is played by a returning \u003ca href=\"https://www.kqed.org/arts/13967200/conclave-movie-review-ralph-fiennes-edward-berger-catholic-church-pope\">Ralph Fiennes\u003c/a>, who is magnificent, totally committed, even going full Monty. There’s no winking in anything he does, just pure soul. People are people, no matter how damaged, he believes. “There’s just us,” he says. Bright orange due to the iodine he paints on his skin to ward off the virus, Kelson is alone in his bone temple, which, with a few tea lights, really pulls the look together.\u003c/p>\n\u003cp>[aside postid='arts_13985196']In perhaps a twist no one was expecting, Kelson gingerly reaches out to an infected Alpha — played by former MMA fighter Chi Lewis-Parry — who seems to enjoy being drugged by the doctor’s blowgun. It turns out they both like a hit or two of morphine and looking up at the sky, all blissed out. Or dancing.\u003c/p>\n\u003cp>That’s when Duran Duran comes in, supplying “Ordinary World,” “Girls on Film” and “Rio” to a sight rare in zombie movies: Two whacked-out guys — one an eye-bulging monster who rips heads off with the spines still attached, the other a skinny Englishman who starred in \u003cem>The English Patient\u003c/em> — swaying hand-in-hand to pop synth. (My money was on “Save a Prayer,” but it’s OK.)\u003c/p>\n\u003cp>There’s plenty of good music in \u003cem>28 Years Later: The Bone Temple\u003c/em>, including Radiohead’s “Everything in Its Right Place” and one of the most gloriously unhinged uses of Iron Maiden’s “The Number of the Beast” ever conceived. If the previous film had a Fellini-esque vibe, this one has punky, anarchic feel.\u003c/p>\n\u003cfigure id=\"attachment_13985410\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985410\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/jack-28-years.png\" alt=\"A blond man wearing a black tracksuit stands, eyes closed, hands gesturing, in a strange spotlit circle. Behind him are four young people, also wearing tracksuits, and looking the worse for wear.\" width=\"2000\" height=\"1227\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/jack-28-years.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/jack-28-years-160x98.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/jack-28-years-768x471.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/jack-28-years-1536x942.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jack O’Connell (center) in a scene from ‘28 Years Later: The Bone Temple.’ \u003ccite>(Columbia Pictures/Sony Pictures via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Who will emerge victorious on this blighted island? Sir Jimmy or Dr. Kelson? And have you noticed that the hallmark of every zombie movie — the constant running away from the snarling undead — has been quietly replaced by examinations of cults and mortality, the long-term effects of trauma and what it means to be human? Call it almost post-zombie.\u003c/p>\n\u003cp>There’s a fifth movie in this franchise in the works, with some clues that this nightmarish world may yet produce a happy ending. But they’re getting better and better and, as insane as it sounds, it’s going to be sad to see it go. Long may the zombies dance. Perhaps we should take advice from the great poets of our time, Duran Duran: “I will learn to survive.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘28 Years Later: The Bone Temple’ is released nationwide on Jan. 16, 2026.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Turns out? Zombies plus Duran Duran equals supremely enjoyable horror.",
"status": "publish",
"parent": 0,
"modified": 1768422914,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 16,
"wordCount": 912
},
"headData": {
"title": "Movie Review: ‘28 Years Later: The Bone Temple’ | KQED",
"description": "Turns out? Zombies plus Duran Duran equals supremely enjoyable horror.",
"ogTitle": "‘28 Years Later: The Bone Temple’ Is Bonkers But Triumphant",
"ogDescription": "",
"ogImgId": "",
"twTitle": "‘28 Years Later: The Bone Temple’ Is Bonkers But Triumphant",
"twDescription": "",
"twImgId": "",
"socialTitle": "Movie Review: ‘28 Years Later: The Bone Temple’ %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘28 Years Later: The Bone Temple’ Triumphantly Subverts the Classic Zombie Movie",
"datePublished": "2026-01-14T12:35:14-08:00",
"dateModified": "2026-01-14T12:35:14-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 74,
"slug": "movies",
"name": "Movies"
},
"source": "The Do List",
"sourceUrl": "https://www.kqed.org/thedolist",
"sticky": false,
"nprByline": "Mark Kennedy, Associated Press",
"nprStoryId": "kqed-13985406",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13985406/28-years-later-bone-temple-movie-review-nia-dacosta-new-zombies",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You know what zombie movies never seem to have enough of? Dancing. They’ve got gore and screaming and lots of guttural snarling, but no boogie. That all changes with \u003cem>28 Years Later: The Bone Temple\u003c/em> and the dancing here is to — naturally off-kilter — 1980s heroes Duran Duran.\u003c/p>\n\u003cp>The fourth entry in an ever-more engrossing franchise is absolutely bonkers — and a triumph. It mixes dark, queasy disembowelment and laugh-out-loud humor in a way that both subverts the genre and leads a way out of it, too.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13977694",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Nia DaCosta directs from a returning Alex Garland script and it starts right where 2025’s \u003ca href=\"https://www.kqed.org/arts/13977694/28-years-later-movie-review-danny-boyle-rage-zombies-uk-horror\">\u003cem>28 Years Later\u003c/em>\u003c/a> — directed by Danny Boyle — left off. If this is your first encounter with the series, you don’t necessarily need to go back to 2002’s \u003cem>28 Days Later\u003c/em> but at least to last year’s entry.\u003c/p>\n\u003cp>Garland’s script crackles with jokes about Britain’s National Health Service and \u003cem>Teletubbies\u003c/em> as it sets up an ultimate showdown between good and evil across a flower-and-meadow countryside. DaCosta is fabulous, leaning into the dark and the light with assurance, nailing the twisted tone and celebrating the weirdness.\u003c/p>\n\u003cp>We pick up immediately after Alfie Williams’ Spike is rescued from a gang of zombies — excuse me, a gang of infected — by another gang of predators led by Sir Jimmy Crystal, whom we first met as an 8-year-old orphan in the last movie. He’s all grown up and become a sadistic satanist, which happens sometimes without good adulting.\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>Jimmy — played by a diabolical Jack O’Connell in a tracksuit and gold chains, like a low-level Mafia lieutenant from \u003cem>The Sopranos\u003c/em> — leads a band of young psychopaths, as deadly to both virus survivors as the snarling, semi-human infected. They don blond wigs and each is named Jimmy. There’s a whiff of \u003cem>A Clockwork Orange\u003c/em> about them — menacing, prone to ultraviolence, gleeful in destruction. “Does that sound like normal screaming, Jimmy?” one asks. Spike, bless his heart, doesn’t belong here.\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/EOwTdTZA8D8'\n title='//www.youtube.com/embed/EOwTdTZA8D8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Sir Jimmy’s opposite number is also out there, the scientist-doctor Dr. Ian Kelson, who hopes to find a cure for the virus. He’s a humanist, with a huge heart and open arms, even if he does construct tall pillars out of the bleached bones of the dead. That sounds bad, but he does it to memorialize them, an in memoriam segment made out of calcium.\u003c/p>\n\u003cp>Kelson is played by a returning \u003ca href=\"https://www.kqed.org/arts/13967200/conclave-movie-review-ralph-fiennes-edward-berger-catholic-church-pope\">Ralph Fiennes\u003c/a>, who is magnificent, totally committed, even going full Monty. There’s no winking in anything he does, just pure soul. People are people, no matter how damaged, he believes. “There’s just us,” he says. Bright orange due to the iodine he paints on his skin to ward off the virus, Kelson is alone in his bone temple, which, with a few tea lights, really pulls the look together.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13985196",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>In perhaps a twist no one was expecting, Kelson gingerly reaches out to an infected Alpha — played by former MMA fighter Chi Lewis-Parry — who seems to enjoy being drugged by the doctor’s blowgun. It turns out they both like a hit or two of morphine and looking up at the sky, all blissed out. Or dancing.\u003c/p>\n\u003cp>That’s when Duran Duran comes in, supplying “Ordinary World,” “Girls on Film” and “Rio” to a sight rare in zombie movies: Two whacked-out guys — one an eye-bulging monster who rips heads off with the spines still attached, the other a skinny Englishman who starred in \u003cem>The English Patient\u003c/em> — swaying hand-in-hand to pop synth. (My money was on “Save a Prayer,” but it’s OK.)\u003c/p>\n\u003cp>There’s plenty of good music in \u003cem>28 Years Later: The Bone Temple\u003c/em>, including Radiohead’s “Everything in Its Right Place” and one of the most gloriously unhinged uses of Iron Maiden’s “The Number of the Beast” ever conceived. If the previous film had a Fellini-esque vibe, this one has punky, anarchic feel.\u003c/p>\n\u003cfigure id=\"attachment_13985410\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985410\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/jack-28-years.png\" alt=\"A blond man wearing a black tracksuit stands, eyes closed, hands gesturing, in a strange spotlit circle. Behind him are four young people, also wearing tracksuits, and looking the worse for wear.\" width=\"2000\" height=\"1227\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/jack-28-years.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/jack-28-years-160x98.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/jack-28-years-768x471.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/jack-28-years-1536x942.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jack O’Connell (center) in a scene from ‘28 Years Later: The Bone Temple.’ \u003ccite>(Columbia Pictures/Sony Pictures via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Who will emerge victorious on this blighted island? Sir Jimmy or Dr. Kelson? And have you noticed that the hallmark of every zombie movie — the constant running away from the snarling undead — has been quietly replaced by examinations of cults and mortality, the long-term effects of trauma and what it means to be human? Call it almost post-zombie.\u003c/p>\n\u003cp>There’s a fifth movie in this franchise in the works, with some clues that this nightmarish world may yet produce a happy ending. But they’re getting better and better and, as insane as it sounds, it’s going to be sad to see it go. Long may the zombies dance. Perhaps we should take advice from the great poets of our time, Duran Duran: “I will learn to survive.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘28 Years Later: The Bone Temple’ is released nationwide on Jan. 16, 2026.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13985406/28-years-later-bone-temple-movie-review-nia-dacosta-new-zombies",
"authors": [
"byline_arts_13985406"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74",
"arts_75",
"arts_22313"
],
"tags": [
"arts_5087",
"arts_585"
],
"featImg": "arts_13985409",
"label": "source_arts_13985406"
},
"arts_13985298": {
"type": "posts",
"id": "arts_13985298",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13985298",
"score": null,
"sort": [
1768194603000
]
},
"guestAuthors": [],
"slug": "the-complete-list-of-2026-golden-globe-award-winners",
"title": "The Complete List of 2026 Golden Globe Award Winners",
"publishDate": 1768194603,
"format": "standard",
"headTitle": "The Complete List of 2026 Golden Globe Award Winners | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>The revolutionary saga \u003ca href=\"https://www.kqed.org/arts/13981463/one-battle-after-another-movie-review-leonardo-dicaprio-paul-thomas-anderson-immigration-revolution-action\">\u003cem>One Battle After Another\u003c/em>\u003c/a> won best picture, musical or comedy at the 83rd \u003ca href=\"https://www.kqed.org/arts/tag/golden-globes\">Golden Globe Awards\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13984046/hamnet-movie-review-jessie-buckley-paul-mescal-ofarrell-novel\">\u003cem>Hamnet\u003c/em>\u003c/a> won best picture, drama at the ceremony Sunday night.\u003c/p>\n\u003cp>Entering the night, \u003cem>One Battle After Another\u003c/em> topped the list of nominations with nine, followed by \u003ca href=\"https://www.kqed.org/arts/13983315/sentimental-value-movie-review-joachim-trier-drama-stellan-skarsgard\">\u003cem>Sentimental Value\u003c/em>\u003c/a> with eight.\u003c/p>\n\u003cp>Comedian Nikki Glaser hosted the ceremony from the Beverly Hilton in Beverly Hills. The night marked Glaser’s second consecutive year as host.\u003c/p>\n\u003cp>The first award of the night went to Teyana Taylor, who won female supporting actor, motion picture for \u003cem>One Battle After Another\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Golden Globes bill themselves as Hollywood’s booziest bash. The awards show was broadcast on CBS and is available to stream through \u003ca href=\"https://www.kqed.org/arts/tag/paramount\">Paramount+\u003c/a>.\u003c/p>\n\u003cp>Here’s a list of winners at Sunday’s Golden Globes:\u003c/p>\n\u003ch2>Motion picture, drama\u003c/h2>\n\u003cp>\u003cem>Hamnet\u003c/em>\u003c/p>\n\u003ch2>Motion picture, musical or comedy\u003c/h2>\n\u003cp>\u003cem>One Battle After Another\u003c/em>\u003c/p>\n\u003ch2>Male actor, motion picture, drama\u003c/h2>\n\u003cp>Wagner Moura, \u003cem>The Secret Agent\u003c/em>\u003c/p>\n\u003ch2>Female actor, motion picture, drama\u003c/h2>\n\u003cp>Jessie Buckley, \u003cem>Hamnet\u003c/em>\u003c/p>\n\u003ch2>Female actor, motion picture, musical or comedy\u003c/h2>\n\u003cp>Rose Byrne, \u003ca href=\"https://www.kqed.org/arts/13982228/rose-byrne-astonishes-in-the-gripping-if-i-had-legs-id-kick-you\">\u003cem>If I Had Legs, I’d Kick You\u003c/em>\u003c/a>\u003c/p>\n\u003ch2>Male actor, motion picture, musical or comedy\u003c/h2>\n\u003cp>Timothée Chalamet, \u003ca href=\"https://www.kqed.org/arts/13984991/marty-supreme-review-timothee-chalamet-josh-safdie\">\u003cem>Marty Supreme\u003c/em>\u003c/a>\u003c/p>\n\u003ch2>Female supporting actor, motion picture\u003c/h2>\n\u003cp>Teyana Taylor, \u003cem>One Battle After Another\u003c/em>\u003c/p>\n\u003ch2>Male supporting actor, motion picture\u003c/h2>\n\u003cp>Stellan Skarsgard, \u003cem>Sentimental Value\u003c/em>\u003c/p>\n\u003ch2>Motion picture, non-English language\u003c/h2>\n\u003cp>\u003cem>The Secret Agent\u003c/em>, Brazil\u003c/p>\n\u003ch2>Motion picture, animated\u003c/h2>\n\u003cp>\u003cem>KPop Demon Hunters\u003c/em>\u003c/p>\n\u003ch2>Director, motion picture\u003c/h2>\n\u003cp>Paul Thomas Anderson, \u003cem>One Battle After Another\u003c/em>\u003c/p>\n\u003ch2>Screenplay, motion picture\u003c/h2>\n\u003cp>Paul Thomas Anderson, \u003cem>One Battle After Another\u003c/em>\u003c/p>\n\u003ch2>Cinematic and box office achievement\u003c/h2>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13974689/ryan-coogler-sinners-michael-b-jordan-horror-film-review\">\u003cem>Sinners\u003c/em>\u003c/a>\u003c/p>\n\u003ch2>TV series, drama\u003c/h2>\n\u003cp>\u003cem>The Pitt\u003c/em>\u003c/p>\n\u003ch2>TV series, musical or comedy\u003c/h2>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13973607/tv-review-the-studio-seth-rogen-appletv-catherine-ohara-cranston\">\u003cem>The Studio\u003c/em>\u003c/a>\u003c/p>\n\u003ch2>Male actor, TV series, drama\u003c/h2>\n\u003cp>Noah Wyle, \u003cem>The Pitt\u003c/em>\u003c/p>\n\u003ch2>Female actor, TV series, drama\u003c/h2>\n\u003cp>Rhea Seehorn, \u003cem>Pluribus\u003c/em>\u003c/p>\n\u003ch2>Female actor, TV series, musical or comedy\u003c/h2>\n\u003cp>Jean Smart, \u003ca href=\"https://www.kqed.org/arts/13897119/a-comedic-generational-divide-gets-bridged-in-hbos-hacks\">\u003cem>Hacks\u003c/em>\u003c/a>\u003c/p>\n\u003ch2>Male actor, TV series, musical or comedy\u003c/h2>\n\u003cp>Seth Rogen, \u003cem>The Studio\u003c/em>\u003c/p>\n\u003ch2>Limited series, anthology series or made for TV movie\u003c/h2>\n\u003cp>\u003cem>Adolescence\u003c/em>\u003c/p>\n\u003ch2>Male actor, limited series, anthology series or made for TV movie\u003c/h2>\n\u003cp>Stephen Graham, \u003cem>Adolescence\u003c/em>\u003c/p>\n\u003ch2>Female actor, limited series, anthology series or made for TV movie\u003c/h2>\n\u003cp>Michelle Williams, \u003cem>Dying for Sex\u003c/em>\u003c/p>\n\u003ch2>Male supporting actor, television\u003c/h2>\n\u003cp>Owen Cooper, \u003cem>Adolescence\u003c/em>\u003c/p>\n\u003ch2>Female supporting actor, television\u003c/h2>\n\u003cp>Erin Doherty, \u003cem>Adolescence\u003c/em>\u003c/p>\n\u003ch2>Original song, motion picture\u003c/h2>\n\u003cp>“Golden” from \u003cem>Kpop Demon Hunters\u003c/em>\u003c/p>\n\u003ch2>Original score, motion picture\u003c/h2>\n\u003cp>Ludwig Göransson, \u003cem>Sinners\u003c/em>\u003c/p>\n\u003ch2>Stand-up comedy performance\u003c/h2>\n\u003cp>Ricky Gervais, \u003cem>Mortality\u003c/em>\u003c/p>\n\u003ch2>Podcast\u003c/h2>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Good Hang With Amy Poehler\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "The biggest winners of the night included the cast of ‘One Battle After Another’ and ‘Adolescence.’",
"status": "publish",
"parent": 0,
"modified": 1768194603,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 37,
"wordCount": 395
},
"headData": {
"title": "Golden Globe Award Winners, 2026 | KQED",
"description": "The biggest winners of the night included the cast of ‘One Battle After Another’ and ‘Adolescence.’",
"ogTitle": "The Complete List of 2026 Golden Globe Award Winners",
"ogDescription": "",
"ogImgId": "",
"twTitle": "The Complete List of 2026 Golden Globe Award Winners",
"twDescription": "",
"twImgId": "",
"socialTitle": "Golden Globe Award Winners, 2026 %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The Complete List of 2026 Golden Globe Award Winners",
"datePublished": "2026-01-11T21:10:03-08:00",
"dateModified": "2026-01-11T21:10:03-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 75,
"slug": "popculture",
"name": "Pop Culture"
},
"sticky": false,
"nprByline": "Associated Press",
"nprStoryId": "kqed-13985298",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13985298/the-complete-list-of-2026-golden-globe-award-winners",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The revolutionary saga \u003ca href=\"https://www.kqed.org/arts/13981463/one-battle-after-another-movie-review-leonardo-dicaprio-paul-thomas-anderson-immigration-revolution-action\">\u003cem>One Battle After Another\u003c/em>\u003c/a> won best picture, musical or comedy at the 83rd \u003ca href=\"https://www.kqed.org/arts/tag/golden-globes\">Golden Globe Awards\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13984046/hamnet-movie-review-jessie-buckley-paul-mescal-ofarrell-novel\">\u003cem>Hamnet\u003c/em>\u003c/a> won best picture, drama at the ceremony Sunday night.\u003c/p>\n\u003cp>Entering the night, \u003cem>One Battle After Another\u003c/em> topped the list of nominations with nine, followed by \u003ca href=\"https://www.kqed.org/arts/13983315/sentimental-value-movie-review-joachim-trier-drama-stellan-skarsgard\">\u003cem>Sentimental Value\u003c/em>\u003c/a> with eight.\u003c/p>\n\u003cp>Comedian Nikki Glaser hosted the ceremony from the Beverly Hilton in Beverly Hills. The night marked Glaser’s second consecutive year as host.\u003c/p>\n\u003cp>The first award of the night went to Teyana Taylor, who won female supporting actor, motion picture for \u003cem>One Battle After Another\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Golden Globes bill themselves as Hollywood’s booziest bash. The awards show was broadcast on CBS and is available to stream through \u003ca href=\"https://www.kqed.org/arts/tag/paramount\">Paramount+\u003c/a>.\u003c/p>\n\u003cp>Here’s a list of winners at Sunday’s Golden Globes:\u003c/p>\n\u003ch2>Motion picture, drama\u003c/h2>\n\u003cp>\u003cem>Hamnet\u003c/em>\u003c/p>\n\u003ch2>Motion picture, musical or comedy\u003c/h2>\n\u003cp>\u003cem>One Battle After Another\u003c/em>\u003c/p>\n\u003ch2>Male actor, motion picture, drama\u003c/h2>\n\u003cp>Wagner Moura, \u003cem>The Secret Agent\u003c/em>\u003c/p>\n\u003ch2>Female actor, motion picture, drama\u003c/h2>\n\u003cp>Jessie Buckley, \u003cem>Hamnet\u003c/em>\u003c/p>\n\u003ch2>Female actor, motion picture, musical or comedy\u003c/h2>\n\u003cp>Rose Byrne, \u003ca href=\"https://www.kqed.org/arts/13982228/rose-byrne-astonishes-in-the-gripping-if-i-had-legs-id-kick-you\">\u003cem>If I Had Legs, I’d Kick You\u003c/em>\u003c/a>\u003c/p>\n\u003ch2>Male actor, motion picture, musical or comedy\u003c/h2>\n\u003cp>Timothée Chalamet, \u003ca href=\"https://www.kqed.org/arts/13984991/marty-supreme-review-timothee-chalamet-josh-safdie\">\u003cem>Marty Supreme\u003c/em>\u003c/a>\u003c/p>\n\u003ch2>Female supporting actor, motion picture\u003c/h2>\n\u003cp>Teyana Taylor, \u003cem>One Battle After Another\u003c/em>\u003c/p>\n\u003ch2>Male supporting actor, motion picture\u003c/h2>\n\u003cp>Stellan Skarsgard, \u003cem>Sentimental Value\u003c/em>\u003c/p>\n\u003ch2>Motion picture, non-English language\u003c/h2>\n\u003cp>\u003cem>The Secret Agent\u003c/em>, Brazil\u003c/p>\n\u003ch2>Motion picture, animated\u003c/h2>\n\u003cp>\u003cem>KPop Demon Hunters\u003c/em>\u003c/p>\n\u003ch2>Director, motion picture\u003c/h2>\n\u003cp>Paul Thomas Anderson, \u003cem>One Battle After Another\u003c/em>\u003c/p>\n\u003ch2>Screenplay, motion picture\u003c/h2>\n\u003cp>Paul Thomas Anderson, \u003cem>One Battle After Another\u003c/em>\u003c/p>\n\u003ch2>Cinematic and box office achievement\u003c/h2>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13974689/ryan-coogler-sinners-michael-b-jordan-horror-film-review\">\u003cem>Sinners\u003c/em>\u003c/a>\u003c/p>\n\u003ch2>TV series, drama\u003c/h2>\n\u003cp>\u003cem>The Pitt\u003c/em>\u003c/p>\n\u003ch2>TV series, musical or comedy\u003c/h2>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13973607/tv-review-the-studio-seth-rogen-appletv-catherine-ohara-cranston\">\u003cem>The Studio\u003c/em>\u003c/a>\u003c/p>\n\u003ch2>Male actor, TV series, drama\u003c/h2>\n\u003cp>Noah Wyle, \u003cem>The Pitt\u003c/em>\u003c/p>\n\u003ch2>Female actor, TV series, drama\u003c/h2>\n\u003cp>Rhea Seehorn, \u003cem>Pluribus\u003c/em>\u003c/p>\n\u003ch2>Female actor, TV series, musical or comedy\u003c/h2>\n\u003cp>Jean Smart, \u003ca href=\"https://www.kqed.org/arts/13897119/a-comedic-generational-divide-gets-bridged-in-hbos-hacks\">\u003cem>Hacks\u003c/em>\u003c/a>\u003c/p>\n\u003ch2>Male actor, TV series, musical or comedy\u003c/h2>\n\u003cp>Seth Rogen, \u003cem>The Studio\u003c/em>\u003c/p>\n\u003ch2>Limited series, anthology series or made for TV movie\u003c/h2>\n\u003cp>\u003cem>Adolescence\u003c/em>\u003c/p>\n\u003ch2>Male actor, limited series, anthology series or made for TV movie\u003c/h2>\n\u003cp>Stephen Graham, \u003cem>Adolescence\u003c/em>\u003c/p>\n\u003ch2>Female actor, limited series, anthology series or made for TV movie\u003c/h2>\n\u003cp>Michelle Williams, \u003cem>Dying for Sex\u003c/em>\u003c/p>\n\u003ch2>Male supporting actor, television\u003c/h2>\n\u003cp>Owen Cooper, \u003cem>Adolescence\u003c/em>\u003c/p>\n\u003ch2>Female supporting actor, television\u003c/h2>\n\u003cp>Erin Doherty, \u003cem>Adolescence\u003c/em>\u003c/p>\n\u003ch2>Original song, motion picture\u003c/h2>\n\u003cp>“Golden” from \u003cem>Kpop Demon Hunters\u003c/em>\u003c/p>\n\u003ch2>Original score, motion picture\u003c/h2>\n\u003cp>Ludwig Göransson, \u003cem>Sinners\u003c/em>\u003c/p>\n\u003ch2>Stand-up comedy performance\u003c/h2>\n\u003cp>Ricky Gervais, \u003cem>Mortality\u003c/em>\u003c/p>\n\u003ch2>Podcast\u003c/h2>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Good Hang With Amy Poehler\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13985298/the-complete-list-of-2026-golden-globe-award-winners",
"authors": [
"byline_arts_13985298"
],
"categories": [
"arts_1",
"arts_74",
"arts_75",
"arts_990"
],
"tags": [
"arts_8417",
"arts_6174"
],
"featImg": "arts_13985300",
"label": "arts"
},
"arts_13985196": {
"type": "posts",
"id": "arts_13985196",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13985196",
"score": null,
"sort": [
1767830089000
]
},
"guestAuthors": [],
"slug": "dead-mans-wire-movie-review-gus-van-sant-true-story-bill-skarsgard",
"title": "‘Dead Man’s Wire’ Is a Retro Thriller That’s Pertinent to the Present",
"publishDate": 1767830089,
"format": "standard",
"headTitle": "‘Dead Man’s Wire’ Is a Retro Thriller That’s Pertinent to the Present | KQED",
"labelTerm": {},
"content": "\u003cp>It plays a little loose with facts but the righteous rage of \u003cem>Dog Day Afternoon\u003c/em> is present enough in Gus Van Sant’s \u003cem>Dead Man’s Wire\u003c/em>, a based-on-a-true-tale hostage thriller that’s as deeply 1970s as it is contemporary.\u003c/p>\n\u003cp>In February 1977, Tony Kiritsis walked into the Meridian Mortgage Company in downtown Indianapolis and took one of its executives, Dick Hall, hostage. Kiritsis held a sawed-off shotgun to the back of Hall’s head and draped a wire around his neck that connected to the gun. If he moved too much, he would die.\u003c/p>\n\u003cp>[aside postid='arts_13985108']The subsequent standoff moved to Kiritsis’ apartment and eventually concluded in a live televised news conference. The whole ordeal received some renewed attention in a 2022 podcast dramatization starring Jon Hamm.\u003c/p>\n\u003cp>But in \u003cem>Dead Man’s Wire\u003c/em>, starring Bill Skarsgård as Kiritsis, these events are vividly brought to life by Van Sant. It’s been seven years since Van Sant directed, following 2018’s \u003cem>Don’t Worry, He Won’t Get Far on Foot\u003c/em>, and one of the prevailing takeaways of his new film is that that’s too long of a break for a filmmaker of Van Sant’s caliber.\u003c/p>\n\u003cp>Working from a script by Austin Kolodney, the filmmaker of \u003cem>My Own Private Idaho\u003c/em> and \u003cem>Good Will Hunting\u003c/em> turns \u003cem>Dead Man’s Wire\u003c/em> into not a period-piece time capsule but a bracingly relevant drama of outrage and inequality. Tony feels aggrieved by his mortgage company over a land deal the bank, he claims, blocked. We’re never given many specifics, but at the same time, there’s little doubt in \u003cem>Dead Man’s Wire\u003c/em> that Tony’s cause is just. His means might be desperate and abhorrent, but the movie is very definitely on his side.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That’s owed significantly to Skarsgård, who gives one of his finest and least adorned performances. While best known for films like \u003cem>It\u003c/em>, \u003ca href=\"https://www.kqed.org/arts/13963140/the-crow-reimagined-is-stylish-and-operatic-but-cannot-outfly-1994-original\">\u003cem>The Crow\u003c/em>\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13969867/nosferatu-movie-review-lily-rose-depp-bill-skarsgard-robert-eggers-remake-2025\">\u003cem>Nosferatu\u003c/em>\u003c/a>, here Skarsgård has little more than some green polyester and a very ’70s mustache to alter his looks. The straightforward, jittery intensity of his performance propels \u003cem>Dead Man’s Wire\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xJH8iCcoSDw\u003c/p>\n\u003cp>Yet Van Sant’s film aspires to be a larger ensemble drama, which it only partially succeeds at. Tony’s plight is far from a solitary one, as numerous threads suggest in Kolodney’s fast-paced script. First and foremost is \u003ca href=\"https://www.kqed.org/arts/13909135/colman-domingo-strand-theater-valentines-euphoria-walking-dead-zola\">Colman Domingo\u003c/a> as a local DJ named Fred Temple. (If ever there were an actor suited, with a smooth baritone, to play a ’70s radio DJ, it’s Domingo.) Tony, a fan, calls Fred to air his demands. But it’s not just a media outlet for him. Fred touts himself as “the voice of the people.”\u003c/p>\n\u003cp>Something similar could be said of Tony, who rapidly emerges as a kind of folk hero. As much as he tortures his hostage (a very good Dacre Montgomery), he’s kind to the police officers surrounding him. And as he and Dick spend more time together, Dick emerges as a kind of victim, himself. It’s his father’s bank, and when Tony gets M.L. Hall (Al Pacino) on the phone, he sounds painfully insensitive, sooner ready to sacrifice his son than acknowledge any wrongdoing.\u003c/p>\n\u003cp>[aside postid='arts_13985062']Pacino’s presence in \u003cem>Dead Man’s Wire\u003c/em> is a nod to \u003cem>Dog Day Afternoon\u003c/em>, a movie that may be far better — but, then again, that’s true of most films in comparison to Sidney Lumet’s unsurpassed 1975 classic. Still, Van Sant’s film bears some of the same rage and disillusionment with the meatgrinder of capitalism as \u003cem>Dog Day\u003c/em>.\u003c/p>\n\u003cp>There’s also a telling, if not entirely successful subplot of a local TV news reporter (Myha’la) struggling against stereotypes. Even when she gets the goods on the unspooling news story, the way her producer says to “chop it up” and put it on air makes it clear: Whatever Tony is rebelling against, it’s him, not his plight, that will be served up on a prime-time plate.\u003c/p>\n\u003cp>It doesn’t take recent similar cases of national fascination, such as Luigi Mangione, charged with killing a healthcare executive, to see contemporary echoes of Kiritsis’ tale. The real story is more complicated and less metaphor-ready, of course, than the movie, which detracts some from the film’s gritty sense of verisimilitude. Staying closer to the truth might have produced a more dynamic movie.\u003c/p>\n\u003cp>But \u003cem>Dead Man’s Wire\u003c/em> still works. In the film, Tony’s demands are $5 million and an apology. It’s clear the latter means more to him than the money. The tragedy in \u003cem>Dead Man’s Wire\u003c/em> is just how elusive “I’m sorry” can be.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Dead Man’s Wire’ is released nationwide on Jan. 9, 2026.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Gus Van Sant’s new movie is based on a 1977 case when an Indianapolis executive was taken hostage.",
"status": "publish",
"parent": 0,
"modified": 1767830089,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 15,
"wordCount": 869
},
"headData": {
"title": "Movie Review: Gus Van Sant’s ‘Dead Man’s Wire’ | KQED",
"description": "Gus Van Sant’s new movie is based on a 1977 case when an Indianapolis executive was taken hostage.",
"ogTitle": "‘Dead Man’s Wire’ Is a Retro Thriller That’s Pertinent to the Present",
"ogDescription": "",
"ogImgId": "",
"twTitle": "‘Dead Man’s Wire’ Is a Retro Thriller That’s Pertinent to the Present",
"twDescription": "",
"twImgId": "",
"socialTitle": "Movie Review: Gus Van Sant’s ‘Dead Man’s Wire’ %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘Dead Man’s Wire’ Is a Retro Thriller That’s Pertinent to the Present",
"datePublished": "2026-01-07T15:54:49-08:00",
"dateModified": "2026-01-07T15:54:49-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 74,
"slug": "movies",
"name": "Movies"
},
"source": "The Do List",
"sourceUrl": "https://www.kqed.org/thedolist",
"sticky": false,
"nprByline": "Jake Coyle, Associated Press",
"nprStoryId": "kqed-13985196",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13985196/dead-mans-wire-movie-review-gus-van-sant-true-story-bill-skarsgard",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It plays a little loose with facts but the righteous rage of \u003cem>Dog Day Afternoon\u003c/em> is present enough in Gus Van Sant’s \u003cem>Dead Man’s Wire\u003c/em>, a based-on-a-true-tale hostage thriller that’s as deeply 1970s as it is contemporary.\u003c/p>\n\u003cp>In February 1977, Tony Kiritsis walked into the Meridian Mortgage Company in downtown Indianapolis and took one of its executives, Dick Hall, hostage. Kiritsis held a sawed-off shotgun to the back of Hall’s head and draped a wire around his neck that connected to the gun. If he moved too much, he would die.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13985108",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The subsequent standoff moved to Kiritsis’ apartment and eventually concluded in a live televised news conference. The whole ordeal received some renewed attention in a 2022 podcast dramatization starring Jon Hamm.\u003c/p>\n\u003cp>But in \u003cem>Dead Man’s Wire\u003c/em>, starring Bill Skarsgård as Kiritsis, these events are vividly brought to life by Van Sant. It’s been seven years since Van Sant directed, following 2018’s \u003cem>Don’t Worry, He Won’t Get Far on Foot\u003c/em>, and one of the prevailing takeaways of his new film is that that’s too long of a break for a filmmaker of Van Sant’s caliber.\u003c/p>\n\u003cp>Working from a script by Austin Kolodney, the filmmaker of \u003cem>My Own Private Idaho\u003c/em> and \u003cem>Good Will Hunting\u003c/em> turns \u003cem>Dead Man’s Wire\u003c/em> into not a period-piece time capsule but a bracingly relevant drama of outrage and inequality. Tony feels aggrieved by his mortgage company over a land deal the bank, he claims, blocked. We’re never given many specifics, but at the same time, there’s little doubt in \u003cem>Dead Man’s Wire\u003c/em> that Tony’s cause is just. His means might be desperate and abhorrent, but the movie is very definitely on his side.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That’s owed significantly to Skarsgård, who gives one of his finest and least adorned performances. While best known for films like \u003cem>It\u003c/em>, \u003ca href=\"https://www.kqed.org/arts/13963140/the-crow-reimagined-is-stylish-and-operatic-but-cannot-outfly-1994-original\">\u003cem>The Crow\u003c/em>\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13969867/nosferatu-movie-review-lily-rose-depp-bill-skarsgard-robert-eggers-remake-2025\">\u003cem>Nosferatu\u003c/em>\u003c/a>, here Skarsgård has little more than some green polyester and a very ’70s mustache to alter his looks. The straightforward, jittery intensity of his performance propels \u003cem>Dead Man’s Wire\u003c/em>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/xJH8iCcoSDw'\n title='//www.youtube.com/embed/xJH8iCcoSDw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Yet Van Sant’s film aspires to be a larger ensemble drama, which it only partially succeeds at. Tony’s plight is far from a solitary one, as numerous threads suggest in Kolodney’s fast-paced script. First and foremost is \u003ca href=\"https://www.kqed.org/arts/13909135/colman-domingo-strand-theater-valentines-euphoria-walking-dead-zola\">Colman Domingo\u003c/a> as a local DJ named Fred Temple. (If ever there were an actor suited, with a smooth baritone, to play a ’70s radio DJ, it’s Domingo.) Tony, a fan, calls Fred to air his demands. But it’s not just a media outlet for him. Fred touts himself as “the voice of the people.”\u003c/p>\n\u003cp>Something similar could be said of Tony, who rapidly emerges as a kind of folk hero. As much as he tortures his hostage (a very good Dacre Montgomery), he’s kind to the police officers surrounding him. And as he and Dick spend more time together, Dick emerges as a kind of victim, himself. It’s his father’s bank, and when Tony gets M.L. Hall (Al Pacino) on the phone, he sounds painfully insensitive, sooner ready to sacrifice his son than acknowledge any wrongdoing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13985062",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Pacino’s presence in \u003cem>Dead Man’s Wire\u003c/em> is a nod to \u003cem>Dog Day Afternoon\u003c/em>, a movie that may be far better — but, then again, that’s true of most films in comparison to Sidney Lumet’s unsurpassed 1975 classic. Still, Van Sant’s film bears some of the same rage and disillusionment with the meatgrinder of capitalism as \u003cem>Dog Day\u003c/em>.\u003c/p>\n\u003cp>There’s also a telling, if not entirely successful subplot of a local TV news reporter (Myha’la) struggling against stereotypes. Even when she gets the goods on the unspooling news story, the way her producer says to “chop it up” and put it on air makes it clear: Whatever Tony is rebelling against, it’s him, not his plight, that will be served up on a prime-time plate.\u003c/p>\n\u003cp>It doesn’t take recent similar cases of national fascination, such as Luigi Mangione, charged with killing a healthcare executive, to see contemporary echoes of Kiritsis’ tale. The real story is more complicated and less metaphor-ready, of course, than the movie, which detracts some from the film’s gritty sense of verisimilitude. Staying closer to the truth might have produced a more dynamic movie.\u003c/p>\n\u003cp>But \u003cem>Dead Man’s Wire\u003c/em> still works. In the film, Tony’s demands are $5 million and an apology. It’s clear the latter means more to him than the money. The tragedy in \u003cem>Dead Man’s Wire\u003c/em> is just how elusive “I’m sorry” can be.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Dead Man’s Wire’ is released nationwide on Jan. 9, 2026.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13985196/dead-mans-wire-movie-review-gus-van-sant-true-story-bill-skarsgard",
"authors": [
"byline_arts_13985196"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74",
"arts_75",
"arts_22313"
],
"tags": [
"arts_8905",
"arts_585"
],
"featImg": "arts_13985197",
"label": "source_arts_13985196"
},
"arts_13985108": {
"type": "posts",
"id": "arts_13985108",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13985108",
"score": null,
"sort": [
1767633291000
]
},
"guestAuthors": [],
"slug": "golden-globes-what-to-know-2026-nominees-awards",
"title": "The Golden Globes Are This Week — What To Know About the First Major Awards of the Season",
"publishDate": 1767633291,
"format": "standard",
"headTitle": "The Golden Globes Are This Week — What To Know About the First Major Awards of the Season | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>The \u003ca href=\"https://www.kqed.org/arts/tag/golden-globes\">Golden Globes\u003c/a> return Sunday, Jan. 11. The boozy, bubbly kickoff to Hollywood’s awards season will feature nominees including Timothée Chalamet, Leonardo DiCaprio, Michael B. Jordan, Ariana Grande, Cynthia Erivo and Emma Stone.\u003c/p>\n\u003cp>The 83rd Golden Globe Awards ceremony begins at 5 p.m. Pacific time at the Beverly Hilton in Beverly Hills, California and will be televised live on CBS and streamed live on Paramount+.\u003c/p>\n\u003cp>Here are more key things to know about the ceremony:\u003c/p>\n\u003ch2>Who’s hosting the Golden Globes?\u003c/h2>\n\u003cp>The comedian and actor Nikki Glaser will return as host for the second year after a well-reviewed 2025 debut when she became the first woman to host the show solo.\u003c/p>\n\u003cp>Glaser didn’t go easy on the Hollywood crowd, but wasn’t nearly as barbed as she was in her star-making performance in a roast of Tom Brady. In her first monologue she called the ceremony “Ozempic’s biggest night.”\u003c/p>\n\u003cfigure id=\"attachment_13985112\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985112\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/GettyImages-2192010389.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/GettyImages-2192010389.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/GettyImages-2192010389-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/GettyImages-2192010389-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/GettyImages-2192010389-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Nikki Glaser during the 82nd Annual Golden Globes held at The Beverly Hilton on Jan. 5, 2025 in Beverly Hills, California. \u003ccite>(Rich Polk/GG2025/Penske Media via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When she was rehired, Glaser said in a statement that it was “the most fun I have ever had in my career” and “I can’t wait to do it again, and this time in front of the team from ‘The White Lotus’ who will finally recognize my talent and cast me in Season Four as a Scandinavian Pilates instructor with a shadowy past.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Last year’s drew an average of about 10 million viewers, holding steady from the year before. There are far fewer viewers then there were a decade ago, but the Globes remain the most watched awards show after the Oscars and the Grammys.\u003c/p>\n\u003ch2>Who’s nominated for Golden Globes this year?\u003c/h2>\n\u003cp>Oscar front-runner \u003cem>One Battle After Another\u003c/em> leads all nominees with nine, including acting nods for DiCaprio and Chase Infiniti and a directing nomination for Paul Thomas Anderson.\u003c/p>\n\u003cp>The Globes divides films between drama and musical or comedy in the top categories, and \u003cem>One Battle\u003c/em> was categorized as a comedy. Competing against DiCaprio will be Chalamet for \u003cem>Marty Supreme\u003c/em> and George Clooney for \u003cem>Jay Kelly\u003c/em>.\u003c/p>\n\u003cp>Infiniti’s competition includes Erivo for \u003cem>Wicked: For Good\u003c/em>, Stone for \u003cem>Bugonia\u003c/em> and Rose Byrne for \u003cem>If I Had Legs I’d Kick You\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13974694\" class=\"wp-caption aligncenter\" style=\"max-width: 2344px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13974694\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/rev-1-GRC-TT-0016c_High_Res_JPEG.jpeg\" alt=\"Smoke clutches Sammie as they booth look on at something terrifying in the distance.\" width=\"2344\" height=\"1460\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/rev-1-GRC-TT-0016c_High_Res_JPEG.jpeg 2344w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/rev-1-GRC-TT-0016c_High_Res_JPEG-800x498.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/rev-1-GRC-TT-0016c_High_Res_JPEG-1020x635.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/rev-1-GRC-TT-0016c_High_Res_JPEG-160x100.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/rev-1-GRC-TT-0016c_High_Res_JPEG-768x478.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/rev-1-GRC-TT-0016c_High_Res_JPEG-1536x957.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/rev-1-GRC-TT-0016c_High_Res_JPEG-2048x1276.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/rev-1-GRC-TT-0016c_High_Res_JPEG-1920x1196.jpeg 1920w\" sizes=\"auto, (max-width: 2344px) 100vw, 2344px\">\u003cfigcaption class=\"wp-caption-text\">Evil forces threaten a 1930s juke joint in Ryan Coogler’s ‘Sinners,’ starring Michael B. Jordan (left) and Miles Caton. \u003ccite>(Courtesy of Warner Bros. Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Danish film \u003cem>Sentimental Value\u003c/em> was second with eight nominations, including an acting nod for star Renate Reinsve. Her competition on the drama side includes Jessie Buckley from \u003cem>Hamnet\u003c/em>, Julia Roberts for \u003cem>After the Hunt\u003c/em> and Jennifer Lawrence for\u003cem> Die My Love\u003c/em>.\u003c/p>\n\u003cp>Male actors nominated for dramas include Jordan for \u003cem>Sinners\u003c/em>, directed by Oakland-raised Ryan Coogler, and Dwayne Johnson for \u003cem>The Smashing Machine\u003c/em>.\u003c/p>\n\u003cp>Grande, Teyana Taylor, Paul Mescal, Adam Sandler and Jacob Elordi are among those nominated in the supporting categories.\u003c/p>\n\u003cp>\u003cem>The White Lotus\u003c/em> led all TV nominees with six.\u003c/p>\n\u003cp>You can see a \u003ca href=\"https://goldenglobes.com/nominations/2026\">full list of nominees here\u003c/a>.\u003c/p>\n\u003cp>[aside postID='arts_13984991']\u003c/p>\n\u003ch2>Why are the Golden Globes important?\u003c/h2>\n\u003cp>The Globes, held annually in early January, are the first major ceremony of the awards season. They’re not always an Oscar bellwether — they have an entirely different voting base of journalists and critics — but they’re embraced as a champagne-soaked party with some of the biggest stars in film and television sitting together at tables like a nightclub.\u003c/p>\n\u003cp>And a Globes win can still help build momentum for a movie or actor’s Oscar campaign, and it’s the first time the public may hear an acceptance speech that may be repeated with some variations for months, leading up to the Academy Awards, held this year on March 15.\u003c/p>\n\u003ch2>Who’s getting a lifetime achievement award?\u003c/h2>\n\u003cp>Helen Mirren will be honored with the Golden Globes’ Cecil B. DeMille Award for a life of work on screen, and Sarah Jessica Parker will get the Carol Burnett Award for her career in television.\u003c/p>\n\u003cp>Mirren and Parker this week will get a separate Beverly Hilton gala, a recording of which will air Thursday at 8 p.m. Eastern and Pacific on CBS and also stream on Paramount+ on what’s being called \u003cem>Golden Eve.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13980749\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13980749\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/thurs-murd-club.png\" alt=\"A senior woman with white hair wearing a beige raincoat stands looking down at the ground. Behind her stands a younger white man wearing casual shirt and denim jacket. He is also looking down at something.\" width=\"2000\" height=\"1221\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/thurs-murd-club.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/thurs-murd-club-160x98.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/thurs-murd-club-768x469.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/thurs-murd-club-1536x938.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Helen Mirren with Henry Lloyd Hughes in a scene from the 2025 film ‘The Thursday Murder Club.’ \u003ccite>(Netflix via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mirren, 80, an Oscar winner for her 2006 portrayal of Elizabeth II in \u003cem>The Queen\u003c/em>, has also won three Golden Globes and is up for a fourth this year for her role in the series \u003cem>MobLand\u003c/em>. She was named a Dame of the British Empire in 2003 in acknowledgment of her artistic achievements.\u003c/p>\n\u003cp>The award dates to 1952, when it was given to the legendary filmmaker DeMille himself. Other recipients include Walt Disney, Bing Crosby, Judy Garland, Barbra Streisand, Sidney Poitier, Meryl Streep, Oprah Winfrey, Tom Hanks and Viola Davis.\u003c/p>\n\u003cp>Parker will get the much newer Carol Burnett Award, presented to an honoree who has “made outstanding contributions to television on or off screen.” The 60-year-old Parker, who won six Golden Globes and two Emmys as the star of \u003cem>Sex and the City\u003c/em>, is being honored for her work as actor and producer.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The award was launched in 2019, when it went to Burnett. Other past winners include Norman Lear, Ryan Murphy and Ellen DeGeneres.\u003c/p>\n\n",
"blocks": [],
"excerpt": "A primer on the nominees, host, start time, how to watch this year's awards show.",
"status": "publish",
"parent": 0,
"modified": 1767634628,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 26,
"wordCount": 940
},
"headData": {
"title": "How to Watch the Golden Globes This Week | KQED",
"description": "A primer on the nominees, host, start time, how to watch this year's awards show.",
"ogTitle": "Everything You Need to Know About This Week’s Golden Globes",
"ogDescription": "",
"ogImgId": "",
"twTitle": "Everything You Need to Know About This Week’s Golden Globes",
"twDescription": "",
"twImgId": "",
"socialTitle": "How to Watch the Golden Globes This Week %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The Golden Globes Are This Week — What To Know About the First Major Awards of the Season",
"datePublished": "2026-01-05T09:14:51-08:00",
"dateModified": "2026-01-05T09:37:08-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"sticky": false,
"nprByline": "Associated Press",
"nprStoryId": "kqed-13985108",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13985108/golden-globes-what-to-know-2026-nominees-awards",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://www.kqed.org/arts/tag/golden-globes\">Golden Globes\u003c/a> return Sunday, Jan. 11. The boozy, bubbly kickoff to Hollywood’s awards season will feature nominees including Timothée Chalamet, Leonardo DiCaprio, Michael B. Jordan, Ariana Grande, Cynthia Erivo and Emma Stone.\u003c/p>\n\u003cp>The 83rd Golden Globe Awards ceremony begins at 5 p.m. Pacific time at the Beverly Hilton in Beverly Hills, California and will be televised live on CBS and streamed live on Paramount+.\u003c/p>\n\u003cp>Here are more key things to know about the ceremony:\u003c/p>\n\u003ch2>Who’s hosting the Golden Globes?\u003c/h2>\n\u003cp>The comedian and actor Nikki Glaser will return as host for the second year after a well-reviewed 2025 debut when she became the first woman to host the show solo.\u003c/p>\n\u003cp>Glaser didn’t go easy on the Hollywood crowd, but wasn’t nearly as barbed as she was in her star-making performance in a roast of Tom Brady. In her first monologue she called the ceremony “Ozempic’s biggest night.”\u003c/p>\n\u003cfigure id=\"attachment_13985112\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985112\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/GettyImages-2192010389.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/GettyImages-2192010389.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/GettyImages-2192010389-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/GettyImages-2192010389-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/GettyImages-2192010389-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Nikki Glaser during the 82nd Annual Golden Globes held at The Beverly Hilton on Jan. 5, 2025 in Beverly Hills, California. \u003ccite>(Rich Polk/GG2025/Penske Media via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When she was rehired, Glaser said in a statement that it was “the most fun I have ever had in my career” and “I can’t wait to do it again, and this time in front of the team from ‘The White Lotus’ who will finally recognize my talent and cast me in Season Four as a Scandinavian Pilates instructor with a shadowy past.”\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>Last year’s drew an average of about 10 million viewers, holding steady from the year before. There are far fewer viewers then there were a decade ago, but the Globes remain the most watched awards show after the Oscars and the Grammys.\u003c/p>\n\u003ch2>Who’s nominated for Golden Globes this year?\u003c/h2>\n\u003cp>Oscar front-runner \u003cem>One Battle After Another\u003c/em> leads all nominees with nine, including acting nods for DiCaprio and Chase Infiniti and a directing nomination for Paul Thomas Anderson.\u003c/p>\n\u003cp>The Globes divides films between drama and musical or comedy in the top categories, and \u003cem>One Battle\u003c/em> was categorized as a comedy. Competing against DiCaprio will be Chalamet for \u003cem>Marty Supreme\u003c/em> and George Clooney for \u003cem>Jay Kelly\u003c/em>.\u003c/p>\n\u003cp>Infiniti’s competition includes Erivo for \u003cem>Wicked: For Good\u003c/em>, Stone for \u003cem>Bugonia\u003c/em> and Rose Byrne for \u003cem>If I Had Legs I’d Kick You\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13974694\" class=\"wp-caption aligncenter\" style=\"max-width: 2344px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13974694\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/rev-1-GRC-TT-0016c_High_Res_JPEG.jpeg\" alt=\"Smoke clutches Sammie as they booth look on at something terrifying in the distance.\" width=\"2344\" height=\"1460\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/rev-1-GRC-TT-0016c_High_Res_JPEG.jpeg 2344w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/rev-1-GRC-TT-0016c_High_Res_JPEG-800x498.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/rev-1-GRC-TT-0016c_High_Res_JPEG-1020x635.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/rev-1-GRC-TT-0016c_High_Res_JPEG-160x100.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/rev-1-GRC-TT-0016c_High_Res_JPEG-768x478.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/rev-1-GRC-TT-0016c_High_Res_JPEG-1536x957.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/rev-1-GRC-TT-0016c_High_Res_JPEG-2048x1276.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/rev-1-GRC-TT-0016c_High_Res_JPEG-1920x1196.jpeg 1920w\" sizes=\"auto, (max-width: 2344px) 100vw, 2344px\">\u003cfigcaption class=\"wp-caption-text\">Evil forces threaten a 1930s juke joint in Ryan Coogler’s ‘Sinners,’ starring Michael B. Jordan (left) and Miles Caton. \u003ccite>(Courtesy of Warner Bros. Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Danish film \u003cem>Sentimental Value\u003c/em> was second with eight nominations, including an acting nod for star Renate Reinsve. Her competition on the drama side includes Jessie Buckley from \u003cem>Hamnet\u003c/em>, Julia Roberts for \u003cem>After the Hunt\u003c/em> and Jennifer Lawrence for\u003cem> Die My Love\u003c/em>.\u003c/p>\n\u003cp>Male actors nominated for dramas include Jordan for \u003cem>Sinners\u003c/em>, directed by Oakland-raised Ryan Coogler, and Dwayne Johnson for \u003cem>The Smashing Machine\u003c/em>.\u003c/p>\n\u003cp>Grande, Teyana Taylor, Paul Mescal, Adam Sandler and Jacob Elordi are among those nominated in the supporting categories.\u003c/p>\n\u003cp>\u003cem>The White Lotus\u003c/em> led all TV nominees with six.\u003c/p>\n\u003cp>You can see a \u003ca href=\"https://goldenglobes.com/nominations/2026\">full list of nominees here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13984991",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>Why are the Golden Globes important?\u003c/h2>\n\u003cp>The Globes, held annually in early January, are the first major ceremony of the awards season. They’re not always an Oscar bellwether — they have an entirely different voting base of journalists and critics — but they’re embraced as a champagne-soaked party with some of the biggest stars in film and television sitting together at tables like a nightclub.\u003c/p>\n\u003cp>And a Globes win can still help build momentum for a movie or actor’s Oscar campaign, and it’s the first time the public may hear an acceptance speech that may be repeated with some variations for months, leading up to the Academy Awards, held this year on March 15.\u003c/p>\n\u003ch2>Who’s getting a lifetime achievement award?\u003c/h2>\n\u003cp>Helen Mirren will be honored with the Golden Globes’ Cecil B. DeMille Award for a life of work on screen, and Sarah Jessica Parker will get the Carol Burnett Award for her career in television.\u003c/p>\n\u003cp>Mirren and Parker this week will get a separate Beverly Hilton gala, a recording of which will air Thursday at 8 p.m. Eastern and Pacific on CBS and also stream on Paramount+ on what’s being called \u003cem>Golden Eve.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13980749\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13980749\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/thurs-murd-club.png\" alt=\"A senior woman with white hair wearing a beige raincoat stands looking down at the ground. Behind her stands a younger white man wearing casual shirt and denim jacket. He is also looking down at something.\" width=\"2000\" height=\"1221\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/thurs-murd-club.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/thurs-murd-club-160x98.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/thurs-murd-club-768x469.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/thurs-murd-club-1536x938.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Helen Mirren with Henry Lloyd Hughes in a scene from the 2025 film ‘The Thursday Murder Club.’ \u003ccite>(Netflix via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mirren, 80, an Oscar winner for her 2006 portrayal of Elizabeth II in \u003cem>The Queen\u003c/em>, has also won three Golden Globes and is up for a fourth this year for her role in the series \u003cem>MobLand\u003c/em>. She was named a Dame of the British Empire in 2003 in acknowledgment of her artistic achievements.\u003c/p>\n\u003cp>The award dates to 1952, when it was given to the legendary filmmaker DeMille himself. Other recipients include Walt Disney, Bing Crosby, Judy Garland, Barbra Streisand, Sidney Poitier, Meryl Streep, Oprah Winfrey, Tom Hanks and Viola Davis.\u003c/p>\n\u003cp>Parker will get the much newer Carol Burnett Award, presented to an honoree who has “made outstanding contributions to television on or off screen.” The 60-year-old Parker, who won six Golden Globes and two Emmys as the star of \u003cem>Sex and the City\u003c/em>, is being honored for her work as actor and producer.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The award was launched in 2019, when it went to Burnett. Other past winners include Norman Lear, Ryan Murphy and Ellen DeGeneres.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13985108/golden-globes-what-to-know-2026-nominees-awards",
"authors": [
"byline_arts_13985108"
],
"categories": [
"arts_1",
"arts_74",
"arts_75",
"arts_990"
],
"tags": [
"arts_10278",
"arts_6174"
],
"featImg": "arts_13985110",
"label": "arts"
},
"arts_13985083": {
"type": "posts",
"id": "arts_13985083",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13985083",
"score": null,
"sort": [
1767119589000
]
},
"guestAuthors": [],
"slug": "no-separate-survival-documentary-east-bay-sanctuary-covenant-event-freight",
"title": "Asylum-Seekers’ Stories Come to The Freight in Berkeley",
"publishDate": 1767119589,
"format": "standard",
"headTitle": "Asylum-Seekers’ Stories Come to The Freight in Berkeley | KQED",
"labelTerm": {},
"content": "\u003cp>When \u003ca href=\"https://eastbaysanctuary.org/\">East Bay Sanctuary Covenant\u003c/a> was founded in 1982, the majority of the \u003ca href=\"https://www.kqed.org/news/tag/asylum-seekers\">asylum seekers\u003c/a> they served were fleeing U.S.-backed violence in Central America.\u003c/p>\n\u003cp>“The Reagan administration at the time was calling them economic refugees,” says Lisa Hoffman, co-executive director of the nonprofit. “[It] was not acknowledging the role that the U.S. government was playing in funding and supporting these death squads that were causing terror.”\u003c/p>\n\u003cp>EBSC knew otherwise, because from its earliest days, the organization was committed to listening to the stories of those fleeing that violence — not only to best meet their needs, but to broaden awareness and spur action in the larger public. It’s a tradition they’ve kept up for the past 43 years and across 4,100 successful asylum cases.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On Jan. 4, that deep listening and storytelling takes another form at Berkeley’s The Freight, with a screening of Shabnam Piryaei’s 27-minute documentary \u003ci>\u003ca href=\"https://secure.thefreight.org/15581/15582-no-separate-survival-film-screening-260104\">No Separate Survival\u003c/a>\u003c/i>, and a mini concert from \u003ca href=\"https://www.larryandjoe.com/\">Larry & Joe\u003c/a>, a llanera-bluegrass fusion band based in North Carolina.\u003c/p>\n\u003cp>The event is a fundraiser, as well as an opportunity to learn more about EBSC’s work in a joyous, celebratory atmosphere. Previous screenings, Piryaei said, were more targeted towards asylum seekers and people working within refugee communities.\u003c/p>\n\u003cp>“This one feels the most like it’s speaking to people outside of the experience, people who want to know more about it,” she said of the event.\u003c/p>\n\u003cfigure id=\"attachment_13985085\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985085\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NSS1_2000.jpg\" alt=\"border wall extends down beach into ocean\" width=\"2000\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NSS1_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NSS1_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NSS1_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NSS1_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NSS1_2000-1200x675.jpg 1200w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A view of the U.S.-Mexico border in a scene from ‘No Separate Survival.’ \u003ccite>(Shabnam Piryaei)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Piryaei’s film is the result of years of leading arts-based workshops in the Bay Area and at the U.S.-Mexico border. Participants told their stories through short videos, drawings and writing, to which Piryaei added poetic interludes, snippets of animation and the voices of advocates. The result is a dreamy, moving document of the desperate circumstances that drive people to flee their homes — and the lives they can freely lead once their safety is secured.\u003c/p>\n\u003cp>“Run for your life because you want to keep living,” said Irma, one of the film’s four narrators. It’s what she told herself after she was ostracized and physically attacked for her gender identity. In another scene, she flips the pages of a sketchbook to show her delicate drawings of various solitary figures: a girl among sunflowers, a woman in a chair.\u003c/p>\n\u003cp>When a narrator’s story in the film lacks narration, Piryaei dips into black-and-white archival film. The effect is illustrative, but never heavy-handed. If anything, these elements touch on just how long people have sought out better futures in this country, and risked their lives to do so.\u003c/p>\n\u003cfigure id=\"attachment_13985087\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985087\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NSS5_2000.jpg\" alt=\"person holds notebook page with handwriting on it\" width=\"2000\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NSS5_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NSS5_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NSS5_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NSS5_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NSS5_2000-1200x675.jpg 1200w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Irma flips through a sketchbook in a scene from ‘No Separate Survival.’ \u003ccite>(Shabnam Piryaei)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While EBSC continues to provide free legal and social services to low-income immigrants, the Trump administration has increased its efforts to \u003ca href=\"https://www.kqed.org/forum/2010101912438/trump-expanding-third-country-removals-of-asylum-seekers-in-california\">halt and dismantle the asylum process\u003c/a>.\u003c/p>\n\u003cp>On Nov. 28, U.S. Citizenship and Immigration Services, a branch of Homeland Security, paused all pending asylum cases. Being from one of 40 countries can now be a “significant negative factor” in an asylum case. And the administration has suggested it may also try to reverse previous grants of asylum — no matter where a person is from.\u003c/p>\n\u003cp>“We have a lot of people in the broader community who are becoming more aware of immigration issues and have a desire to learn more and to help out,” Hoffman said. Storytelling, and the Jan. 4 event in particular, she says, can be a meeting place and a starting point for those who want to lend a hand.\u003c/p>\n\u003cp>“I think it brings a lens of positivity in a moment where we’re just inundated by fear and terror,” she added. “We can come together in this joyful, uplifting space with music and stories. I feel like it is nourishment for our souls and we need that desperately now.”\u003c/p>\n\u003chr>\n\u003cp>\u003ci>‘\u003ca href=\"https://secure.thefreight.org/15581/15582-no-separate-survival-film-screening-260104\">No Separate Survival\u003c/a>’ screens at The Freight (2020 Addison St., Berkeley) on Sunday, Jan. 4, 2026, with a performance by Larry & Joe. A pre-screening reception begins at 4:30 p.m. Director Shabnam Piryaei and the narrators will be present for a short Q&A on the making of the film.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n",
"blocks": [],
"excerpt": "A screening of the documentary ‘No Separate Survival’ celebrates the work of East Bay Sanctuary Covenant.",
"status": "publish",
"parent": 0,
"modified": 1767120370,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 16,
"wordCount": 752
},
"headData": {
"title": "Asylum-Seekers’ Stories Come to The Freight in Berkeley | KQED",
"description": "A screening of the documentary ‘No Separate Survival’ celebrates the work of East Bay Sanctuary Covenant.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Asylum-Seekers’ Stories Come to The Freight in Berkeley",
"datePublished": "2025-12-30T10:33:09-08:00",
"dateModified": "2025-12-30T10:46:10-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"source": "The Do List",
"sourceUrl": "https://www.kqed.org/thedolist",
"sticky": false,
"WpOldSlug": "no-separate-survival-documentary-east-bay-sanctuary-covanent-event-freight",
"nprStoryId": "kqed-13985083",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13985083/no-separate-survival-documentary-east-bay-sanctuary-covenant-event-freight",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When \u003ca href=\"https://eastbaysanctuary.org/\">East Bay Sanctuary Covenant\u003c/a> was founded in 1982, the majority of the \u003ca href=\"https://www.kqed.org/news/tag/asylum-seekers\">asylum seekers\u003c/a> they served were fleeing U.S.-backed violence in Central America.\u003c/p>\n\u003cp>“The Reagan administration at the time was calling them economic refugees,” says Lisa Hoffman, co-executive director of the nonprofit. “[It] was not acknowledging the role that the U.S. government was playing in funding and supporting these death squads that were causing terror.”\u003c/p>\n\u003cp>EBSC knew otherwise, because from its earliest days, the organization was committed to listening to the stories of those fleeing that violence — not only to best meet their needs, but to broaden awareness and spur action in the larger public. It’s a tradition they’ve kept up for the past 43 years and across 4,100 successful asylum cases.\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>On Jan. 4, that deep listening and storytelling takes another form at Berkeley’s The Freight, with a screening of Shabnam Piryaei’s 27-minute documentary \u003ci>\u003ca href=\"https://secure.thefreight.org/15581/15582-no-separate-survival-film-screening-260104\">No Separate Survival\u003c/a>\u003c/i>, and a mini concert from \u003ca href=\"https://www.larryandjoe.com/\">Larry & Joe\u003c/a>, a llanera-bluegrass fusion band based in North Carolina.\u003c/p>\n\u003cp>The event is a fundraiser, as well as an opportunity to learn more about EBSC’s work in a joyous, celebratory atmosphere. Previous screenings, Piryaei said, were more targeted towards asylum seekers and people working within refugee communities.\u003c/p>\n\u003cp>“This one feels the most like it’s speaking to people outside of the experience, people who want to know more about it,” she said of the event.\u003c/p>\n\u003cfigure id=\"attachment_13985085\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985085\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NSS1_2000.jpg\" alt=\"border wall extends down beach into ocean\" width=\"2000\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NSS1_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NSS1_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NSS1_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NSS1_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NSS1_2000-1200x675.jpg 1200w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A view of the U.S.-Mexico border in a scene from ‘No Separate Survival.’ \u003ccite>(Shabnam Piryaei)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Piryaei’s film is the result of years of leading arts-based workshops in the Bay Area and at the U.S.-Mexico border. Participants told their stories through short videos, drawings and writing, to which Piryaei added poetic interludes, snippets of animation and the voices of advocates. The result is a dreamy, moving document of the desperate circumstances that drive people to flee their homes — and the lives they can freely lead once their safety is secured.\u003c/p>\n\u003cp>“Run for your life because you want to keep living,” said Irma, one of the film’s four narrators. It’s what she told herself after she was ostracized and physically attacked for her gender identity. In another scene, she flips the pages of a sketchbook to show her delicate drawings of various solitary figures: a girl among sunflowers, a woman in a chair.\u003c/p>\n\u003cp>When a narrator’s story in the film lacks narration, Piryaei dips into black-and-white archival film. The effect is illustrative, but never heavy-handed. If anything, these elements touch on just how long people have sought out better futures in this country, and risked their lives to do so.\u003c/p>\n\u003cfigure id=\"attachment_13985087\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985087\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NSS5_2000.jpg\" alt=\"person holds notebook page with handwriting on it\" width=\"2000\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NSS5_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NSS5_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NSS5_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NSS5_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NSS5_2000-1200x675.jpg 1200w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Irma flips through a sketchbook in a scene from ‘No Separate Survival.’ \u003ccite>(Shabnam Piryaei)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While EBSC continues to provide free legal and social services to low-income immigrants, the Trump administration has increased its efforts to \u003ca href=\"https://www.kqed.org/forum/2010101912438/trump-expanding-third-country-removals-of-asylum-seekers-in-california\">halt and dismantle the asylum process\u003c/a>.\u003c/p>\n\u003cp>On Nov. 28, U.S. Citizenship and Immigration Services, a branch of Homeland Security, paused all pending asylum cases. Being from one of 40 countries can now be a “significant negative factor” in an asylum case. And the administration has suggested it may also try to reverse previous grants of asylum — no matter where a person is from.\u003c/p>\n\u003cp>“We have a lot of people in the broader community who are becoming more aware of immigration issues and have a desire to learn more and to help out,” Hoffman said. Storytelling, and the Jan. 4 event in particular, she says, can be a meeting place and a starting point for those who want to lend a hand.\u003c/p>\n\u003cp>“I think it brings a lens of positivity in a moment where we’re just inundated by fear and terror,” she added. “We can come together in this joyful, uplifting space with music and stories. I feel like it is nourishment for our souls and we need that desperately now.”\u003c/p>\n\u003chr>\n\u003cp>\u003ci>‘\u003ca href=\"https://secure.thefreight.org/15581/15582-no-separate-survival-film-screening-260104\">No Separate Survival\u003c/a>’ screens at The Freight (2020 Addison St., Berkeley) on Sunday, Jan. 4, 2026, with a performance by Larry & Joe. A pre-screening reception begins at 4:30 p.m. Director Shabnam Piryaei and the narrators will be present for a short Q&A on the making of the film.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13985083/no-separate-survival-documentary-east-bay-sanctuary-covenant-event-freight",
"authors": [
"61"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_22352",
"arts_74",
"arts_69",
"arts_22313"
],
"tags": [
"arts_10278",
"arts_1773",
"arts_585"
],
"featImg": "arts_13985086",
"label": "source_arts_13985083"
}
},
"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",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA",
"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",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1MDAyODE4NTgz",
"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",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9zZXJpZXMvamVycnlicm93bi9mZWVkL3BvZGNhc3Qv"
}
},
"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",
"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",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5Nzk2MzI2MTEx",
"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",
"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/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vc29sZG91dA"
}
},
"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": "",
"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",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM4MjU5Nzg2MzI3",
"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",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM0NTcwODQ2MjY2",
"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": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?category=movies": {
"isFetching": false,
"latestQuery": {
"from": 0,
"postsToRender": 9
},
"tag": null,
"vitalsOnly": true,
"totalRequested": 9,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 3149,
"relation": "eq"
},
"items": [
"arts_13985711",
"arts_13985705",
"arts_13985662",
"arts_13985320",
"arts_13985406",
"arts_13985298",
"arts_13985196",
"arts_13985108",
"arts_13985083"
]
}
},
"recallGuideReducer": {
"intros": {},
"policy": {},
"candidates": {}
},
"savedArticleReducer": {
"articles": [],
"status": {}
},
"pfsSessionReducer": {},
"subscriptionsReducer": {},
"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"
},
"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"
},
"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_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,
"imageData": {
"ogImageSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png",
"width": 1200,
"height": 630
},
"twImageSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
},
"twitterCard": "summary_large_image"
}
},
"ttid": 75,
"slug": "movies",
"isLoading": false,
"link": "/arts/category/movies"
},
"source_arts_13985711": {
"type": "terms",
"id": "source_arts_13985711",
"meta": {
"override": true
},
"name": "The Do List",
"link": "https://www.kqed.org/thedolist",
"isLoading": false
},
"source_arts_13985662": {
"type": "terms",
"id": "source_arts_13985662",
"meta": {
"override": true
},
"name": "The Do List",
"link": "https://www.kqed.org/thedolist",
"isLoading": false
},
"source_arts_13985320": {
"type": "terms",
"id": "source_arts_13985320",
"meta": {
"override": true
},
"name": "The Do List",
"link": "https://www.kqed.org/thedolist",
"isLoading": false
},
"source_arts_13985406": {
"type": "terms",
"id": "source_arts_13985406",
"meta": {
"override": true
},
"name": "The Do List",
"link": "https://www.kqed.org/thedolist",
"isLoading": false
},
"source_arts_13985196": {
"type": "terms",
"id": "source_arts_13985196",
"meta": {
"override": true
},
"name": "The Do List",
"link": "https://www.kqed.org/thedolist",
"isLoading": false
},
"source_arts_13985083": {
"type": "terms",
"id": "source_arts_13985083",
"meta": {
"override": true
},
"name": "The Do List",
"link": "https://www.kqed.org/thedolist",
"isLoading": false
},
"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_1": {
"type": "terms",
"id": "arts_1",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1,
"slug": "arts",
"isLoading": false,
"link": "/arts/category/arts"
},
"arts_75": {
"type": "terms",
"id": "arts_75",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "75",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Pop Culture",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Pop Culture Archives | KQED Arts",
"ogDescription": null
},
"ttid": 76,
"slug": "popculture",
"isLoading": false,
"link": "/arts/category/popculture"
},
"arts_22313": {
"type": "terms",
"id": "arts_22313",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22313",
"found": true
},
"relationships": {},
"name": "The Do List",
"slug": "the-do-list",
"taxonomy": "category",
"description": null,
"featImg": null,
"headData": {
"title": "The Do List | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22325,
"isLoading": false,
"link": "/arts/category/the-do-list"
},
"arts_549": {
"type": "terms",
"id": "arts_549",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "549",
"found": true
},
"relationships": {},
"featImg": null,
"name": "comedy",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "comedy Archives | KQED Arts",
"ogDescription": null
},
"ttid": 550,
"slug": "comedy",
"isLoading": false,
"link": "/arts/tag/comedy"
},
"arts_13672": {
"type": "terms",
"id": "arts_13672",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "13672",
"found": true
},
"relationships": {},
"name": "Documentaries",
"slug": "documentaries",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "Documentaries | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 13684,
"isLoading": false,
"link": "/arts/tag/documentaries"
},
"arts_22602": {
"type": "terms",
"id": "arts_22602",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22602",
"found": true
},
"relationships": {},
"name": "documentary",
"slug": "documentary",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "documentary | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22614,
"isLoading": false,
"link": "/arts/tag/documentary"
},
"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_21866": {
"type": "terms",
"id": "arts_21866",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21866",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts and Culture",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts and Culture Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21878,
"slug": "arts-and-culture",
"isLoading": false,
"link": "/arts/interest/arts-and-culture"
},
"arts_21879": {
"type": "terms",
"id": "arts_21879",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21879",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Entertainment",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Entertainment Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21891,
"slug": "entertainment",
"isLoading": false,
"link": "/arts/interest/entertainment"
},
"arts_11718": {
"type": "terms",
"id": "arts_11718",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "11718",
"found": true
},
"relationships": {},
"featImg": null,
"name": "thriller",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "thriller Archives | KQED Arts",
"ogDescription": null
},
"ttid": 11730,
"slug": "thriller",
"isLoading": false,
"link": "/arts/tag/thriller"
},
"arts_10278": {
"type": "terms",
"id": "arts_10278",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10278",
"found": true
},
"relationships": {},
"featImg": null,
"name": "featured-arts",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "featured-arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10290,
"slug": "featured-arts",
"isLoading": false,
"link": "/arts/tag/featured-arts"
},
"arts_977": {
"type": "terms",
"id": "arts_977",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "977",
"found": true
},
"relationships": {},
"name": "Film",
"slug": "film",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "Film Archives | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 995,
"isLoading": false,
"link": "/arts/tag/film"
},
"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_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_1201": {
"type": "terms",
"id": "arts_1201",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1201",
"found": true
},
"relationships": {},
"featImg": null,
"name": "film festivals",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "film festivals Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1213,
"slug": "film-festivals",
"isLoading": false,
"link": "/arts/tag/film-festivals"
},
"arts_22393": {
"type": "terms",
"id": "arts_22393",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22393",
"found": true
},
"relationships": {},
"name": "film noir",
"slug": "film-noir",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "film noir | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22405,
"isLoading": false,
"link": "/arts/tag/film-noir"
},
"arts_22117": {
"type": "terms",
"id": "arts_22117",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22117",
"found": true
},
"relationships": {},
"featImg": null,
"name": "grand lake theatre",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "grand lake theatre Archives | KQED Arts",
"ogDescription": null
},
"ttid": 22129,
"slug": "grand-lake-theatre",
"isLoading": false,
"link": "/arts/tag/grand-lake-theatre"
},
"arts_1143": {
"type": "terms",
"id": "arts_1143",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1143",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Oakland",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Oakland Archives | KQED Arts",
"ogDescription": null
},
"ttid": 692,
"slug": "oakland",
"isLoading": false,
"link": "/arts/tag/oakland"
},
"arts_21870": {
"type": "terms",
"id": "arts_21870",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21870",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Events",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Events Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21882,
"slug": "events",
"isLoading": false,
"link": "/arts/interest/events"
},
"arts_21860": {
"type": "terms",
"id": "arts_21860",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21860",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Oakland",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Oakland Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21872,
"slug": "oakland",
"isLoading": false,
"link": "/arts/interest/oakland"
},
"arts_5087": {
"type": "terms",
"id": "arts_5087",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5087",
"found": true
},
"relationships": {},
"featImg": null,
"name": "horror",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "horror Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5099,
"slug": "horror",
"isLoading": false,
"link": "/arts/tag/horror"
},
"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_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_6174": {
"type": "terms",
"id": "arts_6174",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6174",
"found": true
},
"relationships": {},
"featImg": null,
"name": "golden globes",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "golden globes Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6186,
"slug": "golden-globes",
"isLoading": false,
"link": "/arts/tag/golden-globes"
},
"arts_8905": {
"type": "terms",
"id": "arts_8905",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8905",
"found": true
},
"relationships": {},
"featImg": null,
"name": "drama",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "drama Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8917,
"slug": "drama",
"isLoading": false,
"link": "/arts/tag/drama"
},
"arts_22352": {
"type": "terms",
"id": "arts_22352",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22352",
"found": true
},
"relationships": {},
"name": "Immigration",
"slug": "immigration",
"taxonomy": "category",
"description": null,
"featImg": null,
"headData": {
"title": "Immigration | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22364,
"isLoading": false,
"link": "/arts/category/immigration"
},
"arts_1773": {
"type": "terms",
"id": "arts_1773",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1773",
"found": true
},
"relationships": {},
"featImg": null,
"name": "immigration",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "immigration Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1785,
"slug": "immigration",
"isLoading": false,
"link": "/arts/tag/immigration"
},
"arts_21872": {
"type": "terms",
"id": "arts_21872",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21872",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Berkeley",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Berkeley Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21884,
"slug": "berkeley",
"isLoading": false,
"link": "/arts/interest/berkeley"
},
"arts_21878": {
"type": "terms",
"id": "arts_21878",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21878",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Immigration",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Immigration Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21890,
"slug": "immigration",
"isLoading": false,
"link": "/arts/interest/immigration"
}
},
"userAgentReducer": {
"userAgent": "CCBot/2.0 (https://commoncrawl.org/faq/)",
"isBot": true
},
"userPermissionsReducer": {
"wpLoggedIn": false
},
"localStorageReducer": {},
"browserHistoryReducer": [],
"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
},
"location": {
"pathname": "/arts/category/movies",
"previousPathname": "/"
}
}
