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_13875835": {
"type": "attachments",
"id": "arts_13875835",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13875835",
"found": true
},
"parent": 13875833,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/03/GettyImages-913985856-1024x576.jpg",
"width": 1024,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/03/GettyImages-913985856-160x112.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 112
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/03/GettyImages-913985856-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/03/GettyImages-913985856.jpg",
"width": 1024,
"height": 716
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/03/GettyImages-913985856-1020x713.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 713
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/03/GettyImages-913985856-800x559.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 559
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/03/GettyImages-913985856-768x537.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 537
}
},
"publishDate": 1583187579,
"modified": 1583187656,
"caption": "John Boyega at the 33rd Santa Barbara International Film Festival in 2018. ",
"description": "John Boyega at the 33rd Santa Barbara International Film Festival in 2018. ",
"title": "John Boyega at the 33rd Santa Barbara International Film Festival in 2018.",
"credit": "Matt Winkelmeyer/Getty Images for SBIFF",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13875808": {
"type": "attachments",
"id": "arts_13875808",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13875808",
"found": true
},
"parent": 13875585,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/03/photo-by-Zoe-Mountain-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/03/photo-by-Zoe-Mountain-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/03/photo-by-Zoe-Mountain-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/03/photo-by-Zoe-Mountain.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/03/photo-by-Zoe-Mountain-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/03/photo-by-Zoe-Mountain-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/03/photo-by-Zoe-Mountain-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/03/photo-by-Zoe-Mountain-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1583172030,
"modified": 1583172118,
"caption": "The creation and erasure of a mural catalyzes an anti-gentrification coalition in 'Alice Street.'",
"description": "The creation and erasure of a mural catalyzes an anti-gentrification coalition in 'Alice Street.'",
"title": "The creation and erasure of a mural catalyzes an anti-gentrification coalition in 'Alice Street.'",
"credit": "Zoe Mountain/Courtesy of filmmaker",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13875797": {
"type": "attachments",
"id": "arts_13875797",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13875797",
"found": true
},
"parent": 13875796,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/03/LaStrada-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/03/LaStrada-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/03/LaStrada-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/03/LaStrada.jpg",
"width": 1600,
"height": 900
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/03/LaStrada-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/03/LaStrada-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/03/LaStrada-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1583166609,
"modified": 1583166653,
"caption": "Giulietta Masina in 'La Strada.'",
"description": "Giulietta Masina in 'La Strada.'",
"title": "LaStrada",
"credit": "Cinema Italia SF",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13875653": {
"type": "attachments",
"id": "arts_13875653",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13875653",
"found": true
},
"parent": 13875648,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/InvisibleMan_COVER-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/InvisibleMan_COVER-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/InvisibleMan_COVER-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/InvisibleMan_COVER.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/InvisibleMan_COVER-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/InvisibleMan_COVER-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/InvisibleMan_COVER-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/InvisibleMan_COVER-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1582850573,
"modified": 1582850588,
"caption": "Celia (Elisabeth Moss) can't see ya, in 'The Invisible Man.'",
"description": "Celia (Elisabeth Moss) can't see ya, in 'The Invisible Man.'",
"title": "InvisibleMan_COVER",
"credit": "Universal Pictures",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13875405": {
"type": "attachments",
"id": "arts_13875405",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13875405",
"found": true
},
"parent": 13875388,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/ThoseWhoRemained_COVER-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/ThoseWhoRemained_COVER-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/ThoseWhoRemained_COVER-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/ThoseWhoRemained_COVER.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/ThoseWhoRemained_COVER-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/ThoseWhoRemained_COVER-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/ThoseWhoRemained_COVER-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/ThoseWhoRemained_COVER-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1582578502,
"modified": 1582578596,
"caption": "Still from Barnabás Tóth's 'Those Who Remained.'",
"description": "Still from Barnabás Tóth's 'Those Who Remained.'",
"title": "ThoseWhoRemained_COVER",
"credit": "Courtesy of the Jewish Film Institute",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13875376": {
"type": "attachments",
"id": "arts_13875376",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13875376",
"found": true
},
"parent": 13875371,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/TheFlick.Icon_-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/TheFlick.Icon_-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/TheFlick.Icon_-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/TheFlick.Icon_.jpg",
"width": 1157,
"height": 651
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/TheFlick.Icon_-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/TheFlick.Icon_-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/TheFlick.Icon_-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1582570921,
"modified": 1582570921,
"caption": null,
"description": null,
"title": "TheFlick.Icon",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13875356": {
"type": "attachments",
"id": "arts_13875356",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13875356",
"found": true
},
"parent": 13875347,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/TheBand.Robertson-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/TheBand.Robertson-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/TheBand.Robertson.jpg",
"width": 800,
"height": 450
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/TheBand.Robertson-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/TheBand.Robertson-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1582561901,
"modified": 1582561934,
"caption": "The Band in London, June 1971. From left: Levon Helm, Richard Manuel, Robbie Robertson, Rick Danko and Garth Hudson.",
"description": "The Band in London, June 1971. From left: Levon Helm, Richard Manuel, Robbie Robertson, Rick Danko and Garth Hudson.",
"title": "TheBand.Robertson",
"credit": "Gijsbert Hanekroot/Redferns",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13875262": {
"type": "attachments",
"id": "arts_13875262",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13875262",
"found": true
},
"parent": 13875261,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/emma-photo-anya-taylor-joy-stars-as-emma-woodhouse-courtesy-of-box-hill-films_wide-7fe4faa9b7b6754b7bf459e973ddfe7f3344c2fc-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/emma-photo-anya-taylor-joy-stars-as-emma-woodhouse-courtesy-of-box-hill-films_wide-7fe4faa9b7b6754b7bf459e973ddfe7f3344c2fc-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/emma-photo-anya-taylor-joy-stars-as-emma-woodhouse-courtesy-of-box-hill-films_wide-7fe4faa9b7b6754b7bf459e973ddfe7f3344c2fc-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/emma-photo-anya-taylor-joy-stars-as-emma-woodhouse-courtesy-of-box-hill-films_wide-7fe4faa9b7b6754b7bf459e973ddfe7f3344c2fc-e1582235410307.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/emma-photo-anya-taylor-joy-stars-as-emma-woodhouse-courtesy-of-box-hill-films_wide-7fe4faa9b7b6754b7bf459e973ddfe7f3344c2fc-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/emma-photo-anya-taylor-joy-stars-as-emma-woodhouse-courtesy-of-box-hill-films_wide-7fe4faa9b7b6754b7bf459e973ddfe7f3344c2fc-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/emma-photo-anya-taylor-joy-stars-as-emma-woodhouse-courtesy-of-box-hill-films_wide-7fe4faa9b7b6754b7bf459e973ddfe7f3344c2fc-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/emma-photo-anya-taylor-joy-stars-as-emma-woodhouse-courtesy-of-box-hill-films_wide-7fe4faa9b7b6754b7bf459e973ddfe7f3344c2fc-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1582234787,
"modified": 1582235403,
"caption": "Anya Taylor-Joy stars as the title character in director Autumn de Wilde's new adaptation of 'Emma.'",
"description": "Anya Taylor-Joy stars as the title character in director Autumn de Wilde's new adaptation of 'Emma.'",
"title": "Anya Taylor-Joy stars as the title character in director Autumn de Wilde's new adaptation of 'Emma.'",
"credit": "Box Hill Films/Focus Features",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13874898": {
"type": "attachments",
"id": "arts_13874898",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13874898",
"found": true
},
"parent": 13874896,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/MV5BMjQ0Mjg5YzgtMDQ2ZC00Y2NmLWE4OGYtNDg1OThkNzlkNzVlXkEyXkFqcGdeQXVyMjUyNDk2ODc@._V1_-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/MV5BMjQ0Mjg5YzgtMDQ2ZC00Y2NmLWE4OGYtNDg1OThkNzlkNzVlXkEyXkFqcGdeQXVyMjUyNDk2ODc@._V1_-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/MV5BMjQ0Mjg5YzgtMDQ2ZC00Y2NmLWE4OGYtNDg1OThkNzlkNzVlXkEyXkFqcGdeQXVyMjUyNDk2ODc@._V1_-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/MV5BMjQ0Mjg5YzgtMDQ2ZC00Y2NmLWE4OGYtNDg1OThkNzlkNzVlXkEyXkFqcGdeQXVyMjUyNDk2ODc@._V1_.jpg",
"width": 1280,
"height": 720
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/MV5BMjQ0Mjg5YzgtMDQ2ZC00Y2NmLWE4OGYtNDg1OThkNzlkNzVlXkEyXkFqcGdeQXVyMjUyNDk2ODc@._V1_-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/MV5BMjQ0Mjg5YzgtMDQ2ZC00Y2NmLWE4OGYtNDg1OThkNzlkNzVlXkEyXkFqcGdeQXVyMjUyNDk2ODc@._V1_-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/MV5BMjQ0Mjg5YzgtMDQ2ZC00Y2NmLWE4OGYtNDg1OThkNzlkNzVlXkEyXkFqcGdeQXVyMjUyNDk2ODc@._V1_-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1581569404,
"modified": 1581569441,
"caption": "Kate Beckinsale (L) and Gary Oldman (R) in 2004's 'Tiptoes.'",
"description": "Kate Beckinsale (L) and Gary Oldman (R) in 2004's 'Tiptoes.'",
"title": "Kate Beckinsale (L) and Gary Oldman (R) in 2004's 'Tiptoes.'",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13875184": {
"type": "attachments",
"id": "arts_13875184",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13875184",
"found": true
},
"parent": 13875165,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/LenaWaithe_COVER-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/LenaWaithe_COVER-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/LenaWaithe_COVER-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/LenaWaithe_COVER.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/LenaWaithe_COVER-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/LenaWaithe_COVER-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/LenaWaithe_COVER-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/LenaWaithe_COVER-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1582157431,
"modified": 1582157650,
"caption": "Actor Lena Waithe attends the 'Heavenly Bodies: Fashion & The Catholic Imagination Costume Institute Gala' at The Metropolitan Museum of Art on May 7, 2018.",
"description": "Actor Lena Waithe attends the 'Heavenly Bodies: Fashion & The Catholic Imagination Costume Institute Gala' at The Metropolitan Museum of Art on May 7, 2018.",
"title": "LenaWaithe_COVER",
"credit": "Photo by Jason Kempin/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13875039": {
"type": "attachments",
"id": "arts_13875039",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13875039",
"found": true
},
"parent": 13875037,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/8b0587103b007ee71c1a7fab56acf298-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/8b0587103b007ee71c1a7fab56acf298-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/8b0587103b007ee71c1a7fab56acf298-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/8b0587103b007ee71c1a7fab56acf298.jpg",
"width": 1439,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/8b0587103b007ee71c1a7fab56acf298-1020x766.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 766
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/8b0587103b007ee71c1a7fab56acf298-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/8b0587103b007ee71c1a7fab56acf298-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
}
},
"publishDate": 1582021415,
"modified": 1582021587,
"caption": "Kristýna Kohoutová starring in Jan Švankmajer's brilliantly visceral 'Alice' (1988).",
"description": "Kristýna Kohoutová starring in Jan Švankmajer's brilliantly visceral 'Alice' (1988).",
"title": "Kristýna Kohoutová starring in Jan Švankmajer's brilliantly visceral 'Alice' (1988).",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13875049": {
"type": "attachments",
"id": "arts_13875049",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13875049",
"found": true
},
"parent": 13875033,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/02-HairLove-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/02-HairLove-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/02-HairLove-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/02-HairLove.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/02-HairLove-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/02-HairLove-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/02-HairLove-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/02-HairLove-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1582051388,
"modified": 1582051479,
"caption": "Still from 'Hair Love.'",
"description": "Still from 'Hair Love.'",
"title": "02-HairLove",
"credit": "Courtesy of Bay Area International Children's Film Festival",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"byline_arts_13875648": {
"type": "authors",
"id": "byline_arts_13875648",
"meta": {
"override": true
},
"slug": "byline_arts_13875648",
"name": "Scott Tobias",
"isLoading": false
},
"byline_arts_13875347": {
"type": "authors",
"id": "byline_arts_13875347",
"meta": {
"override": true
},
"slug": "byline_arts_13875347",
"name": "Lauren Onkey",
"isLoading": false
},
"byline_arts_13875261": {
"type": "authors",
"id": "byline_arts_13875261",
"meta": {
"override": true
},
"slug": "byline_arts_13875261",
"name": "Justin Chang",
"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/d9849d6c659c41414795c471d907bb97b396e2a32b88e20e6ff66f65fbdd6dcd?s=600&d=blank&r=g",
"twitter": null,
"bluesky": 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/d9849d6c659c41414795c471d907bb97b396e2a32b88e20e6ff66f65fbdd6dcd?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/d9849d6c659c41414795c471d907bb97b396e2a32b88e20e6ff66f65fbdd6dcd?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/mfox"
},
"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": true,
"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 and daughter in his hometown of Santa Rosa, CA.",
"avatar": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"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/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/gmeline"
},
"slefebvre": {
"type": "authors",
"id": "11091",
"meta": {
"index": "authors_1716337520",
"id": "11091",
"found": true
},
"name": "Sam Lefebvre",
"firstName": "Sam",
"lastName": "Lefebvre",
"slug": "slefebvre",
"email": "sdlefebvre@gmail.com",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "Sam Lefebvre is an award-winning reporter at KQED Arts. He has worked as an editor and columnist at the \u003cem>East Bay Express\u003c/em>, \u003cem>SF Weekly \u003c/em>and Impose Magazine, and his journalism and criticism has appeared in \u003cem>The New York Times\u003c/em>, the Guardian and Pitchfork.",
"avatar": "https://secure.gravatar.com/avatar/143b570c3dec13ae74c6aa2369b04fc8?s=600&d=blank&r=g",
"twitter": "Lefebvre_Sam",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"author"
]
}
],
"headData": {
"title": "Sam Lefebvre | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/143b570c3dec13ae74c6aa2369b04fc8?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/143b570c3dec13ae74c6aa2369b04fc8?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/slefebvre"
},
"ralexandra": {
"type": "authors",
"id": "11242",
"meta": {
"index": "authors_1716337520",
"id": "11242",
"found": true
},
"name": "Rae Alexandra",
"firstName": "Rae",
"lastName": "Alexandra",
"slug": "ralexandra",
"email": "ralexandra@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Reporter/Producer",
"bio": "Rae Alexandra is a Reporter/Producer for KQED Arts & Culture, and the creator/author of the \u003ca href=\"https://www.kqed.org/arts/program/rebel-girls-from-bay-area-history\">Rebel Girls From Bay Area History\u003c/a> and \u003ca href=\"https://www.kqed.org/bizarrebayarea\">Bizarre Bay Area\u003c/a> series. Her debut book, \u003ca href=\"https://citylights.com/politics-current-events-history/unsung-heroines35-women-who-changed/\">Unsung Heroines: 35 Women Who Changed the Bay Area\u003c/a> was published by City Lights in March 2026. In 2023, Rae was awarded an SPJ Excellence in Journalism Award for Arts & Culture. Rae was born and raised in Wales and subsequently — even after two decades in Northern California — still uses phrases that regularly baffle her coworkers.",
"avatar": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "science",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Rae Alexandra | KQED",
"description": "Reporter/Producer",
"ogImgSrc": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ralexandra"
},
"jasminegarnett": {
"type": "authors",
"id": "11530",
"meta": {
"index": "authors_1716337520",
"id": "11530",
"found": true
},
"name": "Jasmine Garnett",
"firstName": "Jasmine",
"lastName": "Garnett",
"slug": "jasminegarnett",
"email": "JGarnett@KQED.org",
"display_author_email": false,
"staff_mastheads": [
"news"
],
"title": "Senior Engagement Platforms Producer",
"bio": "Jasmine is a Senior Engagement Platforms Producer on the KQED News team. She is also a freelance writer, with work appearing in KQED, Bitch Media, and Kotaku among others. Jasmine graduated from UC Berkeley with a degree in Media Studies, where she was also an Arts and Entertainment reporter at the Daily Californian.",
"avatar": "https://secure.gravatar.com/avatar/a6ea8b0641874311533b7401bee15c8e?s=600&d=blank&r=g",
"twitter": "JFLGarnett",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"author"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "about",
"roles": [
"editor"
]
},
{
"site": "science",
"roles": [
"editor"
]
},
{
"site": "forum",
"roles": [
"editor"
]
},
{
"site": "pressroom",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Jasmine Garnett | KQED",
"description": "Senior Engagement Platforms Producer",
"ogImgSrc": "https://secure.gravatar.com/avatar/a6ea8b0641874311533b7401bee15c8e?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/a6ea8b0641874311533b7401bee15c8e?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/jasminegarnett"
}
},
"pagesReducer": {
"arts_category_movies": {
"type": "terms",
"id": "arts_74",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "74",
"score": 12.557373
},
"featImg": null,
"name": "Movies",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Movies Archives | KQED Arts",
"ogDescription": null
},
"ttid": 75,
"slug": "movies",
"isLoading": false,
"title": "Movies",
"pageMeta": {
"site": "arts",
"WpPageTemplate": "page-topic-editorial",
"currentPage": 103
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=movies",
"seeMore": false,
"paginated": true,
"page": 103
}
},
{
"blockName": "kqed/ad"
}
]
}
},
"pfsSessionReducer": {},
"postsReducer": {
"stream_live": {
"type": "live",
"id": "stream_live",
"audioUrl": "https://streams.kqed.org/kqedradio",
"title": "Live Stream",
"excerpt": "Live Stream information currently unavailable.",
"link": "/radio",
"featImg": "",
"label": {
"name": "KQED Live",
"link": "/"
}
},
"stream_kqedNewscast": {
"type": "posts",
"id": "stream_kqedNewscast",
"audioUrl": "https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1",
"title": "KQED Newscast",
"featImg": "",
"label": {
"name": "88.5 FM",
"link": "/"
}
},
"arts_13875833": {
"type": "posts",
"id": "arts_13875833",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13875833",
"score": null,
"sort": [
1583193862000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1583193862,
"format": "standard",
"title": "Watch 'Star Wars' Actor John Boyega Hilariously Hate On Hollywood Workouts",
"headTitle": "Watch ‘Star Wars’ Actor John Boyega Hilariously Hate On Hollywood Workouts | KQED",
"content": "\u003cp>Hollywood has been making the rest of the world feel terrible about flab since movies were invented. And despite the fact that Brad Pitt’s \u003ca href=\"https://www.highsnobiety.com/2017/07/31/brad-pitt-fight-club-workout/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Fight Club\u003c/em> abs\u003c/a> are now the standard for actors, and Ryan Gosling looks so Photoshopped that it’s been \u003ca href=\"https://www.youtube.com/watch?v=BoeeyY5iPHg\" target=\"_blank\" rel=\"noopener noreferrer\">worked into his scripts\u003c/a> for comedy, the rest of the world remains largely in the dark as to how actors actually maintain their physique.\u003c/p>\n\u003cp>Enter John Boyega, the 27-year-old East Londoner most famous for playing Finn in \u003cem>Star Wars\u003c/em>. Boyega just shared a workout video to Instagram that is equal parts relatable and hilarious, and tells regular folks in no uncertain terms that working out “six days a week” is as awful as it sounds.\u003c/p>\n\u003cp>“Why can’t Hollywood accept me for who I am?” he comedically sobs at the beginning. He then demonstrates how to trick a trainer into leaving him alone because he’s “too tired for this shit,” openly fantasizes about being “fat” and having “a lovely wife who loves me for who I am,” and finally forces his unimpressed trainer to tell him he’s proud of him (when he’s clearly not).\u003c/p>\n\u003cp>It is comforting, in a world more accustomed to seeing 50-year-old Jennifer Lopez \u003ca href=\"https://www.youtube.com/watch?v=sfHGLS5Xv_Q\" target=\"_blank\" rel=\"noopener noreferrer\">effortlessly planking\u003c/a> halfway up a pole and Kardashians \u003ca href=\"https://www.youtube.com/watch?v=JGQeGaYACT0\" target=\"_blank\" rel=\"noopener noreferrer\">happily lunging\u003c/a> around their backyards, to know that some celebrities despise working out as much as the rest of us.\u003c/p>\n\u003cp>Enjoy every painful moment with Boyega in the clip below.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.instagram.com/p/B9J7Bs6nOsN/\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 270,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 7
},
"modified": 1705021182,
"excerpt": "In an age where most celebrities make us feel bad about not exercising more, the British actor wants you to know it's okay.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "In an age where most celebrities make us feel bad about not exercising more, the British actor wants you to know it's okay.",
"title": "Watch 'Star Wars' Actor John Boyega Hilariously Hate On Hollywood Workouts | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Watch 'Star Wars' Actor John Boyega Hilariously Hate On Hollywood Workouts",
"datePublished": "2020-03-02T16:04:22-08:00",
"dateModified": "2024-01-11T16:59:42-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "watch-star-wars-actor-john-boyega-hilariously-hate-on-hollywood-workouts",
"status": "publish",
"templateType": "standard",
"featuredImageType": "standard",
"sticky": false,
"path": "/arts/13875833/watch-star-wars-actor-john-boyega-hilariously-hate-on-hollywood-workouts",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hollywood has been making the rest of the world feel terrible about flab since movies were invented. And despite the fact that Brad Pitt’s \u003ca href=\"https://www.highsnobiety.com/2017/07/31/brad-pitt-fight-club-workout/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Fight Club\u003c/em> abs\u003c/a> are now the standard for actors, and Ryan Gosling looks so Photoshopped that it’s been \u003ca href=\"https://www.youtube.com/watch?v=BoeeyY5iPHg\" target=\"_blank\" rel=\"noopener noreferrer\">worked into his scripts\u003c/a> for comedy, the rest of the world remains largely in the dark as to how actors actually maintain their physique.\u003c/p>\n\u003cp>Enter John Boyega, the 27-year-old East Londoner most famous for playing Finn in \u003cem>Star Wars\u003c/em>. Boyega just shared a workout video to Instagram that is equal parts relatable and hilarious, and tells regular folks in no uncertain terms that working out “six days a week” is as awful as it sounds.\u003c/p>\n\u003cp>“Why can’t Hollywood accept me for who I am?” he comedically sobs at the beginning. He then demonstrates how to trick a trainer into leaving him alone because he’s “too tired for this shit,” openly fantasizes about being “fat” and having “a lovely wife who loves me for who I am,” and finally forces his unimpressed trainer to tell him he’s proud of him (when he’s clearly not).\u003c/p>\n\u003cp>It is comforting, in a world more accustomed to seeing 50-year-old Jennifer Lopez \u003ca href=\"https://www.youtube.com/watch?v=sfHGLS5Xv_Q\" target=\"_blank\" rel=\"noopener noreferrer\">effortlessly planking\u003c/a> halfway up a pole and Kardashians \u003ca href=\"https://www.youtube.com/watch?v=JGQeGaYACT0\" target=\"_blank\" rel=\"noopener noreferrer\">happily lunging\u003c/a> around their backyards, to know that some celebrities despise working out as much as the rest of us.\u003c/p>\n\u003cp>Enjoy every painful moment with Boyega in the clip below.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "instagramLink",
"attributes": {
"named": {
"instagramUrl": "https://www.instagram.com/p/B9J7Bs6nOsN/"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13875833/watch-star-wars-actor-john-boyega-hilariously-hate-on-hollywood-workouts",
"authors": [
"11242"
],
"categories": [
"arts_74",
"arts_75"
],
"tags": [
"arts_2098",
"arts_4506",
"arts_3241"
],
"featImg": "arts_13875835",
"label": "arts"
},
"arts_13875585": {
"type": "posts",
"id": "arts_13875585",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13875585",
"score": null,
"sort": [
1583190041000
]
},
"guestAuthors": [],
"slug": "in-alice-street-oakland-artist-activists-build-power-by-bridging-communities",
"title": "In ‘Alice Street,’ Oakland Artist-Activists Build Power By Bridging Communities",
"publishDate": 1583190041,
"format": "standard",
"headTitle": "In ‘Alice Street,’ Oakland Artist-Activists Build Power By Bridging Communities | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Throughout last year, the steel and concrete frame of a new building in downtown Oakland grew to obscure a sprawling mural. Protesters with picket signs disappeared from view, along with dancers, drummers and martial arts practitioners, leaving the faces of centerpieces Malonga Casquelourd and Ruth Beckford, pillars of the city’s black performing arts tradition. To passersby today the entire artwork is imperceptible behind an incoming housing development. [aside postID=arts_13861153,arts_13875113,arts_13866026,arts_13861121]\u003c/p>\n\u003cp>\u003cem>Alice Street\u003c/em>, a forthcoming documentary by Spencer Wilkinson, shows how the \u003cem>Universal Language\u003c/em> mural’s creation and erasure alike catalyzed a multiracial anti-gentrification coalition with significant, ongoing effects on real estate development and city planning in downtown Oakland. Set in just a few city blocks, it’s a story about intractable loss as well as collective refusal, depicting artists’ role in grassroots activism that builds power by bridging communities.\u003c/p>\n\u003cp>Wilkinson, 44, an Oakland filmmaker whose first feature, \u003cem>One Voice\u003c/em> (2018), focused on the Oakland Interfaith Gospel Choir, did not anticipate filming for five years when he started chronicling the mural’s design as part of a work-trade deal in 2014. Now he’s submitting the 70-minute \u003cem>\u003ca href=\"https://alicestreetfilm.com/\">Alice Street\u003c/a>\u003c/em> documentary to film festivals and arranging screenings in other cities grappling with gentrification. Wilkinson expects to announce more Bay Area screenings in the coming months.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=1lJRPZLuY9c&w=560&h=315]\u003c/p>\n\u003cp>\u003cem>Alice Street\u003c/em> begins with Destiny Muhammad reciting a poem at the corner of 14th and Alice streets in downtown Oakland to subtle, vaguely religious music by Micah Berek. “An intersection of traditions, ancient rhythms, culture keepers and urban oracles,” she says. A montage shows the neighborhood’s cultural diversity and changing built environment. The credits roll, framed by cranes. Imposed on aerial footage of the low-slung flatlands are sharply rising housing costs.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The film shortly settles on aerosol artist Desi Mundo and studio painter Pancho Pescador of the Community Rejuvenation Project embarking on their largest mural yet: Four walls around a parking lot at Alice and 14th streets. For inspiration, they look directly across the street to the Malonga Casquelourd Center for the Arts, a historic city-owned hub of Afro-diasporic drumming and dance, and also to the Chinatown senior apartments and community center Hotel Oakland.\u003c/p>\n\u003cp>The story has no single conflict or antagonist. The challenge at first appears to be the muralists’ desire to represent two communities to which they’re admitted outsiders, and the project’s most outspoken opponent is an elderly white woman who objects to its exclusion of white people. As soon as the mural is designed and painted to the satisfaction of most neighborhood stakeholders, though, a housing development proposal threatens to render it totally invisible.\u003c/p>\n\u003cfigure id=\"attachment_10139725\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2014/07/Mural-Wide.jpg\" alt='The \"Universal Language\" mural on Alice Street in downtown Oakland in 2014.' width=\"800\" height=\"533\" class=\"size-full wp-image-10139725\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Mural-Wide.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Mural-Wide-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Mural-Wide-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The “Universal Language” mural on Alice Street in downtown Oakland in 2014. \u003ccite>(Courtesy Community Rejuvenation Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“People in the Bay Area are starting to see the benefits of Oakland,” says Maria Poncel of Bay Development, explaining to Mundo and Pescador that the mural will continue to exist behind the planned 16-story tower. “We’re going through sort of a second renaissance.” It’s one of several awkward remarks from developers, property owners and elected officials (has Mayor Libby Schaaf retired “secret sauce”?) that Wilkinson seems to highlight for their evident shallowness.\u003c/p>\n\u003cp>Halfway through the documentary, then, the mural intended to celebrate cultures at risk of displacement itself confronts disappearance, multiplying its symbolic potency. And the Malonga-Hotel Oakland bloc strengthened through the mural’s development acquires political power that Wilkinson—using interviews and historical flashbacks about racist city planning practices and housing discrimination in Oakland—casts in a longer lineage of racial solidarity.\u003c/p>\n\u003cp>The goal of the new coalition isn’t immediately evident in the documentary. Theo Williams, leader of Malonga tenant SambaFunk, says at a meeting that he doesn’t necessarily oppose the development, yet no one in the film persuasively argues on its behalf. Complicating the narrative are new problems: Noise complaints resurface concerns about intolerant new neighbors to the Malonga, and the activists crash a city planning process, demanding meaningful representation.\u003c/p>\n\u003cfigure id=\"attachment_13875809\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Diamano-Coura.photo-Spencer.jpg\" alt=\"The Diamano Coura West African Dance Company rehearses at the Malonga Casquelourd Center for the Arts.\" width=\"1920\" height=\"1069\" class=\"size-full wp-image-13875809\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Diamano-Coura.photo-Spencer.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Diamano-Coura.photo-Spencer-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Diamano-Coura.photo-Spencer-800x445.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Diamano-Coura.photo-Spencer-768x428.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Diamano-Coura.photo-Spencer-1020x568.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Diamano Coura West African Dance Company rehearses at the Malonga Casquelourd Center for the Arts. \u003ccite>(Spencer Wilkinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Unsurprisingly for grassroots activism, it’s a dizzying cycle of setback and success. A subplot about Jerry Brown’s early 2000s attempt as Oakland mayor to shutter what was then the Alice Arts Center is a welcome rejoinder to recent hagiography, but it creates some narrative whiplash. Still, the story regains focus when the coalition formally appeals the building’s planning commission approval in order to negotiate a community benefits agreement with the developer.\u003c/p>\n\u003cp>The coalition secured funds for the Malonga and for a replacement mural (now being designed for the wall of the Greenlining Institute nearby). It also modeled a strategy since used by the coalition to extract concessions from developers worth an estimated $20 million, organizer Eric Arnold says in the film—including 90 affordable homes. With this tactic the same activists \u003ca href=\"https://www.kqed.org/arts/13861121/kaiser-auditorium-redevelopment-proceeds-with-permanent-affordability-for-arts-groups\">recently won\u003c/a> a raft of benefits for arts groups in the Kaiser Convention Center redevelopment.\u003c/p>\n\u003cp>“Resilience” is too often a buzzword that serves to normalize communities’ capacity to withstand abuse, especially from the mouths of powerful people in media and politics. It’s also too flat for the dynamic artist-activists shown in \u003cem>Alice Street\u003c/em>, who dance in the streets and navigate city bureaucracy with equal verve. “And then we marched over to the planning office,” recalls Arnold of one decisive action. “It was probably the first time they’ve heard music inside of that office.”\u003c/p>\n\u003cfigure id=\"attachment_13875810\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Mural-Construction-photo-Spencer.jpg\" alt=\"The 'Universal Language' mural is today completely obscured by a housing development.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13875810\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Mural-Construction-photo-Spencer.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Mural-Construction-photo-Spencer-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Mural-Construction-photo-Spencer-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Mural-Construction-photo-Spencer-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Mural-Construction-photo-Spencer-1020x574.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Universal Language’ mural is today completely obscured by a housing development. \u003ccite>(Spencer Wilkinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Inevitably some of the story lines in \u003cem>Alice Street\u003c/em> go unresolved. The cultural stabilization strategies in the Downtown Oakland Specific Plan published last year derive partly from activism shown in the film, but supporters are \u003ca href=\"https://www.kqed.org/arts/13866026/will-oaklands-new-plan-to-protect-downtown-arts-and-culture-succeed\">disappointed\u003c/a> with what little officials have done to enact them. Likewise, tenants of the city-owned Malonga continue to feel chronically neglected, with Williams of SambaFunk recently \u003ca href=\"https://www.kqed.org/arts/13875113/oakland-appoints-cultural-affairs-commissioners\">telling KQED\u003c/a> its problems haven’t changed since 1998.\u003c/p>\n\u003cp>Still, the documentary also captures a heartening generational shift. Standout interviewees Beckford and Michael Lange, the actor and director, died before the film’s completion, but \u003cem>Alice Street\u003c/em> shows their commitment to Oakland’s cultural life enduring in Lailan Sandra Huen, Anyka Barber, Casquelourd’s son Kiazi Malonga and others. Wilkinson, meanwhile, is developing educational curriculum to promote the community benefits agreement model beyond Oakland.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It probably doesn’t feel like a silver lining to the muralists, but the four walls of \u003cem>Universal Language\u003c/em> haven’t been buffed or repainted. The artwork remains. Recently on Broadway, demolition exposed some mid-20th century advertisements on the side of a building, relics of a barely-recognizable city. It suggests the possibility that \u003cem>Universal Language\u003c/em> could daylight again in the lifetime of Oakland’s current residents. The question is who among us will be here to see.\u003c/p>\n\n",
"blocks": [],
"excerpt": "How a mural’s creation and erasure catalyzed an anti-gentrification coalition in Oakland. ",
"status": "publish",
"parent": 0,
"modified": 1726764217,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 18,
"wordCount": 1212
},
"headData": {
"title": "In ‘Alice Street,’ Oakland Artist-Activists Build Power By Bridging Communities | KQED",
"description": "How a mural’s creation and erasure catalyzed an anti-gentrification coalition in Oakland. ",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "In ‘Alice Street,’ Oakland Artist-Activists Build Power By Bridging Communities",
"datePublished": "2020-03-02T15:00:41-08:00",
"dateModified": "2024-09-19T09:43:37-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"templateType": "standard",
"featuredImageType": "standard",
"path": "/arts/13875585/in-alice-street-oakland-artist-activists-build-power-by-bridging-communities",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Throughout last year, the steel and concrete frame of a new building in downtown Oakland grew to obscure a sprawling mural. Protesters with picket signs disappeared from view, along with dancers, drummers and martial arts practitioners, leaving the faces of centerpieces Malonga Casquelourd and Ruth Beckford, pillars of the city’s black performing arts tradition. To passersby today the entire artwork is imperceptible behind an incoming housing development. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13861153,arts_13875113,arts_13866026,arts_13861121",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Alice Street\u003c/em>, a forthcoming documentary by Spencer Wilkinson, shows how the \u003cem>Universal Language\u003c/em> mural’s creation and erasure alike catalyzed a multiracial anti-gentrification coalition with significant, ongoing effects on real estate development and city planning in downtown Oakland. Set in just a few city blocks, it’s a story about intractable loss as well as collective refusal, depicting artists’ role in grassroots activism that builds power by bridging communities.\u003c/p>\n\u003cp>Wilkinson, 44, an Oakland filmmaker whose first feature, \u003cem>One Voice\u003c/em> (2018), focused on the Oakland Interfaith Gospel Choir, did not anticipate filming for five years when he started chronicling the mural’s design as part of a work-trade deal in 2014. Now he’s submitting the 70-minute \u003cem>\u003ca href=\"https://alicestreetfilm.com/\">Alice Street\u003c/a>\u003c/em> documentary to film festivals and arranging screenings in other cities grappling with gentrification. Wilkinson expects to announce more Bay Area screenings in the coming months.\u003c/p>\n\u003cp>\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/1lJRPZLuY9c'\n title='//www.youtube.com/embed/1lJRPZLuY9c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cem>Alice Street\u003c/em> begins with Destiny Muhammad reciting a poem at the corner of 14th and Alice streets in downtown Oakland to subtle, vaguely religious music by Micah Berek. “An intersection of traditions, ancient rhythms, culture keepers and urban oracles,” she says. A montage shows the neighborhood’s cultural diversity and changing built environment. The credits roll, framed by cranes. Imposed on aerial footage of the low-slung flatlands are sharply rising housing costs.\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 film shortly settles on aerosol artist Desi Mundo and studio painter Pancho Pescador of the Community Rejuvenation Project embarking on their largest mural yet: Four walls around a parking lot at Alice and 14th streets. For inspiration, they look directly across the street to the Malonga Casquelourd Center for the Arts, a historic city-owned hub of Afro-diasporic drumming and dance, and also to the Chinatown senior apartments and community center Hotel Oakland.\u003c/p>\n\u003cp>The story has no single conflict or antagonist. The challenge at first appears to be the muralists’ desire to represent two communities to which they’re admitted outsiders, and the project’s most outspoken opponent is an elderly white woman who objects to its exclusion of white people. As soon as the mural is designed and painted to the satisfaction of most neighborhood stakeholders, though, a housing development proposal threatens to render it totally invisible.\u003c/p>\n\u003cfigure id=\"attachment_10139725\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2014/07/Mural-Wide.jpg\" alt='The \"Universal Language\" mural on Alice Street in downtown Oakland in 2014.' width=\"800\" height=\"533\" class=\"size-full wp-image-10139725\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Mural-Wide.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Mural-Wide-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Mural-Wide-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The “Universal Language” mural on Alice Street in downtown Oakland in 2014. \u003ccite>(Courtesy Community Rejuvenation Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“People in the Bay Area are starting to see the benefits of Oakland,” says Maria Poncel of Bay Development, explaining to Mundo and Pescador that the mural will continue to exist behind the planned 16-story tower. “We’re going through sort of a second renaissance.” It’s one of several awkward remarks from developers, property owners and elected officials (has Mayor Libby Schaaf retired “secret sauce”?) that Wilkinson seems to highlight for their evident shallowness.\u003c/p>\n\u003cp>Halfway through the documentary, then, the mural intended to celebrate cultures at risk of displacement itself confronts disappearance, multiplying its symbolic potency. And the Malonga-Hotel Oakland bloc strengthened through the mural’s development acquires political power that Wilkinson—using interviews and historical flashbacks about racist city planning practices and housing discrimination in Oakland—casts in a longer lineage of racial solidarity.\u003c/p>\n\u003cp>The goal of the new coalition isn’t immediately evident in the documentary. Theo Williams, leader of Malonga tenant SambaFunk, says at a meeting that he doesn’t necessarily oppose the development, yet no one in the film persuasively argues on its behalf. Complicating the narrative are new problems: Noise complaints resurface concerns about intolerant new neighbors to the Malonga, and the activists crash a city planning process, demanding meaningful representation.\u003c/p>\n\u003cfigure id=\"attachment_13875809\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Diamano-Coura.photo-Spencer.jpg\" alt=\"The Diamano Coura West African Dance Company rehearses at the Malonga Casquelourd Center for the Arts.\" width=\"1920\" height=\"1069\" class=\"size-full wp-image-13875809\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Diamano-Coura.photo-Spencer.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Diamano-Coura.photo-Spencer-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Diamano-Coura.photo-Spencer-800x445.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Diamano-Coura.photo-Spencer-768x428.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Diamano-Coura.photo-Spencer-1020x568.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Diamano Coura West African Dance Company rehearses at the Malonga Casquelourd Center for the Arts. \u003ccite>(Spencer Wilkinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Unsurprisingly for grassroots activism, it’s a dizzying cycle of setback and success. A subplot about Jerry Brown’s early 2000s attempt as Oakland mayor to shutter what was then the Alice Arts Center is a welcome rejoinder to recent hagiography, but it creates some narrative whiplash. Still, the story regains focus when the coalition formally appeals the building’s planning commission approval in order to negotiate a community benefits agreement with the developer.\u003c/p>\n\u003cp>The coalition secured funds for the Malonga and for a replacement mural (now being designed for the wall of the Greenlining Institute nearby). It also modeled a strategy since used by the coalition to extract concessions from developers worth an estimated $20 million, organizer Eric Arnold says in the film—including 90 affordable homes. With this tactic the same activists \u003ca href=\"https://www.kqed.org/arts/13861121/kaiser-auditorium-redevelopment-proceeds-with-permanent-affordability-for-arts-groups\">recently won\u003c/a> a raft of benefits for arts groups in the Kaiser Convention Center redevelopment.\u003c/p>\n\u003cp>“Resilience” is too often a buzzword that serves to normalize communities’ capacity to withstand abuse, especially from the mouths of powerful people in media and politics. It’s also too flat for the dynamic artist-activists shown in \u003cem>Alice Street\u003c/em>, who dance in the streets and navigate city bureaucracy with equal verve. “And then we marched over to the planning office,” recalls Arnold of one decisive action. “It was probably the first time they’ve heard music inside of that office.”\u003c/p>\n\u003cfigure id=\"attachment_13875810\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Mural-Construction-photo-Spencer.jpg\" alt=\"The 'Universal Language' mural is today completely obscured by a housing development.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13875810\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Mural-Construction-photo-Spencer.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Mural-Construction-photo-Spencer-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Mural-Construction-photo-Spencer-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Mural-Construction-photo-Spencer-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Mural-Construction-photo-Spencer-1020x574.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Universal Language’ mural is today completely obscured by a housing development. \u003ccite>(Spencer Wilkinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Inevitably some of the story lines in \u003cem>Alice Street\u003c/em> go unresolved. The cultural stabilization strategies in the Downtown Oakland Specific Plan published last year derive partly from activism shown in the film, but supporters are \u003ca href=\"https://www.kqed.org/arts/13866026/will-oaklands-new-plan-to-protect-downtown-arts-and-culture-succeed\">disappointed\u003c/a> with what little officials have done to enact them. Likewise, tenants of the city-owned Malonga continue to feel chronically neglected, with Williams of SambaFunk recently \u003ca href=\"https://www.kqed.org/arts/13875113/oakland-appoints-cultural-affairs-commissioners\">telling KQED\u003c/a> its problems haven’t changed since 1998.\u003c/p>\n\u003cp>Still, the documentary also captures a heartening generational shift. Standout interviewees Beckford and Michael Lange, the actor and director, died before the film’s completion, but \u003cem>Alice Street\u003c/em> shows their commitment to Oakland’s cultural life enduring in Lailan Sandra Huen, Anyka Barber, Casquelourd’s son Kiazi Malonga and others. Wilkinson, meanwhile, is developing educational curriculum to promote the community benefits agreement model beyond Oakland.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It probably doesn’t feel like a silver lining to the muralists, but the four walls of \u003cem>Universal Language\u003c/em> haven’t been buffed or repainted. The artwork remains. Recently on Broadway, demolition exposed some mid-20th century advertisements on the side of a building, relics of a barely-recognizable city. It suggests the possibility that \u003cem>Universal Language\u003c/em> could daylight again in the lifetime of Oakland’s current residents. The question is who among us will be here to see.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13875585/in-alice-street-oakland-artist-activists-build-power-by-bridging-communities",
"authors": [
"11091"
],
"categories": [
"arts_1",
"arts_966",
"arts_74"
],
"tags": [
"arts_7821",
"arts_13672",
"arts_1118",
"arts_2819",
"arts_1737",
"arts_596",
"arts_1143"
],
"featImg": "arts_13875808",
"label": "arts"
},
"arts_13875796": {
"type": "posts",
"id": "arts_13875796",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13875796",
"score": null,
"sort": [
1583185962000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1583185962,
"format": "standard",
"title": "An All-Day Celebration of Fellini at the Castro",
"headTitle": "An All-Day Celebration of Fellini at the Castro | KQED",
"content": "\u003cp>The film director Frederico Fellini is often thought of as heady, art-film neorealist auteur, dealing in heavy themes. So imagine my surprise when, a Sunday morning a few years ago, my six-year-old daughter noticed my DVD copy of Fellni’s film \u003cem>La Strada\u003c/em>, asked me about the people on the cover, then sat down and watched it with me—and \u003cem>loved\u003c/em> it.\u003c/p>\n\u003cp>The truth is that for all his seriousness, Fellini was frequently funny and childlike in his directing style. Now, to celebrate the centennial of the director’s birth, the Castro Theater hosts \u003ca href=\"http://www.cinemaitaliasf.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Fellini 100\u003c/a>, an all-day celebration with four Fellini films: \u003cem>La Strada, Juliet of the Spirits, Amarcord, and I Vitelloni\u003c/em>. I may be biased, but if you’re a newcomer to Fellini’s work, start with \u003cem>La Strada\u003c/em>—a charming, slightly dark movie about a brutish traveling strongman and his partner, with brilliant star roles for Anthony Quinn and Guilietta Masina. Fellini 100 gets underway on Saturday, March 7, at the Castro Theater in San Francisco. \u003ca href=\"http://www.cinemaitaliasf.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.—\u003cem>Gabe Meline\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 186,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 4
},
"modified": 1705021186,
"excerpt": "Including screenings of 'La Strada,' 'Juliet of the Spirits,' 'Amarcord,' and 'I Vitelloni.'",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Including screenings of 'La Strada,' 'Juliet of the Spirits,' 'Amarcord,' and 'I Vitelloni.'",
"title": "An All-Day Celebration of Fellini at the Castro | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "An All-Day Celebration of Fellini at the Castro",
"datePublished": "2020-03-02T13:52:42-08:00",
"dateModified": "2024-01-11T16:59:46-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "an-all-day-celebration-of-fellini-at-the-castro",
"status": "publish",
"templateType": "event",
"venueName": "Castro Theatre",
"featuredImageType": "standard",
"sticky": false,
"startTime": 1583568000,
"endTime": 1583654400,
"startTimeString": "March 7, 2020",
"venueAddress": "429 Castro St., San Francisco",
"eventLink": "http://www.cinemaitaliasf.com/",
"path": "/arts/13875796/an-all-day-celebration-of-fellini-at-the-castro",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The film director Frederico Fellini is often thought of as heady, art-film neorealist auteur, dealing in heavy themes. So imagine my surprise when, a Sunday morning a few years ago, my six-year-old daughter noticed my DVD copy of Fellni’s film \u003cem>La Strada\u003c/em>, asked me about the people on the cover, then sat down and watched it with me—and \u003cem>loved\u003c/em> it.\u003c/p>\n\u003cp>The truth is that for all his seriousness, Fellini was frequently funny and childlike in his directing style. Now, to celebrate the centennial of the director’s birth, the Castro Theater hosts \u003ca href=\"http://www.cinemaitaliasf.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Fellini 100\u003c/a>, an all-day celebration with four Fellini films: \u003cem>La Strada, Juliet of the Spirits, Amarcord, and I Vitelloni\u003c/em>. I may be biased, but if you’re a newcomer to Fellini’s work, start with \u003cem>La Strada\u003c/em>—a charming, slightly dark movie about a brutish traveling strongman and his partner, with brilliant star roles for Anthony Quinn and Guilietta Masina. Fellini 100 gets underway on Saturday, March 7, at the Castro Theater in San Francisco. \u003ca href=\"http://www.cinemaitaliasf.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.—\u003cem>Gabe Meline\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>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13875796/an-all-day-celebration-of-fellini-at-the-castro",
"authors": [
"185"
],
"programs": [
"arts_140"
],
"categories": [
"arts_74"
],
"tags": [
"arts_6476",
"arts_1146"
],
"featImg": "arts_13875797",
"label": "arts_140"
},
"arts_13875648": {
"type": "posts",
"id": "arts_13875648",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13875648",
"score": null,
"sort": [
1582898430000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1582898430,
"format": "standard",
"title": "'The Invisible Man': When Danger Is Present — And Clear",
"headTitle": "‘The Invisible Man’: When Danger Is Present — And Clear | KQED",
"content": "\u003cp>Of the Universal classic monsters—Dracula, Frankenstein, The Wolf Man, The Mummy, et al.—The Invisible Man is by far the most destructive, the most psychotic, and, not coincidentally, the most recognizably human of them all. (As played by Claude Rains, he’s also the wittiest.) When a man doesn’t have to look at himself in the mirror, he divorces himself from the moral accountability that curbs his worst instincts. Arrogance and contempt are his defining character traits, and invisibility has the effect of weaponizing them, because his scientific genius has both isolated him from other people and heightened his superiority complex. \u003c/p>\n\u003cp>With his ingenious updating of \u003cem>The Invisible Man\u003c/em>, writer-director Leigh Whannell changes perspective from the mad scientist to the terrified victim he’s stalking, which effectively turns the film into \u003cem>Gaslight\u003c/em> with a horror twist. And with an actress of Elisabeth Moss’ caliber in the lead role, the film has a psychological realism that’s unusual for the genre, with Moss playing a woman who’s withstanding a form of domestic abuse that may have a supernatural component, but feels sickeningly familiar in many respects. Invisibility has the effect of elevating a person’s worst instincts, so it follows that the manipulation and torment she experiences is just a more extreme version of common behaviors. \u003c/p>\n\u003cp>https://youtu.be/dSBsNeYqh-k\u003c/p>\n\u003cp>The brilliant opening sequence underlines this theme by removing all science fiction from the equation. In the middle of the night, Cecelia (Moss) slips away from the bed she shares with her scientist husband Adrian (Oliver Jackson-Cohen) and carries out a plan to leave him for good. There are obstacles to the plan, like the lonely cliffside location of their house and the high-tech security he’s installed as much to keep her in as to keep intruders out. But at this point in the film, Adrian is still a visible menace and Cecelia has to dash out into the night to escape him, as if this was an ordinary case of domestic battery. \u003c/p>\n\u003cp>Except it’s not remotely ordinary. Cecelia has her sister Emily (Harriet Dyer) drop her off at the house of an old friend, James (Aldis Hodge), a well-built policeman who offers her protection and allows her to bunk with his daughter (Storm Reid). Cecelia can hardly bring herself to leave the house until she gets word from Emily that Adrian has committed suicide and that she’s due for a multi-million dollar payoff from his brother (Michael Dorman), a lawyer who’s managing his sizable estate. Yet she cannot shake the feeling that Adrian is still present, due to a series of events that are minor at first—a grease fire in the kitchen, a misplaced set of plans—but soon turn violent. And it always looks like she’s responsible: Who else could have done these awful things? \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Whannell came to Hollywood as a writer partner to director James Wan, a fellow Australian, and the two hit it big with the original \u003cem>Saw\u003c/em> movie, \u003cem>Dead Silence\u003c/em>, and the \u003cem>Insidious\u003c/em> franchise, but as Wan graduated to big-budget affairs like \u003cem>The Conjuring\u003c/em>, \u003cem>Furious 7\u003c/em>, and \u003cem>Aquaman\u003c/em>, Whannel has stayed in the genre trenches. The third \u003cem>Insidious\u003c/em> film was his directorial debut, but he made a huge leap with \u003cem>Upgrade\u003c/em>, a gripping low-budget thriller that suggested David Cronenberg, \u003cem>The Matrix\u003c/em>, Ozploitation, and Hong Kong action cinema all rolled into one. \u003cem>The Invisible Man\u003c/em> has the same pulp qualities of his other work, but with a more sophisticated deployment of effects, with a lot of patient scene-building and an active, insinuating camera. \u003c/p>\n\u003cp>As Cecelia gets pushed to the brink of madness—as much by not be believed as being stalked—Whannell gives the suspense set pieces plenty of room to breathe and take on a paranoid flavor. Moss and the camera are co-conspirators in horror: She imagines Adrian watching her silently from some empty corner of a room and the camera seems to affirm her worst fears, suggesting a presence through odd angles and pans across the space. Where another actor might look foolish swatting and wrestling thin air, Moss sells it as part of the overall choreography between an immensely powerful, destructive husband and a wife struggling to leverage control over a desperate situation. \u003c/p>\n\u003cp>Whannell hasn’t sorted through some of the stickier elements of the plot—the film substitutes horror logic for logic-logic—and \u003cem>The Invisible Man \u003c/em>can occasionally feel like a dressed-up version of ’90s domestic violence thrillers like \u003cem>Sleeping with the Enemy\u003c/em> or \u003cem>Unlawful Entry\u003c/em>. Yet with Universal trying and failure to revivify the monsters in its vault with stinkers like \u003cem>The Mummy\u003c/em> and \u003cem>Dracula Untold\u003c/em>, Whannell has succeeded by deemphasizing blockbuster effects and engaging with an old monster in a new way. He’s created an invisible man for 2020 while still embracing the foundational terrors of 1933.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2020 \u003ca href=\"http://npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 846,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 10
},
"modified": 1705021208,
"excerpt": "Leigh Whannell's update of the H.G. Wells novel traffics in a \"psychological realism that's unusual for the genre,\" which effectively transforms it into \"'Gaslight' with a horror twist.\"",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Leigh Whannell's update of the H.G. Wells novel traffics in a "psychological realism that's unusual for the genre," which effectively transforms it into "'Gaslight' with a horror twist."",
"title": "'The Invisible Man': When Danger Is Present — And Clear | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'The Invisible Man': When Danger Is Present — And Clear",
"datePublished": "2020-02-28T06:00:30-08:00",
"dateModified": "2024-01-11T17:00:08-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "the-invisible-man-when-danger-is-present-and-clear",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=809316597&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprByline": "Scott Tobias",
"nprStoryDate": "Thu, 27 Feb 2020 17:00:14 -0500",
"nprLastModifiedDate": "Thu, 27 Feb 2020 17:00:14 -0500",
"featuredImageType": "standard",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/2020/02/27/809316597/the-invisible-man-when-danger-is-present-and-clear?ft=nprml&f=809316597",
"nprImageAgency": "Universal Pictures",
"nprStoryId": "809316597",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 27 Feb 2020 17:00:00 -0500",
"path": "/arts/13875648/the-invisible-man-when-danger-is-present-and-clear",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Of the Universal classic monsters—Dracula, Frankenstein, The Wolf Man, The Mummy, et al.—The Invisible Man is by far the most destructive, the most psychotic, and, not coincidentally, the most recognizably human of them all. (As played by Claude Rains, he’s also the wittiest.) When a man doesn’t have to look at himself in the mirror, he divorces himself from the moral accountability that curbs his worst instincts. Arrogance and contempt are his defining character traits, and invisibility has the effect of weaponizing them, because his scientific genius has both isolated him from other people and heightened his superiority complex. \u003c/p>\n\u003cp>With his ingenious updating of \u003cem>The Invisible Man\u003c/em>, writer-director Leigh Whannell changes perspective from the mad scientist to the terrified victim he’s stalking, which effectively turns the film into \u003cem>Gaslight\u003c/em> with a horror twist. And with an actress of Elisabeth Moss’ caliber in the lead role, the film has a psychological realism that’s unusual for the genre, with Moss playing a woman who’s withstanding a form of domestic abuse that may have a supernatural component, but feels sickeningly familiar in many respects. Invisibility has the effect of elevating a person’s worst instincts, so it follows that the manipulation and torment she experiences is just a more extreme version of common behaviors. \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/dSBsNeYqh-k'\n title='//www.youtube.com/embed/dSBsNeYqh-k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The brilliant opening sequence underlines this theme by removing all science fiction from the equation. In the middle of the night, Cecelia (Moss) slips away from the bed she shares with her scientist husband Adrian (Oliver Jackson-Cohen) and carries out a plan to leave him for good. There are obstacles to the plan, like the lonely cliffside location of their house and the high-tech security he’s installed as much to keep her in as to keep intruders out. But at this point in the film, Adrian is still a visible menace and Cecelia has to dash out into the night to escape him, as if this was an ordinary case of domestic battery. \u003c/p>\n\u003cp>Except it’s not remotely ordinary. Cecelia has her sister Emily (Harriet Dyer) drop her off at the house of an old friend, James (Aldis Hodge), a well-built policeman who offers her protection and allows her to bunk with his daughter (Storm Reid). Cecelia can hardly bring herself to leave the house until she gets word from Emily that Adrian has committed suicide and that she’s due for a multi-million dollar payoff from his brother (Michael Dorman), a lawyer who’s managing his sizable estate. Yet she cannot shake the feeling that Adrian is still present, due to a series of events that are minor at first—a grease fire in the kitchen, a misplaced set of plans—but soon turn violent. And it always looks like she’s responsible: Who else could have done these awful things? \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>Whannell came to Hollywood as a writer partner to director James Wan, a fellow Australian, and the two hit it big with the original \u003cem>Saw\u003c/em> movie, \u003cem>Dead Silence\u003c/em>, and the \u003cem>Insidious\u003c/em> franchise, but as Wan graduated to big-budget affairs like \u003cem>The Conjuring\u003c/em>, \u003cem>Furious 7\u003c/em>, and \u003cem>Aquaman\u003c/em>, Whannel has stayed in the genre trenches. The third \u003cem>Insidious\u003c/em> film was his directorial debut, but he made a huge leap with \u003cem>Upgrade\u003c/em>, a gripping low-budget thriller that suggested David Cronenberg, \u003cem>The Matrix\u003c/em>, Ozploitation, and Hong Kong action cinema all rolled into one. \u003cem>The Invisible Man\u003c/em> has the same pulp qualities of his other work, but with a more sophisticated deployment of effects, with a lot of patient scene-building and an active, insinuating camera. \u003c/p>\n\u003cp>As Cecelia gets pushed to the brink of madness—as much by not be believed as being stalked—Whannell gives the suspense set pieces plenty of room to breathe and take on a paranoid flavor. Moss and the camera are co-conspirators in horror: She imagines Adrian watching her silently from some empty corner of a room and the camera seems to affirm her worst fears, suggesting a presence through odd angles and pans across the space. Where another actor might look foolish swatting and wrestling thin air, Moss sells it as part of the overall choreography between an immensely powerful, destructive husband and a wife struggling to leverage control over a desperate situation. \u003c/p>\n\u003cp>Whannell hasn’t sorted through some of the stickier elements of the plot—the film substitutes horror logic for logic-logic—and \u003cem>The Invisible Man \u003c/em>can occasionally feel like a dressed-up version of ’90s domestic violence thrillers like \u003cem>Sleeping with the Enemy\u003c/em> or \u003cem>Unlawful Entry\u003c/em>. Yet with Universal trying and failure to revivify the monsters in its vault with stinkers like \u003cem>The Mummy\u003c/em> and \u003cem>Dracula Untold\u003c/em>, Whannell has succeeded by deemphasizing blockbuster effects and engaging with an old monster in a new way. He’s created an invisible man for 2020 while still embracing the foundational terrors of 1933.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2020 \u003ca href=\"http://npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13875648/the-invisible-man-when-danger-is-present-and-clear",
"authors": [
"byline_arts_13875648"
],
"categories": [
"arts_74"
],
"tags": [
"arts_977",
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13875653",
"label": "arts_137"
},
"arts_13875388": {
"type": "posts",
"id": "arts_13875388",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13875388",
"score": null,
"sort": [
1582578732000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1582578732,
"format": "standard",
"title": "Now Playing! Reality Rules at Jewish Film Institute’s WinterFest",
"headTitle": "Now Playing! Reality Rules at Jewish Film Institute’s WinterFest | KQED",
"content": "\u003cp>Local filmmaker Molly Stuart’s character-driven feature debut, \u003cem>Objector\u003c/em>, like most documentaries, is an act of commitment, optimism and resistance. Stuart’s doggedness and sacrifice, though, pale next to that of her subject. \u003cem>Objector\u003c/em>, screening Sunday afternoon, March 1 in the Jewish Film Institute’s annual weekend \u003ca href=\"https://jfi.org/year-round/winterfest-2020\" rel=\"noopener noreferrer\" target=\"_blank\">WinterFest\u003c/a> (Feb. 29–March 1 at the Vogue), traces the personal journey and public criticism of Israeli teenager Atalya Ben-Abba, who challenges her family’s expectations and her society’s norms by declining mandatory military service.\u003c/p>\n\u003cp>The JFI, whose primary event is the summer San Francisco Jewish Film Festival, is one of a handful of Bay Area film titans who you might have noticed present out-of-season mini-bashes. The Silent Film Festival is another, and the Mill Valley Film Festival initiated an annual springtime documentary fest a few years ago. SFFILM, in addition to the SFFILM Festival, has for many years presented contemporary surveys of national cinemas in the fall.\u003c/p>\n\u003cp>Good movies are released year-round, of course, and the best justification for off-season expansion is that some films demand to be seen now rather than later. \u003cem>Objector\u003c/em> is Exhibit A—if, that is, one believes Netanyahu (and Trump) have an iota of interest in peace. If you don’t, \u003cem>Objector\u003c/em> may seem less urgent, and Atalya’s high-stakes act of conscience more quixotic than inspiring.\u003c/p>\n\u003cp>https://vimeo.com/330097421\u003c/p>\n\u003cp>The WinterFest lineup is dominated by nonfiction, which feels like something of a public service at the present time. You can tell by the title if you want to see \u003cem>Oliver Sacks: His Own Life\u003c/em>, Ric Burns’ behind-the-scenes portrait, and \u003cem>Bully, Coward, Victim. The Story of Roy Cohn\u003c/em>, made for HBO by Ethel and Julius Rosenberg’s granddaughter, Ivy Meeropol.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Dramatizing real events in a narrative film is a high-wire proposition, one that writer-director Yaron Zilberman pulls off flawlessly in \u003cem>Incitement\u003c/em>. This mesmerizing movie, which won Israel’s top awards and was its official submission for the recent Oscars, follows observant Jewish law student Yigal Amir (Yehuda Nahari in a simultaneously appealing and repellent performance) as he gradually, inexorably becomes more radicalized by right-wing rhetoric and leaders. The camera is practically on Amir’s shoulder all the way until the moment he shoots Prime Minister Yitzhak Rabin.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If you can only see one selection at WinterFest, and you are remotely a fan of nuanced European films, do not miss the understated Hungarian drama \u003cem>Those Who Remained\u003c/em>. Barnabás Tóth’s tale of the unlikely friendship between a resentful teenager and a doctor who’s a shell of his former self—both of whom lost their families at the hands of the Nazis—is sensitive, subtle and profound. \u003cem>Those Who Remained\u003c/em> will open in the spring, but it’s well worth seeing now rather than later. One discerns in it the spirit of resistance, at the present time.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 508,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 8
},
"modified": 1705021239,
"excerpt": "The lineup is dominated by nonfiction, which feels like something of a public service at the present time.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The lineup is dominated by nonfiction, which feels like something of a public service at the present time.",
"title": "Now Playing! Reality Rules at Jewish Film Institute’s WinterFest | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Now Playing! Reality Rules at Jewish Film Institute’s WinterFest",
"datePublished": "2020-02-24T13:12:12-08:00",
"dateModified": "2024-01-11T17:00:39-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "now-playing-reality-rules-at-jewish-film-institutes-winterfest",
"status": "publish",
"templateType": "standard",
"venueName": "Vogue THeatre",
"featuredImageType": "standard",
"sticky": false,
"startTime": 1582966800,
"endTime": 1583132400,
"startTimeString": "Feb. 29–March 1",
"venueAddress": "3290 Sacramento St., San Francisco",
"eventLink": "https://jfi.org/year-round/winterfest-2020",
"path": "/arts/13875388/now-playing-reality-rules-at-jewish-film-institutes-winterfest",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Local filmmaker Molly Stuart’s character-driven feature debut, \u003cem>Objector\u003c/em>, like most documentaries, is an act of commitment, optimism and resistance. Stuart’s doggedness and sacrifice, though, pale next to that of her subject. \u003cem>Objector\u003c/em>, screening Sunday afternoon, March 1 in the Jewish Film Institute’s annual weekend \u003ca href=\"https://jfi.org/year-round/winterfest-2020\" rel=\"noopener noreferrer\" target=\"_blank\">WinterFest\u003c/a> (Feb. 29–March 1 at the Vogue), traces the personal journey and public criticism of Israeli teenager Atalya Ben-Abba, who challenges her family’s expectations and her society’s norms by declining mandatory military service.\u003c/p>\n\u003cp>The JFI, whose primary event is the summer San Francisco Jewish Film Festival, is one of a handful of Bay Area film titans who you might have noticed present out-of-season mini-bashes. The Silent Film Festival is another, and the Mill Valley Film Festival initiated an annual springtime documentary fest a few years ago. SFFILM, in addition to the SFFILM Festival, has for many years presented contemporary surveys of national cinemas in the fall.\u003c/p>\n\u003cp>Good movies are released year-round, of course, and the best justification for off-season expansion is that some films demand to be seen now rather than later. \u003cem>Objector\u003c/em> is Exhibit A—if, that is, one believes Netanyahu (and Trump) have an iota of interest in peace. If you don’t, \u003cem>Objector\u003c/em> may seem less urgent, and Atalya’s high-stakes act of conscience more quixotic than inspiring.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "vimeoLink",
"attributes": {
"named": {
"vimeoId": "330097421"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The WinterFest lineup is dominated by nonfiction, which feels like something of a public service at the present time. You can tell by the title if you want to see \u003cem>Oliver Sacks: His Own Life\u003c/em>, Ric Burns’ behind-the-scenes portrait, and \u003cem>Bully, Coward, Victim. The Story of Roy Cohn\u003c/em>, made for HBO by Ethel and Julius Rosenberg’s granddaughter, Ivy Meeropol.\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>Dramatizing real events in a narrative film is a high-wire proposition, one that writer-director Yaron Zilberman pulls off flawlessly in \u003cem>Incitement\u003c/em>. This mesmerizing movie, which won Israel’s top awards and was its official submission for the recent Oscars, follows observant Jewish law student Yigal Amir (Yehuda Nahari in a simultaneously appealing and repellent performance) as he gradually, inexorably becomes more radicalized by right-wing rhetoric and leaders. The camera is practically on Amir’s shoulder all the way until the moment he shoots Prime Minister Yitzhak Rabin.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If you can only see one selection at WinterFest, and you are remotely a fan of nuanced European films, do not miss the understated Hungarian drama \u003cem>Those Who Remained\u003c/em>. Barnabás Tóth’s tale of the unlikely friendship between a resentful teenager and a doctor who’s a shell of his former self—both of whom lost their families at the hands of the Nazis—is sensitive, subtle and profound. \u003cem>Those Who Remained\u003c/em> will open in the spring, but it’s well worth seeing now rather than later. One discerns in it the spirit of resistance, at the present time.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13875388/now-playing-reality-rules-at-jewish-film-institutes-winterfest",
"authors": [
"22"
],
"programs": [
"arts_140"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_977",
"arts_1006",
"arts_596",
"arts_4221"
],
"featImg": "arts_13875405",
"label": "arts_140"
},
"arts_13875371": {
"type": "posts",
"id": "arts_13875371",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13875371",
"score": null,
"sort": [
1582570974000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1582570974,
"format": "standard",
"title": "What Happens Between Films—and Friends—at a Movie Theater?",
"headTitle": "What Happens Between Films—and Friends—at a Movie Theater? | KQED",
"content": "\u003cp>Working at a movie theater is the definition of “hurry up and wait.” You hustle to sell tickets and popcorn, you get everyone in their seats, and then you have two hours of downtime. What happens in the long spaces between movies? \u003cem>The Flick\u003c/em> is a Pulitzer-winning play about just that. With only three characters, all of them working at an outdated one-screen movie theater, the play covers idle chatter, dance-offs, romantic pursuits, brash confessions, tête-à-têtes, and an ongoing game of \u003ca href=\"https://en.wikipedia.org/wiki/Six_Degrees_of_Kevin_Bacon\" rel=\"noopener noreferrer\" target=\"_blank\">Six Degrees of Kevin Bacon\u003c/a>.\u003c/p>\n\u003cp>I saw \u003cem>The Flick\u003c/em> when it was at Shotgun Players in Berkeley last year, and it wasn’t perfect, but having firsthand knowledge of the tedium and drudgery of movie theater employment, I can say that it got a lot of things right. Enough so that I’m excited to see it in the hands of Left Edge Theater company in Santa Rosa, a small company with a big reputation for excellence. If you’ve ever worked at a movie theater, or really any job working with the public, I fully recommend it. It runs March 6-29 at Left Edge Theater, in the Luther Burbank Center in Santa Rosa.—\u003cem>Gabe Meline\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 215,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 4
},
"modified": 1705021240,
"excerpt": "'The Flick,' opening soon in Santa Rosa, captures something very true about the tedium of movie theater employment.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "'The Flick,' opening soon in Santa Rosa, captures something very true about the tedium of movie theater employment.",
"title": "What Happens Between Films—and Friends—at a Movie Theater? | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "What Happens Between Films—and Friends—at a Movie Theater?",
"datePublished": "2020-02-24T11:02:54-08:00",
"dateModified": "2024-01-11T17:00:40-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "a-play-about-a-movie-theaters-long-slow-work-hours",
"status": "publish",
"templateType": "event",
"venueName": "Left Edge Theatre",
"featuredImageType": "standard",
"sticky": false,
"startTime": 1583481600,
"endTime": 1585465200,
"startTimeString": "March 6–29, 2020",
"venueAddress": "50 Mark West Springs Road, Santa Rosa",
"eventLink": "https://www.leftedgetheatre.com/the-flick",
"path": "/arts/13875371/a-play-about-a-movie-theaters-long-slow-work-hours",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Working at a movie theater is the definition of “hurry up and wait.” You hustle to sell tickets and popcorn, you get everyone in their seats, and then you have two hours of downtime. What happens in the long spaces between movies? \u003cem>The Flick\u003c/em> is a Pulitzer-winning play about just that. With only three characters, all of them working at an outdated one-screen movie theater, the play covers idle chatter, dance-offs, romantic pursuits, brash confessions, tête-à-têtes, and an ongoing game of \u003ca href=\"https://en.wikipedia.org/wiki/Six_Degrees_of_Kevin_Bacon\" rel=\"noopener noreferrer\" target=\"_blank\">Six Degrees of Kevin Bacon\u003c/a>.\u003c/p>\n\u003cp>I saw \u003cem>The Flick\u003c/em> when it was at Shotgun Players in Berkeley last year, and it wasn’t perfect, but having firsthand knowledge of the tedium and drudgery of movie theater employment, I can say that it got a lot of things right. Enough so that I’m excited to see it in the hands of Left Edge Theater company in Santa Rosa, a small company with a big reputation for excellence. If you’ve ever worked at a movie theater, or really any job working with the public, I fully recommend it. It runs March 6-29 at Left Edge Theater, in the Luther Burbank Center in Santa Rosa.—\u003cem>Gabe Meline\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>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13875371/a-play-about-a-movie-theaters-long-slow-work-hours",
"authors": [
"185"
],
"programs": [
"arts_140"
],
"categories": [
"arts_74",
"arts_967"
],
"tags": [
"arts_5544",
"arts_2721"
],
"featImg": "arts_13875376",
"label": "arts_140"
},
"arts_13875347": {
"type": "posts",
"id": "arts_13875347",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13875347",
"score": null,
"sort": [
1582562190000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1582562190,
"format": "standard",
"title": "In 'Once Were Brothers,' The Band's Earliest Years Shine",
"headTitle": "In ‘Once Were Brothers,’ The Band’s Earliest Years Shine | KQED",
"content": "\u003cp>The Band generated mythic status from the start. Crashing on the scene as Bob Dylan’s anonymous-but-not-for-long backup band on his controversial and thrilling electrified tours of 1965-66, the group emerged fully formed, capable of both intense and experimentalist noise and tight, basic rock and roll. \u003c/p>\n\u003cp>The Band’s first album, \u003cem>Music From Big Pink\u003c/em> (1968), was embraced by musicians and critics and seen as the harbinger of a new kind of post-psychedelic roots music. That album and their second, \u003cem>The Band\u003c/em> (1969), were not big sellers, but gained huge respect from critics and musicians as the group built up a passionate fan following. In 1975, critic Greil Marcus described them in \u003cem>Mystery Train: Images of America in Rock and Roll \u003c/em>as “committed to the very idea of America: complicated, dangerous, and alive. Their music gave us a sure sense that the country was richer than we had guessed; that it has possibilities we were only beginning to perceive.” \u003c/p>\n\u003cp>[aside postID='arts_13841271' label='More Dylan']\u003c/p>\n\u003cp>That symbolic weight was the core of \u003cem>The Last Waltz \u003c/em>(1978), Martin Scorsese’s loving documentary capturing the group’s final concert in 1976. Scorsese’s film framed the project as more Robertson’s band than interdependent whole — which all became a bit much for drummer Levon Helm who, in his 1993 book, \u003cem>This Wheel’s on Fire\u003c/em>, blamed Robertson for its breakup and accused him of taking credit for songs that should have been shared. Helm \u003ca href=\"https://www.npr.org/sections/therecord/2012/04/19/150878648/levon-helm-drummer-and-singer-in-the-band-dies\">died\u003c/a> in 2012; bassist Rick Danko in 1999; and pianist Richard Manuel committed suicide in 1986. Robertson and organist Garth Hudson are the only surviving members.\u003c/p>\n\u003cp>A new documentary, \u003ca href=\"https://www.oncewerebrothers.com/\">\u003cem>Once Were Brothers: Robbie Robertson and the Band\u003c/em>\u003c/a>, directed by Daniel Roher, is a warm, poignant take on The Band’s story — again, as the subtitle suggests, from Robertson’s point of view. It often feels like a direct response to Helm’s version of the story; in extensive interviews, Robertson heaps praise on his bandmates and reminisces wistfully about their best years together. Accompanied by beautiful photos of recording sessions and Big Pink, the group’s house in Woodstock, New York, the film is nostalgic and elegiac, and adds to the sense that the recording of their first two albums was a musician’s utopia — deeply collaborative, done on their own terms. There are the usual rock documentary talking heads — with the likes of Eric Clapton, Bruce Springsteen and Van Morrison appearing — as well as archival interview clips from The Band’s members. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The gems here are the tales of Dominique Bourgeois, Robertson’s ex-wife, a French-Canadian journalist who met him in Paris while on tour with Dylan in 1966, and who then lived with him during the making of The Band’s classic records. It’s \u003cem>still\u003c/em> rare to see women represented as essential to the rock scene of that era, and Dominique Robertson’s contributions recenter the Big Pink experience around relationships and place, rather than solely music. \u003c/p>\n\u003cp>The film’s most significant contribution to the group’s overall legacy is its extensive coverage of the earliest adventures of The Band, when they were still The Hawks and backing up the great rock wild-man Ronnie Hawkins in clubs around Toronto and on tours through America. Plenty of fresh photos and a television performance from those years help add detail and texture to a formative period for rock and roll, the pre-Beatles ’60s, that’s often mischaracterized as lacking grit. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Once Were Brothers \u003c/em>presents that era as historically on par with any show The Band performed with Dylan — which, in the end, might be its most significant contribution. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+%27Once+Were+Brothers%2C%27+The+Band%27s+Earliest+Years+Shine&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 650,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 10
},
"modified": 1705021244,
"excerpt": "A new documentary doesn't radically alter what we know and love about The Band, but does unearth some fresh details.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "A new documentary doesn't radically alter what we know and love about The Band, but does unearth some fresh details.",
"title": "In 'Once Were Brothers,' The Band's Earliest Years Shine | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "In 'Once Were Brothers,' The Band's Earliest Years Shine",
"datePublished": "2020-02-24T08:36:30-08:00",
"dateModified": "2024-01-11T17:00:44-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "in-once-were-brothers-the-bands-earliest-years-shine",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=808807351&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Mon, 24 Feb 2020 10:38:00 -0500",
"nprLastModifiedDate": "Mon, 24 Feb 2020 10:38:00 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2020/02/24/808807351/in-once-were-brothers-the-band-s-earliest-years-shine?ft=nprml&f=808807351",
"nprImageAgency": "Redferns",
"nprStoryId": "808807351",
"nprByline": "Lauren Onkey",
"sticky": false,
"nprImageCredit": "Gijsbert Hanekroot",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 24 Feb 2020 10:38:00 -0500",
"path": "/arts/13875347/in-once-were-brothers-the-bands-earliest-years-shine",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Band generated mythic status from the start. Crashing on the scene as Bob Dylan’s anonymous-but-not-for-long backup band on his controversial and thrilling electrified tours of 1965-66, the group emerged fully formed, capable of both intense and experimentalist noise and tight, basic rock and roll. \u003c/p>\n\u003cp>The Band’s first album, \u003cem>Music From Big Pink\u003c/em> (1968), was embraced by musicians and critics and seen as the harbinger of a new kind of post-psychedelic roots music. That album and their second, \u003cem>The Band\u003c/em> (1969), were not big sellers, but gained huge respect from critics and musicians as the group built up a passionate fan following. In 1975, critic Greil Marcus described them in \u003cem>Mystery Train: Images of America in Rock and Roll \u003c/em>as “committed to the very idea of America: complicated, dangerous, and alive. Their music gave us a sure sense that the country was richer than we had guessed; that it has possibilities we were only beginning to perceive.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13841271",
"label": "More Dylan "
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That symbolic weight was the core of \u003cem>The Last Waltz \u003c/em>(1978), Martin Scorsese’s loving documentary capturing the group’s final concert in 1976. Scorsese’s film framed the project as more Robertson’s band than interdependent whole — which all became a bit much for drummer Levon Helm who, in his 1993 book, \u003cem>This Wheel’s on Fire\u003c/em>, blamed Robertson for its breakup and accused him of taking credit for songs that should have been shared. Helm \u003ca href=\"https://www.npr.org/sections/therecord/2012/04/19/150878648/levon-helm-drummer-and-singer-in-the-band-dies\">died\u003c/a> in 2012; bassist Rick Danko in 1999; and pianist Richard Manuel committed suicide in 1986. Robertson and organist Garth Hudson are the only surviving members.\u003c/p>\n\u003cp>A new documentary, \u003ca href=\"https://www.oncewerebrothers.com/\">\u003cem>Once Were Brothers: Robbie Robertson and the Band\u003c/em>\u003c/a>, directed by Daniel Roher, is a warm, poignant take on The Band’s story — again, as the subtitle suggests, from Robertson’s point of view. It often feels like a direct response to Helm’s version of the story; in extensive interviews, Robertson heaps praise on his bandmates and reminisces wistfully about their best years together. Accompanied by beautiful photos of recording sessions and Big Pink, the group’s house in Woodstock, New York, the film is nostalgic and elegiac, and adds to the sense that the recording of their first two albums was a musician’s utopia — deeply collaborative, done on their own terms. There are the usual rock documentary talking heads — with the likes of Eric Clapton, Bruce Springsteen and Van Morrison appearing — as well as archival interview clips from The Band’s members. \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 gems here are the tales of Dominique Bourgeois, Robertson’s ex-wife, a French-Canadian journalist who met him in Paris while on tour with Dylan in 1966, and who then lived with him during the making of The Band’s classic records. It’s \u003cem>still\u003c/em> rare to see women represented as essential to the rock scene of that era, and Dominique Robertson’s contributions recenter the Big Pink experience around relationships and place, rather than solely music. \u003c/p>\n\u003cp>The film’s most significant contribution to the group’s overall legacy is its extensive coverage of the earliest adventures of The Band, when they were still The Hawks and backing up the great rock wild-man Ronnie Hawkins in clubs around Toronto and on tours through America. Plenty of fresh photos and a television performance from those years help add detail and texture to a formative period for rock and roll, the pre-Beatles ’60s, that’s often mischaracterized as lacking grit. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Once Were Brothers \u003c/em>presents that era as historically on par with any show The Band performed with Dylan — which, in the end, might be its most significant contribution. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+%27Once+Were+Brothers%2C%27+The+Band%27s+Earliest+Years+Shine&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13875347/in-once-were-brothers-the-bands-earliest-years-shine",
"authors": [
"byline_arts_13875347"
],
"categories": [
"arts_74",
"arts_69"
],
"tags": [
"arts_1537",
"arts_1118",
"arts_9060",
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13875356",
"label": "arts_137"
},
"arts_13875261": {
"type": "posts",
"id": "arts_13875261",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13875261",
"score": null,
"sort": [
1582235459000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1582235459,
"format": "standard",
"title": "New 'Emma' is a Frosted Cupcake Come to Life (in a Good Way)",
"headTitle": "New ‘Emma’ is a Frosted Cupcake Come to Life (in a Good Way) | KQED",
"content": "\u003cp>The latest adaptation of Jane Austen’s \u003cem>Emma \u003c/em>is as handsome, clever and rich as its famous heroine—and I mean “rich” in the caloric sense, as well. I wanted to snack on every pastel-hued surface of Kave Quinn’s production design, which suggests nothing less than a frosted cupcake come to life—a feast of lace bonnets and high collars, gilded frames and glass chandeliers.\u003c/p>\n\u003cp>Happily, all this decorative excess serves a purpose. This is the first feature from the photographer and music-video director Autumn de Wilde, and while she has an obvious eye for beauty, she has an equally sharp eye for the absurd. There’s a touch of \u003ca href=\"https://www.npr.org/2014/03/12/289423863/wes-anderson-we-made-a-pastiche-of-eastern-europes-greatest-hits\" target=\"_blank\" rel=\"noopener noreferrer\">Wes Anderson\u003c/a> archness to her aesthetic, the way her camera both flatters and mocks the cavernous drawing rooms and sunny meadows of the 19th-century English village of Highbury. De Wilde knows that something as simple as a symmetrically framed shot of her characters can serve as a silent punchline. Her style is an ideal marriage of visual extravagance and satirical distance.\u003c/p>\n\u003cp>Speaking of ideal marriages: Emma Woodhouse, the 21-year-old queen bee of Highbury, remains as irrepressible a matchmaker as ever. Anya Taylor-Joy, the actress with the piercing gaze who came to prominence in horror movies like \u003ca href=\"https://www.npr.org/2016/02/18/467070428/a-banished-family-fights-its-demons-in-a-puritanical-age\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Witch\u003c/em>\u003c/a>, plays her as a somewhat chillier, more aloof heroine than, say, Gwyneth Paltrow did in 1996. But if anything, that only makes it all the more moving to see Emma’s porcelain-like facade crack as she realizes that her instincts as a judge of character were not as shrewd as she thought.\u003c/p>\n\u003cp>Fortunately, her longtime family friend Mr. Knightley is there to scold and correct her at every turn. The actor and musician Johnny Flynn, so memorable in the psychological thriller \u003ca href=\"https://www.npr.org/2018/05/10/609756122/in-the-nerve-wracking-thriller-beast-a-dark-beauty\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Beast\u003c/em>\u003c/a>, brings a scruffy rock-star edge to the role of this impeccably well-mannered gentleman. The two of them spar furiously over the matter of Emma’s friend Harriet Smith, whom she’s trying to match up with the local vicar, Mr. Elton — a very funny Josh O’Connor, whom you may recognize as Prince Charles on \u003cem>The Crown\u003c/em>. But Emma’s plans have a way of backfiring: Too late she realizes that the foolish Mr. Elton has fallen in love with her, not Harriet.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qsOwj0PR5Sk\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The late English mystery writer \u003ca href=\"https://www.npr.org/2014/12/01/367766895/p-d-james-believed-mysteries-were-made-of-clues-not-coincidences\" target=\"_blank\" rel=\"noopener noreferrer\">P.D. James\u003c/a> once wrote an essay championing \u003cem>Emma \u003c/em>as not just a great piece of literature but also a great detective story—a series of deceptions and misunderstandings so cunningly crafted that both Emma and the reader are led up the garden path. By the end, order is happily restored and the truth is shown to have been hiding in plain sight, as Emma realizes how badly she misjudged everyone’s romantic motivations, including her own.\u003c/p>\n\u003cp>If you’ve read the book or seen an earlier adaptation, you won’t be surprised by any of these revelations. The script, by the Booker Prize-winning novelist Eleanor Catton, is fairly faithful to the story and no less satisfying for it. This Emma isn’t an audacious reinterpretation like \u003ca href=\"https://www.npr.org/2017/11/16/564579012/greta-gerwig-explores-mother-daughter-love-and-angst-in-lady-bird\" target=\"_blank\" rel=\"noopener noreferrer\">Greta Gerwig’\u003c/a>s \u003ca href=\"https://www.npr.org/2019/12/20/789740628/little-women-again-greta-gerwig-s-adaptation-is-both-faithful-and-radical\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Little Women\u003c/em>\u003c/a>\u003cem>, \u003c/em>which took significant liberties with a similarly beloved novel.\u003c/p>\n\u003cp>Okay, so some Austen purists might take issue with the early shot of Mr. Knightley’s naked backside as a servant helps him dress, or a later scene when Emma briefly lifts her skirt to warm her rear end by the fireplace. But I liked these moments of earthy humor. It’s de Wilde’s way of puncturing her characters’ pretensions, as if to remind us that they’re flesh-and-blood human beings beneath all that stately diction and period finery.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After the effervescent comedy of the movie’s first half, the second is basically one emotional knockout punch after another, aided by a musical score that deftly balances whimsy and melancholy. It helps that de Wilde’s actors are so good at finding fresh nuances even in this timeless material. I loved every hilarious moment of Miranda Hart’s performance as Miss Bates, the village chatterbox whose stories bore Emma to no end—but who turns out to have the biggest heart in Highbury. Mia Goth is especially lovely as the naive, eager-to-please Harriet. And it should come as no surprise that the great Bill Nighy steals his every scene as Emma’s endearing hypochondriac of a father. He’s a perfect mascot for the movie—impeccably dressed, knowingly ridiculous and awfully hard to resist.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=New+%27Emma%27+Is+A+Frosted+Cupcake+Come+To+Life+%28In+A+Good+Way%29&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 800,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 10
},
"modified": 1705021254,
"excerpt": "Autumn de Wilde's adaptation of the Jane Austen classic is as clever and rich as its famous heroine—in part, because its actors are so good at finding fresh nuances in this timeless material.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Autumn de Wilde's adaptation of the Jane Austen classic is as clever and rich as its famous heroine—in part, because its actors are so good at finding fresh nuances in this timeless material.",
"title": "New 'Emma' is a Frosted Cupcake Come to Life (in a Good Way) | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "New 'Emma' is a Frosted Cupcake Come to Life (in a Good Way)",
"datePublished": "2020-02-20T13:50:59-08:00",
"dateModified": "2024-01-11T17:00:54-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "new-emma-is-a-frosted-cupcake-come-to-life-in-a-good-way",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=807744782&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Thu, 20 Feb 2020 13:17:00 -0500",
"nprLastModifiedDate": "Thu, 20 Feb 2020 13:41:57 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2020/02/20/807744782/new-emma-is-a-frosted-cupcake-come-to-life-in-a-good-way?ft=nprml&f=807744782",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/fa/2020/02/20200220_fa_02.mp3?orgId=427869011&topicId=4467349&d=439&p=13&story=807744782&ft=nprml&f=807744782",
"nprImageAgency": "Box Hill Films/Focus Features",
"nprAudioM3u": "http://api.npr.org/m3u/1807811819-6e3aab.m3u?orgId=427869011&topicId=4467349&d=439&p=13&story=807744782&ft=nprml&f=807744782",
"nprStoryId": "807744782",
"nprByline": "Justin Chang",
"sticky": false,
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 20 Feb 2020 13:41:00 -0500",
"path": "/arts/13875261/new-emma-is-a-frosted-cupcake-come-to-life-in-a-good-way",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/fa/2020/02/20200220_fa_02.mp3?orgId=427869011&topicId=4467349&d=439&p=13&story=807744782&ft=nprml&f=807744782",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The latest adaptation of Jane Austen’s \u003cem>Emma \u003c/em>is as handsome, clever and rich as its famous heroine—and I mean “rich” in the caloric sense, as well. I wanted to snack on every pastel-hued surface of Kave Quinn’s production design, which suggests nothing less than a frosted cupcake come to life—a feast of lace bonnets and high collars, gilded frames and glass chandeliers.\u003c/p>\n\u003cp>Happily, all this decorative excess serves a purpose. This is the first feature from the photographer and music-video director Autumn de Wilde, and while she has an obvious eye for beauty, she has an equally sharp eye for the absurd. There’s a touch of \u003ca href=\"https://www.npr.org/2014/03/12/289423863/wes-anderson-we-made-a-pastiche-of-eastern-europes-greatest-hits\" target=\"_blank\" rel=\"noopener noreferrer\">Wes Anderson\u003c/a> archness to her aesthetic, the way her camera both flatters and mocks the cavernous drawing rooms and sunny meadows of the 19th-century English village of Highbury. De Wilde knows that something as simple as a symmetrically framed shot of her characters can serve as a silent punchline. Her style is an ideal marriage of visual extravagance and satirical distance.\u003c/p>\n\u003cp>Speaking of ideal marriages: Emma Woodhouse, the 21-year-old queen bee of Highbury, remains as irrepressible a matchmaker as ever. Anya Taylor-Joy, the actress with the piercing gaze who came to prominence in horror movies like \u003ca href=\"https://www.npr.org/2016/02/18/467070428/a-banished-family-fights-its-demons-in-a-puritanical-age\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Witch\u003c/em>\u003c/a>, plays her as a somewhat chillier, more aloof heroine than, say, Gwyneth Paltrow did in 1996. But if anything, that only makes it all the more moving to see Emma’s porcelain-like facade crack as she realizes that her instincts as a judge of character were not as shrewd as she thought.\u003c/p>\n\u003cp>Fortunately, her longtime family friend Mr. Knightley is there to scold and correct her at every turn. The actor and musician Johnny Flynn, so memorable in the psychological thriller \u003ca href=\"https://www.npr.org/2018/05/10/609756122/in-the-nerve-wracking-thriller-beast-a-dark-beauty\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Beast\u003c/em>\u003c/a>, brings a scruffy rock-star edge to the role of this impeccably well-mannered gentleman. The two of them spar furiously over the matter of Emma’s friend Harriet Smith, whom she’s trying to match up with the local vicar, Mr. Elton — a very funny Josh O’Connor, whom you may recognize as Prince Charles on \u003cem>The Crown\u003c/em>. But Emma’s plans have a way of backfiring: Too late she realizes that the foolish Mr. Elton has fallen in love with her, not Harriet.\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/qsOwj0PR5Sk'\n title='//www.youtube.com/embed/qsOwj0PR5Sk'\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>The late English mystery writer \u003ca href=\"https://www.npr.org/2014/12/01/367766895/p-d-james-believed-mysteries-were-made-of-clues-not-coincidences\" target=\"_blank\" rel=\"noopener noreferrer\">P.D. James\u003c/a> once wrote an essay championing \u003cem>Emma \u003c/em>as not just a great piece of literature but also a great detective story—a series of deceptions and misunderstandings so cunningly crafted that both Emma and the reader are led up the garden path. By the end, order is happily restored and the truth is shown to have been hiding in plain sight, as Emma realizes how badly she misjudged everyone’s romantic motivations, including her own.\u003c/p>\n\u003cp>If you’ve read the book or seen an earlier adaptation, you won’t be surprised by any of these revelations. The script, by the Booker Prize-winning novelist Eleanor Catton, is fairly faithful to the story and no less satisfying for it. This Emma isn’t an audacious reinterpretation like \u003ca href=\"https://www.npr.org/2017/11/16/564579012/greta-gerwig-explores-mother-daughter-love-and-angst-in-lady-bird\" target=\"_blank\" rel=\"noopener noreferrer\">Greta Gerwig’\u003c/a>s \u003ca href=\"https://www.npr.org/2019/12/20/789740628/little-women-again-greta-gerwig-s-adaptation-is-both-faithful-and-radical\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Little Women\u003c/em>\u003c/a>\u003cem>, \u003c/em>which took significant liberties with a similarly beloved novel.\u003c/p>\n\u003cp>Okay, so some Austen purists might take issue with the early shot of Mr. Knightley’s naked backside as a servant helps him dress, or a later scene when Emma briefly lifts her skirt to warm her rear end by the fireplace. But I liked these moments of earthy humor. It’s de Wilde’s way of puncturing her characters’ pretensions, as if to remind us that they’re flesh-and-blood human beings beneath all that stately diction and period finery.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After the effervescent comedy of the movie’s first half, the second is basically one emotional knockout punch after another, aided by a musical score that deftly balances whimsy and melancholy. It helps that de Wilde’s actors are so good at finding fresh nuances even in this timeless material. I loved every hilarious moment of Miranda Hart’s performance as Miss Bates, the village chatterbox whose stories bore Emma to no end—but who turns out to have the biggest heart in Highbury. Mia Goth is especially lovely as the naive, eager-to-please Harriet. And it should come as no surprise that the great Bill Nighy steals his every scene as Emma’s endearing hypochondriac of a father. He’s a perfect mascot for the movie—impeccably dressed, knowingly ridiculous and awfully hard to resist.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=New+%27Emma%27+Is+A+Frosted+Cupcake+Come+To+Life+%28In+A+Good+Way%29&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13875261/new-emma-is-a-frosted-cupcake-come-to-life-in-a-good-way",
"authors": [
"byline_arts_13875261"
],
"categories": [
"arts_74"
],
"tags": [
"arts_928"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13875262",
"label": "arts_137"
},
"arts_13874896": {
"type": "posts",
"id": "arts_13874896",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13874896",
"score": null,
"sort": [
1582160402000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1582160402,
"format": "standard",
"title": "Revisiting 'Tiptoes'—and Gary Oldman's Bizarre Starring Role as a Little Person",
"headTitle": "Revisiting ‘Tiptoes’—and Gary Oldman’s Bizarre Starring Role as a Little Person | KQED",
"content": "\u003cp>In an interview about his movie, Gary Oldman once said: “It is a glorious part. A dream of a role. But it wasn’t an immediate ‘yes’. I just wondered how I would meet the physical challenge of it. I happen to think it’s an incredible … bench mark in the field of make-up.”\u003c/p>\n\u003cp>Oldman was, of course, talking about his Academy Award-winning transformation into Winston Churchill in \u003cem>Darkest Hour. \u003c/em>But various corners of the internet have since \u003ca href=\"https://www.youtube.com/watch?v=A4w6-XXXv90\" target=\"_blank\" rel=\"noopener noreferrer\">taken his words\u003c/a> and applied them instead to his role in 2004’s \u003cem>Tiptoes\u003c/em>—a relentless hellride of a movie in which he plays a little person. (Try not to think on that title too hard—it gets worse the longer you do.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=O3qGGk5ymQ4\u003c/p>\n\u003cp>“He was basically on his knees,” co-star \u003ca href=\"https://www.yahoo.com/entertainment/the-incredible-story-behind-tiptoes-the-movie-in-121940150.html\" target=\"_blank\" rel=\"noopener noreferrer\">Kate Beckinsale later explained\u003c/a> to MTV, “with a prosthetic part of his head and face and a hump and different kinds of harnesses to strap his arms back to make them short, and special clothes. They had various different effects, like if he was sitting in a chair, his legs would actually be inside the chair and he’d have these little fake legs sticking out on top.”\u003c/p>\n\u003cp>She’s not joking.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Tiptoes\u003c/em>, at first glance, appears to be a fairly typical romantic comedy: Matthew McConaughey plays Steven, a regular-guy firefighter who’s in a relationship with a tattooed painter named Carol (played by Beckinsale). Steven is secretive about his background until Carol gets a surprise visitor one day who tells her that Steven is the only one in his family who wasn’t born with dwarfism. The news is an especially big shock since she’s just found out she is pregnant.\u003c/p>\n\u003cfigure id=\"attachment_13874946\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874946\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/v1.jpg\" alt=\"Patricia Arquette and Peter Dinklage in 'Tiptoes.'\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/v1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/v1-160x160.jpg 160w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">Patricia Arquette and Peter Dinklage in ‘Tiptoes.’\u003c/figcaption>\u003c/figure>\n\u003cp>Oldman plays Steven’s twin brother Rolfe (with an American accent that is not great), and Peter Dinklage appears as his pal Maurice, a French Marxist (with an accent that’s not… \u003cem>bien\u003c/em>). Maurice is dating Lucy, a hitchhiker with white-lady cornrows played by Patricia Arquette. (It’s worth noting that Arquette and Dinklage play the only vaguely likable characters in this entire thing.)\u003c/p>\n\u003cp>It remains a mystery how this movie got a cast of this stature, but one gets the sense that, once upon a time, \u003cem>Tiptoes\u003c/em> was trying to be important. The ghosts of those good intentions emerge occasionally in scenes that aim to prove that little people are just like everyone else—opinionated, sexually active, well-rounded—except for when they’re forced to deal with casual abuse from strangers and physical ailments related to their size. Unfortunately, because the movie ultimately can’t figure out what it wants to be—a romance, slapstick comedy or searing drama—salient points tend to get lost.\u003c/p>\n\u003cp>It doesn’t help that the script is self-conscious, PSA-level clunky and grossly \u003ca href=\"https://dwarfparents.com/chance-having-dwarf-child\" target=\"_blank\" rel=\"noopener noreferrer\">over-estimates the likelihood\u003c/a> of two average sized people producing a child with dwarfism. It doesn’t help that the ending is completely out of left field and patronizing but, worst of all, the film is prone to presenting little people as caricatures—the slutty blond, the angry communist and the wholesome family man are all here.\u003c/p>\n\u003cp>If there’s one consistent element in\u003cem> Tiptoes,\u003c/em> it’s in just how offensive Oldman’s physical appearance is. He’s given a walking stick as a ploy to explain the awkward movements caused by him “walking” on his knees. His prosthetic hump moves and changes size. And every time an actual little person is used as his body double, it shines a spotlight on just how different Oldman’s proportions are. Worst of all, those fake legs Beckinsale mentioned look like limp foam appendages ripped off a cheap Halloween costume.\u003c/p>\n\u003cp>In a 2012 \u003cem>New York Times\u003c/em> interview, Dinklage expressed mixed feelings about the film. “It was sort of an amazing idea for a movie, but the result [of the final cut] was what we were fighting against—the cutesiness of little people,” he said. “There was some flak. ‘Why would you put Gary Oldman on his knees? That’s almost like blackface.’ And I have my own opinions about political correctness, but I was just like, ‘It’s Gary Oldman. He can do whatever he wants.'”\u003c/p>\n\u003cp>(Just because you can, doesn’t mean you should.)\u003c/p>\n\u003cfigure id=\"attachment_13874900\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874900\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/image-800x400.jpg\" alt=\"Gary Oldman and Kate Beckinsale in 'Tiptoes.'\" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/image-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/image-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/image-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/image-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/image.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gary Oldman and Kate Beckinsale in ‘Tiptoes.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Tiptoes\u003c/em> is just one in an extremely long line of movies that have inflicted indignities on little people. Exploitation was rife in the early days of Hollywood—the actors who played Munchkins in 1939’s \u003cem>Wizard of Oz\u003c/em>, for example, were paid \u003ca href=\"https://www.hollywoodreporter.com/features/little-people-actors-actresses-low-pay-degrading-jobs-tragedy-922261\" target=\"_blank\" rel=\"noopener noreferrer\">less than half\u003c/a> of what the dog that played Toto made per week. Plus, roles are—and have always been—very limited. Even after becoming a household name as Mini-Me in \u003cem>Austin Powers: The Spy Who Shagged Me, \u003c/em>Verne Troyer was recently reduced to starring in \u003ca href=\"https://www.youtube.com/watch?v=9ywANMZs4hY\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Gnome Alone\u003c/em>\u003c/a>, a low budget horror movie. To make matters worse, available parts for little people are often limited to that of evil creatures or magical beings. (See: Griphook in \u003cem>Harry Potter, \u003c/em>or the Oompa Loompas in \u003cem>Charlie and the Chocolate Factory.\u003c/em>)\u003c/p>\n\u003cp>Ali Chapman, an actress, entertainer and cast member of \u003ca href=\"https://www.hulu.com/series/little-women-la-545f850c-28e6-4aae-a114-0b971aa3b715?&cmp=7958&utm_source=google&utm_medium=cpc&utm_campaign=BM%20Search%20TV%20Shows&utm_term=&ds_rl=1263136&gclid=EAIaIQobChMI-Jzy7s_P5wIVbxitBh1qeAHFEAAYASAAEgK5QfD_BwE&gclsrc=aw.ds\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Little Women LA\u003c/em>\u003c/a> told \u003cem>The Hollywood Reporter\u003c/em> in 2016: “I mean, I can just be a nurse in a show, or a mom, or a lady walking her dog down the street! Like, do I need to be an elf? Do I need to be a leprechaun?”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While \u003cem>Tiptoes\u003c/em> did give little actors roles outside of the fantasy realm, it ultimately failed to treat dwarfism with much respect either. Its failure to give the role of Rolfe to someone born with the appropriate stature (\u003cem>Peter Dinklage was right there\u003c/em>!) wasn’t just a major stumbling block, it ultimately turned \u003cem>Tiptoes\u003c/em> into a sideshow—which was the exact opposite of what everyone involved clearly originally wanted. Today, it remains mostly buried, a cult classic and, for obvious reasons, a fairly major embarrassment for everyone involved.\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1074,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 16
},
"modified": 1705021260,
"excerpt": "Oldman starred alongside Patricia Arquette, Peter Dinklage, Kate Beckinsale and Matthew McConaughey in one of the most embarrassing movies of the last 20 years. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Oldman starred alongside Patricia Arquette, Peter Dinklage, Kate Beckinsale and Matthew McConaughey in one of the most embarrassing movies of the last 20 years. ",
"title": "Revisiting 'Tiptoes'—and Gary Oldman's Bizarre Starring Role as a Little Person | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Revisiting 'Tiptoes'—and Gary Oldman's Bizarre Starring Role as a Little Person",
"datePublished": "2020-02-19T17:00:02-08:00",
"dateModified": "2024-01-11T17:01:00-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "revisiting-tiptoes-and-gary-oldmans-bizarre-starring-role-as-a-little-person",
"status": "publish",
"templateType": "standard",
"featuredImageType": "standard",
"sticky": false,
"path": "/arts/13874896/revisiting-tiptoes-and-gary-oldmans-bizarre-starring-role-as-a-little-person",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In an interview about his movie, Gary Oldman once said: “It is a glorious part. A dream of a role. But it wasn’t an immediate ‘yes’. I just wondered how I would meet the physical challenge of it. I happen to think it’s an incredible … bench mark in the field of make-up.”\u003c/p>\n\u003cp>Oldman was, of course, talking about his Academy Award-winning transformation into Winston Churchill in \u003cem>Darkest Hour. \u003c/em>But various corners of the internet have since \u003ca href=\"https://www.youtube.com/watch?v=A4w6-XXXv90\" target=\"_blank\" rel=\"noopener noreferrer\">taken his words\u003c/a> and applied them instead to his role in 2004’s \u003cem>Tiptoes\u003c/em>—a relentless hellride of a movie in which he plays a little person. (Try not to think on that title too hard—it gets worse the longer you do.)\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/O3qGGk5ymQ4'\n title='//www.youtube.com/embed/O3qGGk5ymQ4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“He was basically on his knees,” co-star \u003ca href=\"https://www.yahoo.com/entertainment/the-incredible-story-behind-tiptoes-the-movie-in-121940150.html\" target=\"_blank\" rel=\"noopener noreferrer\">Kate Beckinsale later explained\u003c/a> to MTV, “with a prosthetic part of his head and face and a hump and different kinds of harnesses to strap his arms back to make them short, and special clothes. They had various different effects, like if he was sitting in a chair, his legs would actually be inside the chair and he’d have these little fake legs sticking out on top.”\u003c/p>\n\u003cp>She’s not joking.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Tiptoes\u003c/em>, at first glance, appears to be a fairly typical romantic comedy: Matthew McConaughey plays Steven, a regular-guy firefighter who’s in a relationship with a tattooed painter named Carol (played by Beckinsale). Steven is secretive about his background until Carol gets a surprise visitor one day who tells her that Steven is the only one in his family who wasn’t born with dwarfism. The news is an especially big shock since she’s just found out she is pregnant.\u003c/p>\n\u003cfigure id=\"attachment_13874946\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874946\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/v1.jpg\" alt=\"Patricia Arquette and Peter Dinklage in 'Tiptoes.'\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/v1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/v1-160x160.jpg 160w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">Patricia Arquette and Peter Dinklage in ‘Tiptoes.’\u003c/figcaption>\u003c/figure>\n\u003cp>Oldman plays Steven’s twin brother Rolfe (with an American accent that is not great), and Peter Dinklage appears as his pal Maurice, a French Marxist (with an accent that’s not… \u003cem>bien\u003c/em>). Maurice is dating Lucy, a hitchhiker with white-lady cornrows played by Patricia Arquette. (It’s worth noting that Arquette and Dinklage play the only vaguely likable characters in this entire thing.)\u003c/p>\n\u003cp>It remains a mystery how this movie got a cast of this stature, but one gets the sense that, once upon a time, \u003cem>Tiptoes\u003c/em> was trying to be important. The ghosts of those good intentions emerge occasionally in scenes that aim to prove that little people are just like everyone else—opinionated, sexually active, well-rounded—except for when they’re forced to deal with casual abuse from strangers and physical ailments related to their size. Unfortunately, because the movie ultimately can’t figure out what it wants to be—a romance, slapstick comedy or searing drama—salient points tend to get lost.\u003c/p>\n\u003cp>It doesn’t help that the script is self-conscious, PSA-level clunky and grossly \u003ca href=\"https://dwarfparents.com/chance-having-dwarf-child\" target=\"_blank\" rel=\"noopener noreferrer\">over-estimates the likelihood\u003c/a> of two average sized people producing a child with dwarfism. It doesn’t help that the ending is completely out of left field and patronizing but, worst of all, the film is prone to presenting little people as caricatures—the slutty blond, the angry communist and the wholesome family man are all here.\u003c/p>\n\u003cp>If there’s one consistent element in\u003cem> Tiptoes,\u003c/em> it’s in just how offensive Oldman’s physical appearance is. He’s given a walking stick as a ploy to explain the awkward movements caused by him “walking” on his knees. His prosthetic hump moves and changes size. And every time an actual little person is used as his body double, it shines a spotlight on just how different Oldman’s proportions are. Worst of all, those fake legs Beckinsale mentioned look like limp foam appendages ripped off a cheap Halloween costume.\u003c/p>\n\u003cp>In a 2012 \u003cem>New York Times\u003c/em> interview, Dinklage expressed mixed feelings about the film. “It was sort of an amazing idea for a movie, but the result [of the final cut] was what we were fighting against—the cutesiness of little people,” he said. “There was some flak. ‘Why would you put Gary Oldman on his knees? That’s almost like blackface.’ And I have my own opinions about political correctness, but I was just like, ‘It’s Gary Oldman. He can do whatever he wants.'”\u003c/p>\n\u003cp>(Just because you can, doesn’t mean you should.)\u003c/p>\n\u003cfigure id=\"attachment_13874900\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874900\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/image-800x400.jpg\" alt=\"Gary Oldman and Kate Beckinsale in 'Tiptoes.'\" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/image-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/image-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/image-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/image-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/image.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gary Oldman and Kate Beckinsale in ‘Tiptoes.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Tiptoes\u003c/em> is just one in an extremely long line of movies that have inflicted indignities on little people. Exploitation was rife in the early days of Hollywood—the actors who played Munchkins in 1939’s \u003cem>Wizard of Oz\u003c/em>, for example, were paid \u003ca href=\"https://www.hollywoodreporter.com/features/little-people-actors-actresses-low-pay-degrading-jobs-tragedy-922261\" target=\"_blank\" rel=\"noopener noreferrer\">less than half\u003c/a> of what the dog that played Toto made per week. Plus, roles are—and have always been—very limited. Even after becoming a household name as Mini-Me in \u003cem>Austin Powers: The Spy Who Shagged Me, \u003c/em>Verne Troyer was recently reduced to starring in \u003ca href=\"https://www.youtube.com/watch?v=9ywANMZs4hY\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Gnome Alone\u003c/em>\u003c/a>, a low budget horror movie. To make matters worse, available parts for little people are often limited to that of evil creatures or magical beings. (See: Griphook in \u003cem>Harry Potter, \u003c/em>or the Oompa Loompas in \u003cem>Charlie and the Chocolate Factory.\u003c/em>)\u003c/p>\n\u003cp>Ali Chapman, an actress, entertainer and cast member of \u003ca href=\"https://www.hulu.com/series/little-women-la-545f850c-28e6-4aae-a114-0b971aa3b715?&cmp=7958&utm_source=google&utm_medium=cpc&utm_campaign=BM%20Search%20TV%20Shows&utm_term=&ds_rl=1263136&gclid=EAIaIQobChMI-Jzy7s_P5wIVbxitBh1qeAHFEAAYASAAEgK5QfD_BwE&gclsrc=aw.ds\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Little Women LA\u003c/em>\u003c/a> told \u003cem>The Hollywood Reporter\u003c/em> in 2016: “I mean, I can just be a nurse in a show, or a mom, or a lady walking her dog down the street! Like, do I need to be an elf? Do I need to be a leprechaun?”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While \u003cem>Tiptoes\u003c/em> did give little actors roles outside of the fantasy realm, it ultimately failed to treat dwarfism with much respect either. Its failure to give the role of Rolfe to someone born with the appropriate stature (\u003cem>Peter Dinklage was right there\u003c/em>!) wasn’t just a major stumbling block, it ultimately turned \u003cem>Tiptoes\u003c/em> into a sideshow—which was the exact opposite of what everyone involved clearly originally wanted. Today, it remains mostly buried, a cult classic and, for obvious reasons, a fairly major embarrassment for everyone involved.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13874896/revisiting-tiptoes-and-gary-oldmans-bizarre-starring-role-as-a-little-person",
"authors": [
"11242"
],
"categories": [
"arts_74",
"arts_75"
],
"tags": [
"arts_6494"
],
"featImg": "arts_13874898",
"label": "arts"
},
"arts_13875165": {
"type": "posts",
"id": "arts_13875165",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13875165",
"score": null,
"sort": [
1582158851000
]
},
"guestAuthors": [],
"slug": "why-subtle-red-carpet-looks-wont-start-the-revolution",
"title": "Why Subtle Red Carpet Looks Won’t Start the Revolution",
"publishDate": 1582158851,
"format": "standard",
"headTitle": "Why Subtle Red Carpet Looks Won’t Start the Revolution | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>When the movie of the year is about class struggle, what are the most effective ways to communicate a socially conscious message in Hollywood? At this year’s Academy Awards, Natalie Portman showed up in a Dior cape with the names of female directors snubbed by the Academy embroidered in the lining as a “subtle” way of honoring her cause. While she was trying to add to an existing conversation about gender inequality in Hollywood, the statement itself didn’t quite land.\u003c/p>\n\u003cp>https://twitter.com/AmyKinLA/status/1226661824994480131\u003c/p>\n\u003cp>Initially lauded as a tasteful nod to all the women whose work was passed over for best picture, the conversation quickly changed once people turned the spotlight on Portman’s own working history in the film industry. Critics were quick to point out that in her own career, Portman has only worked with a handful of female directors. To those commentators, the embroidered gown was an attention-seeking virtue-signal rather than a sign of solidarity.\u003c/p>\n\u003cp>In this vein, actress Rose McGowan called the dress “\u003ca href=\"https://www.theguardian.com/film/2020/feb/12/rose-mcgowan-natalie-portman-oscars-dress-protest-female-directors\" rel=\"noopener noreferrer\" target=\"_blank\">deeply offensive\u003c/a>.” Portman responded in a statement, saying that her attempts to work with more women throughout her career never came to fruition, which she described as an invisible “ghost history.” McGowan \u003ca href=\"https://www.theguardian.com/film/2020/feb/18/rose-mcgowan-natalie-portman-oscars-dress-protest\" rel=\"noopener noreferrer\" target=\"_blank\">later apologized\u003c/a> for her initial criticism, saying she “lost sight of the bigger picture.”\u003c/p>\n\u003cp>Buried in the past week-and-a-half of breathless coverage about two disagreeing celebrities is the real story: subtle gestures are no match for unsubtle problems. Best picture winner \u003cem>Parasite\u003c/em>, a thriller that was as politically charged as it was entertaining, proved that audiences and critics alike want to see social issues addressed in pop culture.\u003c/p>\n\u003cfigure id=\"attachment_13875186\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/parasite-The-Kim-Family-Woo-sik-Choi-Kang-ho-Song-Hye-jin-Jang-So-dam-Park-in-Parasite_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13875186\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/parasite-The-Kim-Family-Woo-sik-Choi-Kang-ho-Song-Hye-jin-Jang-So-dam-Park-in-Parasite_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/parasite-The-Kim-Family-Woo-sik-Choi-Kang-ho-Song-Hye-jin-Jang-So-dam-Park-in-Parasite_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/parasite-The-Kim-Family-Woo-sik-Choi-Kang-ho-Song-Hye-jin-Jang-So-dam-Park-in-Parasite_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/parasite-The-Kim-Family-Woo-sik-Choi-Kang-ho-Song-Hye-jin-Jang-So-dam-Park-in-Parasite_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/parasite-The-Kim-Family-Woo-sik-Choi-Kang-ho-Song-Hye-jin-Jang-So-dam-Park-in-Parasite_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The Kim Family (Woo-sik Choi, Kang-ho Song, Hye-jin Jang, So-dam Park) in a still from ‘Parasite.’ \u003ccite>(Courtesy of NEON CJ Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And yet, how effective are political statements at awards ceremonies themselves? The Academy Awards are an anachronistic celebration of wealth, privilege and institutional tradition at a time when income inequality in the United States is the \u003ca href=\"https://markets.businessinsider.com/news/stocks/income-inequality-reached-highest-level-ever-recorded-in-2018-2019-9-1028559996\" rel=\"noopener noreferrer\" target=\"_blank\">highest it’s been in over 50 years\u003c/a>. A \u003ca href=\"https://www.theguardian.com/film/2017/feb/25/oscars-2017-how-much-does-hollywood-biggest-party-cost-earn\" rel=\"noopener noreferrer\" target=\"_blank\">financial report\u003c/a> reveals that $44 million was spent on the 2017 Oscars “and related activities.” That’s not to mention other expenses, like the infamous “goodie bags” \u003ca href=\"https://www.forbes.com/sites/hayleycuccinello/2020/02/01/215000-oscars-2020-gift-bag/#5f8a4163be7d\" rel=\"noopener noreferrer\" target=\"_blank\">estimated\u003c/a> to cost about $255,000 each this year.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But stars can’t help themselves. In part as a way to direct a portion of those vast resources to something other than self-celebration, actors have occasionally used the visibility of the Oscars as a platform to champion personal causes or make political statements, to varying degrees of success. Joaquin Phoenix talked about climate change and veganism in his best actor \u003ca href=\"https://www.hollywoodreporter.com/news/transcript-joaquin-phoenixs-speech-at-2020-oscars-1278278\" rel=\"noopener noreferrer\" target=\"_blank\">acceptance speech\u003c/a>; Brad Pitt \u003ca href=\"https://oscar.go.com/news/2020/brad-pitt-is-the-2020-oscar-winner-for-actor-in-a-supporting-role\" rel=\"noopener noreferrer\" target=\"_blank\">criticized\u003c/a> the Senate Republicans for not letting John Bolton testify.\u003c/p>\n\u003cp>Politics aren’t only confined to award winners. On the red carpet, stars take stands on myriad issues, where fashion can turn paparazzi shots into powerful images. In solidarity with sexual assault victims at the \u003ca href=\"https://www.vanityfair.com/style/2018/01/golden-globes-2018-red-carpet-times-up\" rel=\"noopener noreferrer\" target=\"_blank\">2018 Golden Globes\u003c/a>, female celebrities rejected the tradition of red-carpet fashion by wearing exclusively black gowns. They turned an event typically centered around scrutinizing women’s bodies and clothing choices into a political statement.\u003c/p>\n\u003cfigure id=\"attachment_13875181\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/GoldenGlobes2018_1200.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13875181\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/GoldenGlobes2018_1200.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/GoldenGlobes2018_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/GoldenGlobes2018_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/GoldenGlobes2018_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/GoldenGlobes2018_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Actor Meryl Streep, activist Ai-jen Poo, actor Natalie Portman, activist Tarana Burke, actor Michelle Williams, actor America Ferrera, actor Jessica Chastain, actor Amy Poehler, and activist Saru Jayaraman attend 19th Annual Post-Golden Globes Party at The Beverly Hilton Hotel on Jan. 7, 2018. \u003ccite>(Photo by Frazer Harrison/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Director Bong Joon Ho’s \u003cem>Parasite\u003c/em> brought extra scrutiny to the optics of class and celebrity at this year’s Oscars. The film, about the wealth inequality between two South Korean families, took four categories, including the first best picture awarded to a non-English language film. About the uncomfortable lengths a poor family will go to for a chance at a better life, \u003cem>Parasite\u003c/em> highlights the way money protects people from making morally questionable decisions (by rendering them oblivious to others’ needs). \u003c/p>\n\u003cp>Just as a well-made film doesn’t necessarily undermine its socially conscious message, a flashy designer garment can still speak volumes. Communicating through clothing takes advantage of the scrutiny red carpet outfits typically attract. But the most effective arguments are attention-grabbing, loud and impossible to misunderstand. \u003c/p>\n\u003cp>When Lena Waithe wore a trailing rainbow cape to the “Heavenly Bodies: Fashion at and the Catholic Imagination” Met Gala in 2018, it was a bold statement that resonated with people all over the world. A custom \u003ca href=\"https://www.vogue.com/article/lena-waithe-pride-cape-met-gala-story-behind\" rel=\"noopener noreferrer\" target=\"_blank\">Carolina Herrera\u003c/a> suit isn’t a form of protest accessible to everyone (or anyone, really). But that doesn’t make the photos of a woman defiantly representing her identity in the midst of its complicated relationship with the Catholic church any less powerful. \u003c/p>\n\u003cp>Waithe’s outfit wasn’t merely improved by its message; it was the message. The cohesion of her argument and its visual execution made the outfit a resounding statement. In contrast, Natalie Portman relegated her feminist argument to the edge of a cape. The women directors’ names appeared as a stitched-on afterthought, as though the cause wasn’t worth the dedication of an entire outfit. To many, it seemed like the feminist message was secondary to Portman’s desire to wear a nice dress.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Parasite\u003c/em>’s win is not only big because it’s the first non-English language picture, but because it proves great movies can be darkly funny, satirical, dramatic and heartfelt while also dealing in pressing issues of the day. It shows that social critique has a place in Hollywood, and that even if there are occasional missteps, the spotlight is a worthwhile place for continuing important conversations. \u003c/p>\n\n",
"blocks": [],
"excerpt": "The most effective statements are attention-grabbing, loud and impossible to ignore.",
"status": "publish",
"parent": 0,
"modified": 1726764271,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 14,
"wordCount": 981
},
"headData": {
"title": "Why Subtle Red Carpet Looks Won’t Start the Revolution | KQED",
"description": "The most effective statements are attention-grabbing, loud and impossible to ignore.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Why Subtle Red Carpet Looks Won’t Start the Revolution",
"datePublished": "2020-02-19T16:34:11-08:00",
"dateModified": "2024-09-19T09:44:31-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"templateType": "standard",
"featuredImageType": "standard",
"path": "/arts/13875165/why-subtle-red-carpet-looks-wont-start-the-revolution",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When the movie of the year is about class struggle, what are the most effective ways to communicate a socially conscious message in Hollywood? At this year’s Academy Awards, Natalie Portman showed up in a Dior cape with the names of female directors snubbed by the Academy embroidered in the lining as a “subtle” way of honoring her cause. While she was trying to add to an existing conversation about gender inequality in Hollywood, the statement itself didn’t quite land.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "1226661824994480131"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Initially lauded as a tasteful nod to all the women whose work was passed over for best picture, the conversation quickly changed once people turned the spotlight on Portman’s own working history in the film industry. Critics were quick to point out that in her own career, Portman has only worked with a handful of female directors. To those commentators, the embroidered gown was an attention-seeking virtue-signal rather than a sign of solidarity.\u003c/p>\n\u003cp>In this vein, actress Rose McGowan called the dress “\u003ca href=\"https://www.theguardian.com/film/2020/feb/12/rose-mcgowan-natalie-portman-oscars-dress-protest-female-directors\" rel=\"noopener noreferrer\" target=\"_blank\">deeply offensive\u003c/a>.” Portman responded in a statement, saying that her attempts to work with more women throughout her career never came to fruition, which she described as an invisible “ghost history.” McGowan \u003ca href=\"https://www.theguardian.com/film/2020/feb/18/rose-mcgowan-natalie-portman-oscars-dress-protest\" rel=\"noopener noreferrer\" target=\"_blank\">later apologized\u003c/a> for her initial criticism, saying she “lost sight of the bigger picture.”\u003c/p>\n\u003cp>Buried in the past week-and-a-half of breathless coverage about two disagreeing celebrities is the real story: subtle gestures are no match for unsubtle problems. Best picture winner \u003cem>Parasite\u003c/em>, a thriller that was as politically charged as it was entertaining, proved that audiences and critics alike want to see social issues addressed in pop culture.\u003c/p>\n\u003cfigure id=\"attachment_13875186\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/parasite-The-Kim-Family-Woo-sik-Choi-Kang-ho-Song-Hye-jin-Jang-So-dam-Park-in-Parasite_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13875186\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/parasite-The-Kim-Family-Woo-sik-Choi-Kang-ho-Song-Hye-jin-Jang-So-dam-Park-in-Parasite_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/parasite-The-Kim-Family-Woo-sik-Choi-Kang-ho-Song-Hye-jin-Jang-So-dam-Park-in-Parasite_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/parasite-The-Kim-Family-Woo-sik-Choi-Kang-ho-Song-Hye-jin-Jang-So-dam-Park-in-Parasite_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/parasite-The-Kim-Family-Woo-sik-Choi-Kang-ho-Song-Hye-jin-Jang-So-dam-Park-in-Parasite_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/parasite-The-Kim-Family-Woo-sik-Choi-Kang-ho-Song-Hye-jin-Jang-So-dam-Park-in-Parasite_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The Kim Family (Woo-sik Choi, Kang-ho Song, Hye-jin Jang, So-dam Park) in a still from ‘Parasite.’ \u003ccite>(Courtesy of NEON CJ Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And yet, how effective are political statements at awards ceremonies themselves? The Academy Awards are an anachronistic celebration of wealth, privilege and institutional tradition at a time when income inequality in the United States is the \u003ca href=\"https://markets.businessinsider.com/news/stocks/income-inequality-reached-highest-level-ever-recorded-in-2018-2019-9-1028559996\" rel=\"noopener noreferrer\" target=\"_blank\">highest it’s been in over 50 years\u003c/a>. A \u003ca href=\"https://www.theguardian.com/film/2017/feb/25/oscars-2017-how-much-does-hollywood-biggest-party-cost-earn\" rel=\"noopener noreferrer\" target=\"_blank\">financial report\u003c/a> reveals that $44 million was spent on the 2017 Oscars “and related activities.” That’s not to mention other expenses, like the infamous “goodie bags” \u003ca href=\"https://www.forbes.com/sites/hayleycuccinello/2020/02/01/215000-oscars-2020-gift-bag/#5f8a4163be7d\" rel=\"noopener noreferrer\" target=\"_blank\">estimated\u003c/a> to cost about $255,000 each this year.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But stars can’t help themselves. In part as a way to direct a portion of those vast resources to something other than self-celebration, actors have occasionally used the visibility of the Oscars as a platform to champion personal causes or make political statements, to varying degrees of success. Joaquin Phoenix talked about climate change and veganism in his best actor \u003ca href=\"https://www.hollywoodreporter.com/news/transcript-joaquin-phoenixs-speech-at-2020-oscars-1278278\" rel=\"noopener noreferrer\" target=\"_blank\">acceptance speech\u003c/a>; Brad Pitt \u003ca href=\"https://oscar.go.com/news/2020/brad-pitt-is-the-2020-oscar-winner-for-actor-in-a-supporting-role\" rel=\"noopener noreferrer\" target=\"_blank\">criticized\u003c/a> the Senate Republicans for not letting John Bolton testify.\u003c/p>\n\u003cp>Politics aren’t only confined to award winners. On the red carpet, stars take stands on myriad issues, where fashion can turn paparazzi shots into powerful images. In solidarity with sexual assault victims at the \u003ca href=\"https://www.vanityfair.com/style/2018/01/golden-globes-2018-red-carpet-times-up\" rel=\"noopener noreferrer\" target=\"_blank\">2018 Golden Globes\u003c/a>, female celebrities rejected the tradition of red-carpet fashion by wearing exclusively black gowns. They turned an event typically centered around scrutinizing women’s bodies and clothing choices into a political statement.\u003c/p>\n\u003cfigure id=\"attachment_13875181\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/GoldenGlobes2018_1200.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13875181\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/GoldenGlobes2018_1200.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/GoldenGlobes2018_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/GoldenGlobes2018_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/GoldenGlobes2018_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/GoldenGlobes2018_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Actor Meryl Streep, activist Ai-jen Poo, actor Natalie Portman, activist Tarana Burke, actor Michelle Williams, actor America Ferrera, actor Jessica Chastain, actor Amy Poehler, and activist Saru Jayaraman attend 19th Annual Post-Golden Globes Party at The Beverly Hilton Hotel on Jan. 7, 2018. \u003ccite>(Photo by Frazer Harrison/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Director Bong Joon Ho’s \u003cem>Parasite\u003c/em> brought extra scrutiny to the optics of class and celebrity at this year’s Oscars. The film, about the wealth inequality between two South Korean families, took four categories, including the first best picture awarded to a non-English language film. About the uncomfortable lengths a poor family will go to for a chance at a better life, \u003cem>Parasite\u003c/em> highlights the way money protects people from making morally questionable decisions (by rendering them oblivious to others’ needs). \u003c/p>\n\u003cp>Just as a well-made film doesn’t necessarily undermine its socially conscious message, a flashy designer garment can still speak volumes. Communicating through clothing takes advantage of the scrutiny red carpet outfits typically attract. But the most effective arguments are attention-grabbing, loud and impossible to misunderstand. \u003c/p>\n\u003cp>When Lena Waithe wore a trailing rainbow cape to the “Heavenly Bodies: Fashion at and the Catholic Imagination” Met Gala in 2018, it was a bold statement that resonated with people all over the world. A custom \u003ca href=\"https://www.vogue.com/article/lena-waithe-pride-cape-met-gala-story-behind\" rel=\"noopener noreferrer\" target=\"_blank\">Carolina Herrera\u003c/a> suit isn’t a form of protest accessible to everyone (or anyone, really). But that doesn’t make the photos of a woman defiantly representing her identity in the midst of its complicated relationship with the Catholic church any less powerful. \u003c/p>\n\u003cp>Waithe’s outfit wasn’t merely improved by its message; it was the message. The cohesion of her argument and its visual execution made the outfit a resounding statement. In contrast, Natalie Portman relegated her feminist argument to the edge of a cape. The women directors’ names appeared as a stitched-on afterthought, as though the cause wasn’t worth the dedication of an entire outfit. To many, it seemed like the feminist message was secondary to Portman’s desire to wear a nice dress.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Parasite\u003c/em>’s win is not only big because it’s the first non-English language picture, but because it proves great movies can be darkly funny, satirical, dramatic and heartfelt while also dealing in pressing issues of the day. It shows that social critique has a place in Hollywood, and that even if there are occasional missteps, the spotlight is a worthwhile place for continuing important conversations. \u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13875165/why-subtle-red-carpet-looks-wont-start-the-revolution",
"authors": [
"11530"
],
"categories": [
"arts_76",
"arts_74",
"arts_75"
],
"tags": [
"arts_3701",
"arts_1118",
"arts_977",
"arts_6186",
"arts_596",
"arts_3698"
],
"featImg": "arts_13875184",
"label": "arts"
},
"arts_13875037": {
"type": "posts",
"id": "arts_13875037",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13875037",
"score": null,
"sort": [
1582149508000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1582149508,
"format": "standard",
"title": "Plunge Through the Looking Glass With the Scariest 'Alice' Ever",
"headTitle": "Plunge Through the Looking Glass With the Scariest ‘Alice’ Ever | KQED",
"content": "\u003cp>Imagine that an art house director created stop-motion animation while on copious amounts of hallucinogens of every nightmare you’ve ever had, then threw some extra-creepy animals in the mix, just because. Now you have some idea of the visceral nature of \u003ca href=\"https://www.imdb.com/name/nm0840905/?ref_=fn_al_nm_1\" target=\"_blank\" rel=\"noopener noreferrer\">Jan Švankmajer\u003c/a>‘s vision of \u003cem>Alice in Wonderland—\u003c/em>but to believe it, you kind of have to see it.\u003c/p>\n\u003cp>Masterminded by the Czech multimedia artist in 1988, this extra-surreal take on the Lewis Carroll classic starts with a taxidermy rabbit cutting itself open with scissors, bleeding sawdust and biting through steel nails. And it only gets more odd from there.\u003c/p>\n\u003cp>Alice’s adventure begins after she follows that teeth-gnashing rabbit up a hill and through a desk drawer. (It’s best not to ask…) Later, when she becomes small, she transforms into the kind of terrifying baby doll last seen in the alternative music videos of the 1990s (see in particular: \u003ca href=\"https://www.youtube.com/watch?v=uU1ANLb4QPY\" target=\"_blank\" rel=\"noopener noreferrer\">Babes in Toyland\u003c/a>.) It is bizarre and compulsive viewing.\u003c/p>\n\u003cp>To explain in detail the excess of imagery, minimal dialogue and overarching sense of echoing otherworldliness present throughout this production would only spoil it. But if you must have a taste, here’s one involving a fish footman, a frog with human eyes and tongue, and a lot of smashed crockery.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2bUUOXOWXnY\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At the Alamo Drafthouse, this special screening of \u003cem>Alice\u003c/em> is sponsored by Amoeba Music and comes with a drag pre-show from \u003ca href=\"https://www.facebook.com/MediaMeltdownSF\" target=\"_blank\" rel=\"noopener noreferrer\">Media Meltdown\u003c/a>—a group that’s equal parts weird and wonderland. Expect nothing but the unexpected. —\u003cem>Rae Alexandra\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 277,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 7
},
"modified": 1705021266,
"excerpt": "This extra-surreal take on the Lewis Carroll classic is bizarre and compulsive viewing.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "This extra-surreal take on the Lewis Carroll classic is bizarre and compulsive viewing.",
"title": "Plunge Through the Looking Glass With the Scariest 'Alice' Ever | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Plunge Through the Looking Glass With the Scariest 'Alice' Ever",
"datePublished": "2020-02-19T13:58:28-08:00",
"dateModified": "2024-01-11T17:01:06-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "plunge-through-the-looking-glass-with-the-scariest-alice-ever",
"status": "publish",
"templateType": "event",
"venueName": "Alamo Drafthouse",
"featuredImageType": "standard",
"sticky": false,
"startTime": 1583990100,
"endTime": 1583996340,
"startTimeString": "March 11, 2020",
"venueAddress": "2550 Mission St., San Francisco",
"eventLink": "https://www.facebook.com/events/820345388474747/",
"path": "/arts/13875037/plunge-through-the-looking-glass-with-the-scariest-alice-ever",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Imagine that an art house director created stop-motion animation while on copious amounts of hallucinogens of every nightmare you’ve ever had, then threw some extra-creepy animals in the mix, just because. Now you have some idea of the visceral nature of \u003ca href=\"https://www.imdb.com/name/nm0840905/?ref_=fn_al_nm_1\" target=\"_blank\" rel=\"noopener noreferrer\">Jan Švankmajer\u003c/a>‘s vision of \u003cem>Alice in Wonderland—\u003c/em>but to believe it, you kind of have to see it.\u003c/p>\n\u003cp>Masterminded by the Czech multimedia artist in 1988, this extra-surreal take on the Lewis Carroll classic starts with a taxidermy rabbit cutting itself open with scissors, bleeding sawdust and biting through steel nails. And it only gets more odd from there.\u003c/p>\n\u003cp>Alice’s adventure begins after she follows that teeth-gnashing rabbit up a hill and through a desk drawer. (It’s best not to ask…) Later, when she becomes small, she transforms into the kind of terrifying baby doll last seen in the alternative music videos of the 1990s (see in particular: \u003ca href=\"https://www.youtube.com/watch?v=uU1ANLb4QPY\" target=\"_blank\" rel=\"noopener noreferrer\">Babes in Toyland\u003c/a>.) It is bizarre and compulsive viewing.\u003c/p>\n\u003cp>To explain in detail the excess of imagery, minimal dialogue and overarching sense of echoing otherworldliness present throughout this production would only spoil it. But if you must have a taste, here’s one involving a fish footman, a frog with human eyes and tongue, and a lot of smashed crockery.\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/2bUUOXOWXnY'\n title='//www.youtube.com/embed/2bUUOXOWXnY'\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>\u003c/p>\n\u003cp>At the Alamo Drafthouse, this special screening of \u003cem>Alice\u003c/em> is sponsored by Amoeba Music and comes with a drag pre-show from \u003ca href=\"https://www.facebook.com/MediaMeltdownSF\" target=\"_blank\" rel=\"noopener noreferrer\">Media Meltdown\u003c/a>—a group that’s equal parts weird and wonderland. Expect nothing but the unexpected. —\u003cem>Rae Alexandra\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13875037/plunge-through-the-looking-glass-with-the-scariest-alice-ever",
"authors": [
"11242"
],
"programs": [
"arts_140"
],
"categories": [
"arts_74"
],
"tags": [
"arts_977"
],
"featImg": "arts_13875039",
"label": "arts_140"
},
"arts_13875033": {
"type": "posts",
"id": "arts_13875033",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13875033",
"score": null,
"sort": [
1582051527000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1582051527,
"format": "standard",
"title": "Now Playing! Bay Area International Children’s Film Fest Lifts Off at Chabot",
"headTitle": "Now Playing! Bay Area International Children’s Film Fest Lifts Off at Chabot | KQED",
"content": "\u003cp>Children are reasonably well served by the major studios, all of whom have staked a claim to the animated-feature gold mine that was once Disney’s exclusive forte. But a child’s relationship to movies can go beyond viewing, no matter how active and engaged that experience may be. The annual \u003ca href=\"http://baicff.com\" rel=\"noopener noreferrer\" target=\"_blank\">Bay Area International Children’s Film Fest\u003c/a>, Feb. 22–23 at the Chabot Space & Science Center in Oakland, opens the door for kids to understand how films are made—and provides the hands-on opportunity to create a little magic themselves.\u003c/p>\n\u003cp>BAICFF opens Feb. 20 at Oakland’s Grand Lake with Benh Zeitlin showing and fielding questions about \u003cem>Wendy\u003c/em>, his heroine-driven take on \u003cem>Peter Pan\u003c/em>, before its wide release on Feb. 28. The weekend screening schedule encompasses a range of styles, subjects and lengths, from the Academy Award-winning animated short \u003cem>Hair Love\u003c/em> to Brazilian director Marcos Negrão’s feature-length documentary, \u003cem>Child of Nature\u003c/em>, which introduces us to remarkable kids in Kenya, Syria and other countries who are making a transformational difference.\u003c/p>\n\u003cfigure id=\"attachment_13875050\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/06-ChildOfNature_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13875050\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/06-ChildOfNature_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/06-ChildOfNature_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/06-ChildOfNature_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/06-ChildOfNature_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/06-ChildOfNature_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Child of Nature.’ \u003ccite>(Courtesy of Bay Area International Children's Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Filmmakers will be everywhere at BAICFF, eager to dispense inspiration, tips and courage to future directors. The Walt Disney Family Museum hosts a “Character Design” workshop to develop individual skill sets, and assembles its resident experts and a couple mid-career animators to discuss “The Artist’s Career,” offering guidance to prospective illustrators.\u003c/p>\n\u003cp>Berkeley City College also teams up with BAICFF for hands-on workshops about clay puppet animation, pixilation and foley. The big draw, though, may be Sunday’s “Family Fun Stop-Motion Workshops,” which entice parents and children to collaborate on their own short films. Now \u003cem>that’s\u003c/em> an offer you can’t refuse.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 320,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 6
},
"modified": 1705021274,
"excerpt": "A child’s relationship to movies can go beyond active and engaged viewing.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "A child’s relationship to movies can go beyond active and engaged viewing.",
"title": "Now Playing! Bay Area International Children’s Film Fest Lifts Off at Chabot | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Now Playing! Bay Area International Children’s Film Fest Lifts Off at Chabot",
"datePublished": "2020-02-18T10:45:27-08:00",
"dateModified": "2024-01-11T17:01:14-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "now-playing-bay-area-international-childrens-film-fest-lifts-off-at-chabot",
"status": "publish",
"templateType": "standard",
"venueName": "Chabot Space & Science Center",
"featuredImageType": "standard",
"sticky": false,
"startTime": 1582362000,
"endTime": 1582527600,
"startTimeString": "Feb. 22–23",
"venueAddress": "10000 Skyline Blvd., Oakland",
"eventLink": "http://baicff.com/",
"path": "/arts/13875033/now-playing-bay-area-international-childrens-film-fest-lifts-off-at-chabot",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Children are reasonably well served by the major studios, all of whom have staked a claim to the animated-feature gold mine that was once Disney’s exclusive forte. But a child’s relationship to movies can go beyond viewing, no matter how active and engaged that experience may be. The annual \u003ca href=\"http://baicff.com\" rel=\"noopener noreferrer\" target=\"_blank\">Bay Area International Children’s Film Fest\u003c/a>, Feb. 22–23 at the Chabot Space & Science Center in Oakland, opens the door for kids to understand how films are made—and provides the hands-on opportunity to create a little magic themselves.\u003c/p>\n\u003cp>BAICFF opens Feb. 20 at Oakland’s Grand Lake with Benh Zeitlin showing and fielding questions about \u003cem>Wendy\u003c/em>, his heroine-driven take on \u003cem>Peter Pan\u003c/em>, before its wide release on Feb. 28. The weekend screening schedule encompasses a range of styles, subjects and lengths, from the Academy Award-winning animated short \u003cem>Hair Love\u003c/em> to Brazilian director Marcos Negrão’s feature-length documentary, \u003cem>Child of Nature\u003c/em>, which introduces us to remarkable kids in Kenya, Syria and other countries who are making a transformational difference.\u003c/p>\n\u003cfigure id=\"attachment_13875050\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/06-ChildOfNature_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13875050\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/06-ChildOfNature_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/06-ChildOfNature_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/06-ChildOfNature_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/06-ChildOfNature_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/06-ChildOfNature_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Child of Nature.’ \u003ccite>(Courtesy of Bay Area International Children's Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Filmmakers will be everywhere at BAICFF, eager to dispense inspiration, tips and courage to future directors. The Walt Disney Family Museum hosts a “Character Design” workshop to develop individual skill sets, and assembles its resident experts and a couple mid-career animators to discuss “The Artist’s Career,” offering guidance to prospective illustrators.\u003c/p>\n\u003cp>Berkeley City College also teams up with BAICFF for hands-on workshops about clay puppet animation, pixilation and foley. The big draw, though, may be Sunday’s “Family Fun Stop-Motion Workshops,” which entice parents and children to collaborate on their own short films. Now \u003cem>that’s\u003c/em> an offer you can’t refuse.\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>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13875033/now-playing-bay-area-international-childrens-film-fest-lifts-off-at-chabot",
"authors": [
"22"
],
"programs": [
"arts_140"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_1006",
"arts_596"
],
"featImg": "arts_13875049",
"label": "arts_140"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"radioSearchSegmentsReducer": {},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?category=movies": {
"isFetching": false,
"latestQuery": {
"from": 1224,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 3243,
"relation": "eq"
},
"items": [
"arts_13875833",
"arts_13875585",
"arts_13875796",
"arts_13875648",
"arts_13875388",
"arts_13875371",
"arts_13875347",
"arts_13875261",
"arts_13874896",
"arts_13875165",
"arts_13875037",
"arts_13875033"
],
"complete": true
}
},
"recallGuideReducer": {
"intros": {},
"policy": {},
"candidates": {}
},
"savedArticleReducer": {
"articles": [],
"status": {}
},
"newslettersReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"newsletters": {},
"isSubscribing": false,
"isUnsubscribing": false,
"subscribedNewsletters": {}
},
"termsReducer": {
"about": {
"name": "About",
"type": "terms",
"id": "about",
"slug": "about",
"link": "/about",
"taxonomy": "site"
},
"arts": {
"name": "Arts & Culture",
"grouping": [
"arts",
"pop",
"trulyca"
],
"description": "KQED Arts provides daily in-depth coverage of the Bay Area's music, art, film, performing arts, literature and arts news, as well as cultural commentary and criticism.",
"type": "terms",
"id": "arts",
"slug": "arts",
"link": "/arts",
"taxonomy": "site"
},
"artschool": {
"name": "Art School",
"parent": "arts",
"type": "terms",
"id": "artschool",
"slug": "artschool",
"link": "/artschool",
"taxonomy": "site"
},
"bayareabites": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "bayareabites",
"slug": "bayareabites",
"link": "/food",
"taxonomy": "site"
},
"bayareahiphop": {
"name": "Bay Area Hiphop",
"type": "terms",
"id": "bayareahiphop",
"slug": "bayareahiphop",
"link": "/bayareahiphop",
"taxonomy": "site"
},
"campaign21": {
"name": "Campaign 21",
"type": "terms",
"id": "campaign21",
"slug": "campaign21",
"link": "/campaign21",
"taxonomy": "site"
},
"careers": {
"name": "Careers",
"type": "terms",
"id": "careers",
"slug": "careers",
"link": "/careers",
"taxonomy": "site"
},
"checkplease": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "checkplease",
"slug": "checkplease",
"link": "/food",
"taxonomy": "site"
},
"education": {
"name": "Education",
"grouping": [
"education"
],
"type": "terms",
"id": "education",
"slug": "education",
"link": "/education",
"taxonomy": "site"
},
"elections": {
"name": "Elections",
"type": "terms",
"id": "elections",
"slug": "elections",
"link": "/elections",
"taxonomy": "site"
},
"events": {
"name": "Events",
"type": "terms",
"id": "events",
"slug": "events",
"link": "/events",
"taxonomy": "site"
},
"event": {
"name": "Event",
"alias": "events",
"type": "terms",
"id": "event",
"slug": "event",
"link": "/event",
"taxonomy": "site"
},
"filmschoolshorts": {
"name": "Film School Shorts",
"type": "terms",
"id": "filmschoolshorts",
"slug": "filmschoolshorts",
"link": "/filmschoolshorts",
"taxonomy": "site"
},
"food": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"type": "terms",
"id": "food",
"slug": "food",
"link": "/food",
"taxonomy": "site"
},
"forum": {
"name": "Forum",
"relatedContentQuery": "posts/forum?",
"parent": "news",
"type": "terms",
"id": "forum",
"slug": "forum",
"link": "/forum",
"taxonomy": "site"
},
"futureofyou": {
"name": "Future of You",
"grouping": [
"science",
"futureofyou"
],
"parent": "science",
"type": "terms",
"id": "futureofyou",
"slug": "futureofyou",
"link": "/futureofyou",
"taxonomy": "site"
},
"jpepinheart": {
"name": "KQED food",
"relatedContentQuery": "posts/food,bayareabites,checkplease",
"parent": "food",
"type": "terms",
"id": "jpepinheart",
"slug": "jpepinheart",
"link": "/food",
"taxonomy": "site"
},
"liveblog": {
"name": "Live Blog",
"type": "terms",
"id": "liveblog",
"slug": "liveblog",
"link": "/liveblog",
"taxonomy": "site"
},
"livetv": {
"name": "Live TV",
"parent": "tv",
"type": "terms",
"id": "livetv",
"slug": "livetv",
"link": "/livetv",
"taxonomy": "site"
},
"lowdown": {
"name": "The Lowdown",
"relatedContentQuery": "posts/lowdown?",
"parent": "news",
"type": "terms",
"id": "lowdown",
"slug": "lowdown",
"link": "/lowdown",
"taxonomy": "site"
},
"mindshift": {
"name": "Mindshift",
"parent": "news",
"description": "MindShift explores the future of education by highlighting the innovative – and sometimes counterintuitive – ways educators and parents are helping all children succeed.",
"type": "terms",
"id": "mindshift",
"slug": "mindshift",
"link": "/mindshift",
"taxonomy": "site"
},
"news": {
"name": "News",
"grouping": [
"news",
"forum"
],
"type": "terms",
"id": "news",
"slug": "news",
"link": "/news",
"taxonomy": "site"
},
"newsletters": {
"name": "newsletters",
"type": "terms",
"id": "newsletters",
"slug": "newsletters",
"link": "/newsletters",
"taxonomy": "site"
},
"perspectives": {
"name": "Perspectives",
"parent": "radio",
"type": "terms",
"id": "perspectives",
"slug": "perspectives",
"link": "/perspectives",
"taxonomy": "site"
},
"podcasts": {
"name": "Podcasts",
"type": "terms",
"id": "podcasts",
"slug": "podcasts",
"link": "/podcasts",
"taxonomy": "site"
},
"pop": {
"name": "Pop",
"parent": "arts",
"type": "terms",
"id": "pop",
"slug": "pop",
"link": "/pop",
"taxonomy": "site"
},
"pressroom": {
"name": "Pressroom",
"type": "terms",
"id": "pressroom",
"slug": "pressroom",
"link": "/pressroom",
"taxonomy": "site"
},
"quest": {
"name": "Quest",
"parent": "science",
"type": "terms",
"id": "quest",
"slug": "quest",
"link": "/quest",
"taxonomy": "site"
},
"radio": {
"name": "Radio",
"grouping": [
"forum",
"perspectives"
],
"description": "Listen to KQED Public Radio – home of Forum and The California Report – on 88.5 FM in San Francisco, 89.3 FM in Sacramento, 88.3 FM in Santa Rosa and 88.1 FM in Martinez.",
"type": "terms",
"id": "radio",
"slug": "radio",
"link": "/radio",
"taxonomy": "site"
},
"root": {
"name": "KQED",
"image": "https://ww2.kqed.org/app/uploads/2020/02/KQED-OG-Image@1x.png",
"imageWidth": 1200,
"imageHeight": 630,
"headData": {
"title": "KQED | News, Radio, Podcasts, TV | Public Media for Northern California",
"description": "KQED provides public radio, television, and independent reporting on issues that matter to the Bay Area. We’re the NPR and PBS member station for Northern California."
},
"type": "terms",
"id": "root",
"slug": "root",
"link": "/root",
"taxonomy": "site"
},
"science": {
"name": "Science",
"grouping": [
"science",
"futureofyou"
],
"description": "KQED Science brings you award-winning science and environment coverage from the Bay Area and beyond.",
"type": "terms",
"id": "science",
"slug": "science",
"link": "/science",
"taxonomy": "site"
},
"stateofhealth": {
"name": "State of Health",
"parent": "science",
"type": "terms",
"id": "stateofhealth",
"slug": "stateofhealth",
"link": "/stateofhealth",
"taxonomy": "site"
},
"support": {
"name": "Support",
"type": "terms",
"id": "support",
"slug": "support",
"link": "/support",
"taxonomy": "site"
},
"thedolist": {
"name": "The Do List",
"parent": "arts",
"type": "terms",
"id": "thedolist",
"slug": "thedolist",
"link": "/thedolist",
"taxonomy": "site"
},
"trulyca": {
"name": "Truly CA",
"grouping": [
"arts",
"pop",
"trulyca"
],
"parent": "arts",
"type": "terms",
"id": "trulyca",
"slug": "trulyca",
"link": "/trulyca",
"taxonomy": "site"
},
"tv": {
"name": "TV",
"type": "terms",
"id": "tv",
"slug": "tv",
"link": "/tv",
"taxonomy": "site"
},
"voterguide": {
"name": "Voter Guide",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "voterguide",
"slug": "voterguide",
"link": "/voterguide",
"taxonomy": "site"
},
"guiaelectoral": {
"name": "Guia Electoral",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "guiaelectoral",
"slug": "guiaelectoral",
"link": "/guiaelectoral",
"taxonomy": "site"
},
"arts_category_movies": {
"isLoading": true
},
"arts_74": {
"type": "terms",
"id": "arts_74",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "74",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Movies",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Movies Archives | KQED Arts",
"ogDescription": null
},
"ttid": 75,
"slug": "movies",
"isLoading": false,
"link": "/arts/category/movies"
},
"arts_75": {
"type": "terms",
"id": "arts_75",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "75",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Pop Culture",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Pop Culture Archives | KQED Arts",
"ogDescription": null
},
"ttid": 76,
"slug": "popculture",
"isLoading": false,
"link": "/arts/category/popculture"
},
"arts_2098": {
"type": "terms",
"id": "arts_2098",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2098",
"found": true
},
"relationships": {},
"featImg": null,
"name": "instagram",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "instagram Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2110,
"slug": "instagram",
"isLoading": false,
"link": "/arts/tag/instagram"
},
"arts_4506": {
"type": "terms",
"id": "arts_4506",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4506",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Sports",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Sports Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4518,
"slug": "sports",
"isLoading": false,
"link": "/arts/tag/sports"
},
"arts_3241": {
"type": "terms",
"id": "arts_3241",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3241",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Star Wars",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Star Wars Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3253,
"slug": "star-wars",
"isLoading": false,
"link": "/arts/tag/star-wars"
},
"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_966": {
"type": "terms",
"id": "arts_966",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "966",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Dance",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Dance Archives | KQED Arts",
"ogDescription": null
},
"ttid": 984,
"slug": "dance",
"isLoading": false,
"link": "/arts/category/dance"
},
"arts_7821": {
"type": "terms",
"id": "arts_7821",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7821",
"found": true
},
"relationships": {},
"featImg": null,
"name": "desi mundo",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "desi mundo Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7833,
"slug": "desi-mundo",
"isLoading": false,
"link": "/arts/tag/desi-mundo"
},
"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_1118": {
"type": "terms",
"id": "arts_1118",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1118",
"found": true
},
"relationships": {},
"featImg": null,
"name": "featured",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "featured Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1135,
"slug": "featured",
"isLoading": false,
"link": "/arts/tag/featured"
},
"arts_2819": {
"type": "terms",
"id": "arts_2819",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2819",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Malonga Casquelourd Center for the Arts",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Malonga Casquelourd Center for the Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2831,
"slug": "malonga-casquelourd-center-for-the-arts",
"isLoading": false,
"link": "/arts/tag/malonga-casquelourd-center-for-the-arts"
},
"arts_1737": {
"type": "terms",
"id": "arts_1737",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1737",
"found": true
},
"relationships": {},
"featImg": null,
"name": "murals",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "murals Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1749,
"slug": "murals",
"isLoading": false,
"link": "/arts/tag/murals"
},
"arts_596": {
"type": "terms",
"id": "arts_596",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "596",
"found": true
},
"relationships": {},
"featImg": null,
"name": "ntv",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "ntv Archives | KQED Arts",
"ogDescription": null
},
"ttid": 602,
"slug": "ntv",
"isLoading": false,
"link": "/arts/tag/ntv"
},
"arts_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_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_6476": {
"type": "terms",
"id": "arts_6476",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6476",
"found": true
},
"relationships": {},
"featImg": null,
"name": "castro theatre",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "castro theatre Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6488,
"slug": "castro-theatre",
"isLoading": false,
"link": "/arts/tag/castro-theatre"
},
"arts_1146": {
"type": "terms",
"id": "arts_1146",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1146",
"found": true
},
"relationships": {},
"featImg": null,
"name": "San Francisco",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "San Francisco Archives | KQED Arts",
"ogDescription": null
},
"ttid": 701,
"slug": "san-francisco",
"isLoading": false,
"link": "/arts/tag/san-francisco"
},
"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_137": {
"type": "terms",
"id": "arts_137",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "137",
"found": true
},
"relationships": {},
"featImg": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/logo-npr-lg1.png",
"name": "NPR",
"description": null,
"taxonomy": "affiliate",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "NPR Archives | KQED Arts",
"ogDescription": null
},
"ttid": 138,
"slug": "npr",
"isLoading": false,
"link": "/arts/affiliate/npr"
},
"arts_1006": {
"type": "terms",
"id": "arts_1006",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1006",
"found": true
},
"relationships": {},
"featImg": null,
"name": "guide",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "guide Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1023,
"slug": "guide",
"isLoading": false,
"link": "/arts/tag/guide"
},
"arts_4221": {
"type": "terms",
"id": "arts_4221",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4221",
"found": true
},
"relationships": {},
"featImg": null,
"name": "vogue theatre",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "vogue theatre Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4233,
"slug": "vogue-theatre",
"isLoading": false,
"link": "/arts/tag/vogue-theatre"
},
"arts_967": {
"type": "terms",
"id": "arts_967",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "967",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Theater",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Theater Archives | KQED Arts",
"ogDescription": null
},
"ttid": 985,
"slug": "theater",
"isLoading": false,
"link": "/arts/category/theater"
},
"arts_5544": {
"type": "terms",
"id": "arts_5544",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5544",
"found": true
},
"relationships": {},
"featImg": null,
"name": "movie theaters",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "movie theaters Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5556,
"slug": "movie-theaters",
"isLoading": false,
"link": "/arts/tag/movie-theaters"
},
"arts_2721": {
"type": "terms",
"id": "arts_2721",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2721",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Santa Rosa",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Santa Rosa Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2733,
"slug": "santa-rosa",
"isLoading": false,
"link": "/arts/tag/santa-rosa"
},
"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_1537": {
"type": "terms",
"id": "arts_1537",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1537",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Bob Dylan",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Bob Dylan Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1549,
"slug": "bob-dylan",
"isLoading": false,
"link": "/arts/tag/bob-dylan"
},
"arts_9060": {
"type": "terms",
"id": "arts_9060",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "9060",
"found": true
},
"relationships": {},
"featImg": null,
"name": "martin scorcese",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "martin scorcese Archives | KQED Arts",
"ogDescription": null
},
"ttid": 9072,
"slug": "martin-scorcese",
"isLoading": false,
"link": "/arts/tag/martin-scorcese"
},
"arts_928": {
"type": "terms",
"id": "arts_928",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "928",
"found": true
},
"relationships": {},
"featImg": null,
"name": "books",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "books Archives | KQED Arts",
"ogDescription": null
},
"ttid": 946,
"slug": "books",
"isLoading": false,
"link": "/arts/tag/books"
},
"arts_6494": {
"type": "terms",
"id": "arts_6494",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6494",
"found": true
},
"relationships": {},
"featImg": null,
"name": "matthew mcconaughey",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "matthew mcconaughey Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6506,
"slug": "matthew-mcconaughey",
"isLoading": false,
"link": "/arts/tag/matthew-mcconaughey"
},
"arts_76": {
"type": "terms",
"id": "arts_76",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "76",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Fashion/Design",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Fashion/Design Archives | KQED Arts",
"ogDescription": null
},
"ttid": 77,
"slug": "design",
"isLoading": false,
"link": "/arts/category/design"
},
"arts_3701": {
"type": "terms",
"id": "arts_3701",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3701",
"found": true
},
"relationships": {},
"featImg": null,
"name": "academy awards",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "academy awards Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3713,
"slug": "academy-awards",
"isLoading": false,
"link": "/arts/tag/academy-awards"
},
"arts_6186": {
"type": "terms",
"id": "arts_6186",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6186",
"found": true
},
"relationships": {},
"featImg": null,
"name": "natalie portman",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "natalie portman Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6198,
"slug": "natalie-portman",
"isLoading": false,
"link": "/arts/tag/natalie-portman"
},
"arts_3698": {
"type": "terms",
"id": "arts_3698",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3698",
"found": true
},
"relationships": {},
"featImg": null,
"name": "oscars",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "oscars Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3710,
"slug": "oscars",
"isLoading": false,
"link": "/arts/tag/oscars"
}
},
"userPermissionsReducer": {
"wpLoggedIn": false
},
"eventsReducer": {},
"fssReducer": {},
"tvDailyScheduleReducer": {},
"tvWeeklyScheduleReducer": {},
"tvPrimetimeScheduleReducer": {},
"tvMonthlyScheduleReducer": {},
"userAccountReducer": {
"user": {
"email": null,
"emailStatus": "EMAIL_UNVALIDATED",
"loggedStatus": "LOGGED_OUT",
"loggingChecked": false,
"articles": [],
"firstName": null,
"lastName": null,
"phoneNumber": null,
"fetchingMembership": false,
"membershipError": false,
"memberships": [
{
"id": null,
"startDate": null,
"firstName": null,
"lastName": null,
"familyNumber": null,
"memberNumber": null,
"memberSince": null,
"expirationDate": null,
"pfsEligible": false,
"isSustaining": false,
"membershipLevel": "Prospect",
"membershipStatus": "Non Member",
"lastGiftDate": null,
"renewalDate": null,
"lastDonationAmount": null
}
]
},
"authModal": {
"isOpen": false,
"view": "LANDING_VIEW"
},
"error": null
},
"youthMediaReducer": {},
"checkPleaseReducer": {
"filterData": {
"region": {
"key": "Restaurant Region",
"filters": [
"Any Region"
]
},
"cuisine": {
"key": "Restaurant Cuisine",
"filters": [
"Any Cuisine"
]
}
},
"restaurantDataById": {},
"restaurantIdsSorted": [],
"error": null
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
}
}
