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_13865985": {
"type": "attachments",
"id": "arts_13865985",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13865985",
"found": true
},
"parent": 13865965,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/The_Flick-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/The_Flick-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/The_Flick-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/The_Flick.jpg",
"width": 1200,
"height": 675
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/The_Flick-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/The_Flick-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/The_Flick-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/The_Flick-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1568046216,
"modified": 1568046334,
"caption": "Left to right, Avery (Justin Howard), Sam (Chris Ginesi) and Rose (Ari Rampy) in Shotgun Players' production of 'The Flick.'",
"description": "Left to right, Avery (Justin Howard), Sam (Chris Ginesi) and Rose (Ari Rampy) in Shotgun Players' production of 'The Flick.'",
"title": "The_Flick",
"credit": "Ben Krantz Studio",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13865568": {
"type": "attachments",
"id": "arts_13865568",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13865568",
"found": true
},
"parent": 13865507,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/image-w1280-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/image-w1280-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/image-w1280-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/image-w1280.jpg",
"width": 1280,
"height": 720
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/image-w1280-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/image-w1280-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/image-w1280-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/09/image-w1280-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1567539043,
"modified": 1567539062,
"caption": "Still from 'The 5,000 Fingers of Dr. T.'",
"description": "Still from 'The 5,000 Fingers of Dr. T.'",
"title": "image-w1280",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13865344": {
"type": "attachments",
"id": "arts_13865344",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13865344",
"found": true
},
"parent": 13865343,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/thefanatic_slide-1c5f35cfbcb0290d1bb87112ed75b92c4086cc0b-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/thefanatic_slide-1c5f35cfbcb0290d1bb87112ed75b92c4086cc0b-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/thefanatic_slide-1c5f35cfbcb0290d1bb87112ed75b92c4086cc0b-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/thefanatic_slide-1c5f35cfbcb0290d1bb87112ed75b92c4086cc0b.jpg",
"width": 1195,
"height": 797
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/thefanatic_slide-1c5f35cfbcb0290d1bb87112ed75b92c4086cc0b-1020x680.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 680
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/thefanatic_slide-1c5f35cfbcb0290d1bb87112ed75b92c4086cc0b-800x534.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 534
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/thefanatic_slide-1c5f35cfbcb0290d1bb87112ed75b92c4086cc0b-768x512.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 512
}
},
"publishDate": 1567124962,
"modified": 1567125387,
"caption": "Fred Durst (yes, that Fred Durst) co-wrote and directed this thriller about a stalker. John Travolta (left), stars as the fanatic and Devon Sawa (right), stars as his movie star prey.",
"description": "Fred Durst (yes, that Fred Durst) co-wrote and directed this thriller about a stalker. John Travolta (left), stars as the fanatic and Devon Sawa (right), stars as his movie star prey.",
"title": "Fred Durst (yes, that Fred Durst) co-wrote and directed this thriller about a stalker. John Travolta (left), stars as the fanatic and Devon Sawa (right), stars as his movie star prey.",
"credit": "Quiver Distribution",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13865296": {
"type": "attachments",
"id": "arts_13865296",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13865296",
"found": true
},
"parent": 13865292,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/HieroDay.Crowd_-160x99.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 99
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/HieroDay.Crowd_-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/HieroDay.Crowd_.jpg",
"width": 800,
"height": 493
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/HieroDay.Crowd_-800x493.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 493
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/HieroDay.Crowd_-768x473.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 473
}
},
"publishDate": 1567114370,
"modified": 1567114425,
"caption": "The crowd at Hiero Day in 2018.",
"description": "The crowd at Hiero Day in 2018.",
"title": "HieroDay.Crowd",
"credit": "Estefany Gonzalez",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13864863": {
"type": "attachments",
"id": "arts_13864863",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13864863",
"found": true
},
"parent": 13864853,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/GML_5_COVER-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/GML_5_COVER-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/GML_5_COVER-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/GML_5_COVER.jpg",
"width": 1846,
"height": 1038
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/GML_5_COVER-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/GML_5_COVER-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/GML_5_COVER-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/GML_5_COVER-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1566847823,
"modified": 1566848049,
"caption": "Still from 'Give Me Liberty.'",
"description": "Still from 'Give Me Liberty.'",
"title": "GML_5_COVER",
"credit": "Courtesy of Roxie Theater",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13864823": {
"type": "attachments",
"id": "arts_13864823",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13864823",
"found": true
},
"parent": 13864820,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/GettyImages-872277084-1024x576.jpg",
"width": 1024,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/GettyImages-872277084-160x106.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 106
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/GettyImages-872277084-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/GettyImages-872277084.jpg",
"width": 1024,
"height": 680
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/GettyImages-872277084-1020x677.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 677
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/GettyImages-872277084-800x531.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 531
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/GettyImages-872277084-768x510.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 510
}
},
"publishDate": 1566840292,
"modified": 1566840339,
"caption": "Co-Director/screenwriter Adrian Molina, actors Anthony Gonzalez, Gael Garcia Bernal, Benjamin Bratt and Edward James Olmos at the Global Press Conference for Disney-Pixar's \"Coco.\"",
"description": "Co-Director/screenwriter Adrian Molina, actors Anthony Gonzalez, Gael Garcia Bernal, Benjamin Bratt and Edward James Olmos at the Global Press Conference for Disney-Pixar's \"Coco.\"",
"title": "\"COCO\" Global Press Conference",
"credit": "Alberto E. Rodriguez/Getty Images for Disney",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13864806": {
"type": "attachments",
"id": "arts_13864806",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13864806",
"found": true
},
"parent": 13864805,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/hl_image_01_v02_wide-14176ee1981047c0bb94500440304b15d2f117bf-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/hl_image_01_v02_wide-14176ee1981047c0bb94500440304b15d2f117bf-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/hl_image_01_v02_wide-14176ee1981047c0bb94500440304b15d2f117bf-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/hl_image_01_v02_wide-14176ee1981047c0bb94500440304b15d2f117bf.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/hl_image_01_v02_wide-14176ee1981047c0bb94500440304b15d2f117bf-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/hl_image_01_v02_wide-14176ee1981047c0bb94500440304b15d2f117bf-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/hl_image_01_v02_wide-14176ee1981047c0bb94500440304b15d2f117bf-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/hl_image_01_v02_wide-14176ee1981047c0bb94500440304b15d2f117bf-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/hl_image_01_v02_wide-14176ee1981047c0bb94500440304b15d2f117bf-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1566836996,
"modified": 1566837221,
"caption": "The new animated short Hair Love follows the story of an African American father trying to do his daughter's hair.",
"description": "The new animated short Hair Love follows the story of an African American father trying to do his daughter's hair.",
"title": "The new animated short Hair Love follows the story of an African American father trying to do his daughter's hair.",
"credit": "Courtesy of Sony Pictures Animation",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13864618": {
"type": "attachments",
"id": "arts_13864618",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13864618",
"found": true
},
"parent": 13864617,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/brittany-runs-a-marathon-brittany-50r_rgb_custom-75d6208b25bef5c47f881b7efdec359fe6811122-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/brittany-runs-a-marathon-brittany-50r_rgb_custom-75d6208b25bef5c47f881b7efdec359fe6811122-160x66.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 66
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/brittany-runs-a-marathon-brittany-50r_rgb_custom-75d6208b25bef5c47f881b7efdec359fe6811122-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/brittany-runs-a-marathon-brittany-50r_rgb_custom-75d6208b25bef5c47f881b7efdec359fe6811122.jpg",
"width": 1917,
"height": 793
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/brittany-runs-a-marathon-brittany-50r_rgb_custom-75d6208b25bef5c47f881b7efdec359fe6811122-1020x422.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 422
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/brittany-runs-a-marathon-brittany-50r_rgb_custom-75d6208b25bef5c47f881b7efdec359fe6811122-1200x496.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 496
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/brittany-runs-a-marathon-brittany-50r_rgb_custom-75d6208b25bef5c47f881b7efdec359fe6811122-800x331.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 331
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/brittany-runs-a-marathon-brittany-50r_rgb_custom-75d6208b25bef5c47f881b7efdec359fe6811122-768x318.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 318
}
},
"publishDate": 1566419692,
"modified": 1566420170,
"caption": "When her doctor suggests she lose some weight, Brittany (Jillian Bell) takes up running in 'Brittany Runs A Marathon.'",
"description": "When her doctor suggests she lose some weight, Brittany (Jillian Bell) takes up running in 'Brittany Runs A Marathon.'",
"title": "When her doctor suggests she lose some weight, Brittany (Jillian Bell) takes up running in 'Brittany Runs A Marathon.'",
"credit": "Courtesy of Amazon Studios",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13864467": {
"type": "attachments",
"id": "arts_13864467",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13864467",
"found": true
},
"parent": 13864462,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/Boston-Strangler.MAIN_-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/Boston-Strangler.MAIN_-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/Boston-Strangler.MAIN_-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/Boston-Strangler.MAIN_.jpg",
"width": 1777,
"height": 999
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/Boston-Strangler.MAIN_-1020x573.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 573
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/Boston-Strangler.MAIN_-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/Boston-Strangler.MAIN_-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/Boston-Strangler.MAIN_-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1566241165,
"modified": 1566241221,
"caption": "'The Boston Strangler,' directed by Richard Fleischer, screens at the Castro Theatre this week.",
"description": "'The Boston Strangler,' directed by Richard Fleischer, screens at the Castro Theatre this week.",
"title": "Boston-Strangler.MAIN",
"credit": "Courtesy Castro Theatre",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13864442": {
"type": "attachments",
"id": "arts_13864442",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13864442",
"found": true
},
"parent": 13864252,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/Possessed.Ruthies.HARALDOIM-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/Possessed.Ruthies.HARALDOIM-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/Possessed.Ruthies.HARALDOIM.jpg",
"width": 800,
"height": 533
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/Possessed.Ruthies.HARALDOIM-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/Possessed.Ruthies.HARALDOIM-768x512.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 512
}
},
"publishDate": 1566233152,
"modified": 1566233268,
"caption": "Bay Area metal band Possessed at Ruthie's Inn on San Pablo Avenue in Berkeley.",
"description": "Bay Area metal band Possessed at Ruthie's Inn on San Pablo Avenue in Berkeley.",
"title": "Possessed.Ruthies.HARALDOIM",
"credit": "Harald Oimoen",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13864378": {
"type": "attachments",
"id": "arts_13864378",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13864378",
"found": true
},
"parent": 13864374,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/Image-from-iOS-3-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/Image-from-iOS-3-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/Image-from-iOS-3-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/Image-from-iOS-3.jpg",
"width": 1280,
"height": 720
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/Image-from-iOS-3-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/Image-from-iOS-3-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/Image-from-iOS-3-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/Image-from-iOS-3-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1565996618,
"modified": 1565996847,
"caption": "Still of Peter Fonda from 1969 film 'Easy Rider.'",
"description": "Still of Peter Fonda from 1969 film 'Easy Rider.'",
"title": "Peter Fonda",
"credit": "YouTube",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13864146": {
"type": "attachments",
"id": "arts_13864146",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13864146",
"found": true
},
"parent": 13864139,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/3-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/3-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/3-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/3.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/3-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/3-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/3-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/3-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/3-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1565834984,
"modified": 1565912432,
"caption": "L to R: Michelle Williams as Isabel, Julianne Moore as Theresa Young.",
"description": "L to R: Michelle Williams as Isabel, Julianne Moore as Theresa Young.",
"title": "3",
"credit": "Photo by Julio Macat; Courtesy Sony Pictures Classics",
"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_13865343": {
"type": "authors",
"id": "byline_arts_13865343",
"meta": {
"override": true
},
"slug": "byline_arts_13865343",
"name": "Simon Abrams",
"isLoading": false
},
"byline_arts_13864820": {
"type": "authors",
"id": "byline_arts_13864820",
"meta": {
"override": true
},
"slug": "byline_arts_13864820",
"name": "Jake Coyle, Associated Press",
"isLoading": false
},
"byline_arts_13864805": {
"type": "authors",
"id": "byline_arts_13864805",
"meta": {
"override": true
},
"slug": "byline_arts_13864805",
"name": "Michel Martin",
"isLoading": false
},
"byline_arts_13864617": {
"type": "authors",
"id": "byline_arts_13864617",
"meta": {
"override": true
},
"slug": "byline_arts_13864617",
"name": "Justin Chang",
"isLoading": false
},
"byline_arts_13864374": {
"type": "authors",
"id": "byline_arts_13864374",
"meta": {
"override": true
},
"slug": "byline_arts_13864374",
"name": "Lindsey Bahr, Associated Press",
"isLoading": false
},
"mfox": {
"type": "authors",
"id": "22",
"meta": {
"index": "authors_1716337520",
"id": "22",
"found": true
},
"name": "Michael Fox",
"firstName": "Michael",
"lastName": "Fox",
"slug": "mfox",
"email": "foxonfilm@yahoo.com",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "Michael Fox has written about film for dozens of publications since 1987. He is a founding member of the San Francisco Bay Area Film Critics Circle.",
"avatar": "https://secure.gravatar.com/avatar/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"
},
"jedalatpour": {
"type": "authors",
"id": "42",
"meta": {
"index": "authors_1716337520",
"id": "42",
"found": true
},
"name": "Jeffrey Edalatpour",
"firstName": "Jeffrey",
"lastName": "Edalatpour",
"slug": "jedalatpour",
"email": "jedalatpour@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "Jeffrey Edalatpour's first published article was a 1999 film review of Pedro Almodovar’s \u003ci>All About My Mother. \u003c/i>Since then, his writing about arts, food and culture has appeared in a variety of print and online publications, including: KQED Arts, \u003ci>Metro Silicon Valley, Interview Magazine, \u003c/i>Berkeleyside.com, The Rumpus and \u003ci>SF Weekly. \u003c/i>His favorite Iris Murdoch novels (in no particular order) are \u003ci>The Bell, An Unofficial Rose \u003c/i>and\u003ci>The Black Prince\u003c/i>\u003ci>. \u003c/i>In other words, his home library is an anglophile’s dream.",
"avatar": "https://secure.gravatar.com/avatar/ed59ec60f4980f3a45d0c3758c17a4d4?s=600&d=blank&r=g",
"twitter": "jsedalatpour",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"contributor"
]
},
{
"site": "about",
"roles": [
"contributor"
]
},
{
"site": "bayareabites",
"roles": [
"author"
]
}
],
"headData": {
"title": "Jeffrey Edalatpour | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/ed59ec60f4980f3a45d0c3758c17a4d4?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/ed59ec60f4980f3a45d0c3758c17a4d4?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/jedalatpour"
},
"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": "forum",
"roles": [
"administrator"
]
},
{
"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"
},
"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": [],
"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": [
"subscriber"
]
},
{
"site": "news",
"roles": [
"subscriber"
]
},
{
"site": "pop",
"roles": [
"subscriber"
]
},
{
"site": "bayareabites",
"roles": [
"subscriber"
]
},
{
"site": "science",
"roles": [
"subscriber"
]
}
],
"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"
}
},
"pagesReducer": {
"arts_category_movies": {
"type": "terms",
"id": "arts_74",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "74",
"score": 12.5629425
},
"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": 115
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=movies",
"seeMore": false,
"paginated": true,
"page": 115
}
},
{
"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_13865965": {
"type": "posts",
"id": "arts_13865965",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13865965",
"score": null,
"sort": [
1568048457000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1568048457,
"format": "standard",
"title": "The Secret Life of Movie Theater Employees in 'The Flick'",
"headTitle": "The Secret Life of Movie Theater Employees in ‘The Flick’ | KQED",
"content": "\u003cp>Every customer service job comes with moments of relative inactivity; those blessed stretches of the work shift where there’s nobody to wait on, and where you can take a breather to commiserate with your fellow employees. \u003c/p>\n\u003cp>At movie theaters, those stretches last much longer, and the routine talk between rushes goes deeper. Add the fact that many theater staff are young. Also, that discussing why you like or don’t like a movie usually brings up personal experiences and emotional details. All of this gets magnified as the clock ticks into nighttime, when movies regularly get out after midnight.\u003c/p>\n\u003cp>This is the premise of \u003cem>The Flick\u003c/em>, the Pulitzer-winning play by Annie Baker currently making its West Coast premiere at Shotgun Players’ Ashby Stage in Berkeley. Full of dialogue and situations that will feel very familiar to anyone who’s worked a customer service job, it also (hopefully) inspires empathy toward the beleaguered minimum-wage worker in those who haven’t.\u003c/p>\n\u003cp>\u003cem>The Flick\u003c/em> starts slowly, because time at a movie theater moves slowly. As Sam (Chris Ginesi) and Avery (Justin Howard) sweep up between rows of seats after a show, the pauses between conversation are almost painfully long. Sam is showing new employee Avery the basic stuff like where to take the trash, and soon, more complicated stuff, like the elaborate system of skimming the box office cash register.\u003c/p>\n\u003cp>Also complicated is Sam’s attraction to projectionist Rose (Ari Rampy), who flirts instead with Avery, the new kid on the block. Meanwhile, Avery’s worried about Rose’s blatant overtures upsetting Sam, and about being blamed, as a nonwhite employee, should the cash-theft scheme be discovered. Hanging over all this is the theater industry’s imminent conversion to digital projection, and rumors that the small local theater will be sold to a corporate chain.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Directed by Jon Tracy, \u003cem>The Flick\u003c/em>‘s pace may throw some viewers off. But not only is it necessary for the revelations in the space between, it’s realistic to customer-service life. That’s true also for the set, designed by Randy Wong-Westbrooke: a perfect replica of a faded 1970s movie theater auditorium and projection booth. \u003c/p>\n\u003cp>But there’s a lot here that resonates beyond movie theaters. Love, ethics, mental health, goals, race, courage and vulnerability all play a role in \u003cem>The Flick\u003c/em>. They’re the type of things that stick around long after the credits roll and the lights come up. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 429,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 10
},
"modified": 1705022186,
"excerpt": "In Berkeley, Shotgun Players' production of this Pulitzer-winning play nails the customer-service experience.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "In Berkeley, Shotgun Players' production of this Pulitzer-winning play nails the customer-service experience.",
"title": "The Secret Life of Movie Theater Employees in 'The Flick' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The Secret Life of Movie Theater Employees in 'The Flick'",
"datePublished": "2019-09-09T10:00:57-07:00",
"dateModified": "2024-01-11T17:16:26-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "the-secret-life-of-movie-theater-employees-in-the-flick",
"status": "publish",
"templateType": "event",
"venueName": "Ashby Stage",
"featuredImageType": "standard",
"sticky": false,
"startTime": 1566457200,
"endTime": 1569135600,
"startTimeString": "Through Sept. 22",
"venueAddress": "1901 Ashby Ave., Berkeley",
"eventLink": "https://shotgunplayers.org/Online/default.asp",
"path": "/arts/13865965/the-secret-life-of-movie-theater-employees-in-the-flick",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Every customer service job comes with moments of relative inactivity; those blessed stretches of the work shift where there’s nobody to wait on, and where you can take a breather to commiserate with your fellow employees. \u003c/p>\n\u003cp>At movie theaters, those stretches last much longer, and the routine talk between rushes goes deeper. Add the fact that many theater staff are young. Also, that discussing why you like or don’t like a movie usually brings up personal experiences and emotional details. All of this gets magnified as the clock ticks into nighttime, when movies regularly get out after midnight.\u003c/p>\n\u003cp>This is the premise of \u003cem>The Flick\u003c/em>, the Pulitzer-winning play by Annie Baker currently making its West Coast premiere at Shotgun Players’ Ashby Stage in Berkeley. Full of dialogue and situations that will feel very familiar to anyone who’s worked a customer service job, it also (hopefully) inspires empathy toward the beleaguered minimum-wage worker in those who haven’t.\u003c/p>\n\u003cp>\u003cem>The Flick\u003c/em> starts slowly, because time at a movie theater moves slowly. As Sam (Chris Ginesi) and Avery (Justin Howard) sweep up between rows of seats after a show, the pauses between conversation are almost painfully long. Sam is showing new employee Avery the basic stuff like where to take the trash, and soon, more complicated stuff, like the elaborate system of skimming the box office cash register.\u003c/p>\n\u003cp>Also complicated is Sam’s attraction to projectionist Rose (Ari Rampy), who flirts instead with Avery, the new kid on the block. Meanwhile, Avery’s worried about Rose’s blatant overtures upsetting Sam, and about being blamed, as a nonwhite employee, should the cash-theft scheme be discovered. Hanging over all this is the theater industry’s imminent conversion to digital projection, and rumors that the small local theater will be sold to a corporate chain.\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>Directed by Jon Tracy, \u003cem>The Flick\u003c/em>‘s pace may throw some viewers off. But not only is it necessary for the revelations in the space between, it’s realistic to customer-service life. That’s true also for the set, designed by Randy Wong-Westbrooke: a perfect replica of a faded 1970s movie theater auditorium and projection booth. \u003c/p>\n\u003cp>But there’s a lot here that resonates beyond movie theaters. Love, ethics, mental health, goals, race, courage and vulnerability all play a role in \u003cem>The Flick\u003c/em>. They’re the type of things that stick around long after the credits roll and the lights come up. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13865965/the-secret-life-of-movie-theater-employees-in-the-flick",
"authors": [
"185"
],
"programs": [
"arts_140"
],
"categories": [
"arts_74",
"arts_967"
],
"tags": [
"arts_1270",
"arts_769",
"arts_2360",
"arts_1334",
"arts_1072"
],
"featImg": "arts_13865985",
"label": "arts_140"
},
"arts_13865507": {
"type": "posts",
"id": "arts_13865507",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13865507",
"score": null,
"sort": [
1567548044000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1567548044,
"format": "standard",
"title": "Now Playing! ‘The 5,000 Fingers of Dr. T.’ at Alamo Drafthouse",
"headTitle": "Now Playing! ‘The 5,000 Fingers of Dr. T.’ at Alamo Drafthouse | KQED",
"content": "\u003cp>’Tis the season when we wave goodbye to splashy summer frolics and dive headlong into the serious work (and art) of fall. Back to the grind, as it were. But what’s the rush? Let’s extend our escape just a few more days, until the \u003ca href=\"https://drafthouse.com/sf/show/the-5000-fingers-of-dr.-t-cereal-party-presented-with-media-meltdown\" rel=\"noopener\" target=\"_blank\">Alamo Drafthouse\u003c/a> “cereal breakfast” screening of \u003cem>The 5,000 Fingers of Dr. T.\u003c/em> on Saturday, Sept. 7 at noon.\u003c/p>\n\u003cp>Penned by Theodor Geisel, a.k.a. Dr. Seuss, and produced by earnest Hollywood heavyweight Stanley Kramer, \u003cem>The 5,000 Fingers of Dr. T.\u003c/em> (1953) is one of the strangest collaborations in the checkered history of the studio system. A live-action musical parable about control and conformity with fantastical sets and costumes (check out the trailer below), it was allegedly made for children, but truly intended for adults.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dgpfMxYFSmE\u003c/p>\n\u003cp>The heart of this fractured fairy tale is piano practice, a socially acceptable form of daily childhood imprisonment that swaths of the upwardly mobile American middle class adopted in the 1950s. Multiply this sadistic practice by 500 children, grinding away at a humongous piano under the “direction” of the supervillainous Dr. Terwilliker (Hans Conried), and you have the stuff that nightmares are made of.\u003c/p>\n\u003cp>Indeed, there are grown men and women walking the streets and malls at this very moment who can recall the trauma of seeing Dr. Seuss’ ostensibly benign children’s movie. If that isn’t a movie recommendation you can trust, I don’t know what to tell you.\u003c/p>\n\u003cp>Seriously, if you’re a parent who’s saturated your child with \u003cem>Star Wars\u003c/em> and Disney films, take a deep breath. How does that constitute a normal childhood? Plant a little—OK, a lot of—weirdness in your offspring’s imagination, courtesy of Dr. Seuss and Drafthouse.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 318,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 7
},
"modified": 1705022215,
"excerpt": "Dr. Seuss' 1953 fantasia was inspired by children's worst nightmare: piano practice.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Dr. Seuss' 1953 fantasia was inspired by children's worst nightmare: piano practice.",
"title": "Now Playing! ‘The 5,000 Fingers of Dr. T.’ at Alamo Drafthouse | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Now Playing! ‘The 5,000 Fingers of Dr. T.’ at Alamo Drafthouse",
"datePublished": "2019-09-03T15:00:44-07:00",
"dateModified": "2024-01-11T17:16:55-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "now-playing-the-5000-fingers-of-dr-t-at-alamo-drafthouse",
"status": "publish",
"templateType": "standard",
"venueName": "Alamo Drafthouse",
"featuredImageType": "standard",
"sticky": false,
"startTime": 1567882800,
"endTime": 1567893600,
"startTimeString": "Saturday, Sept. 7, 12pm",
"venueAddress": "2550 Mission St., San Francisco",
"eventLink": "https://drafthouse.com/sf/tickets/the-5000-fingers-of-dr.-t-cereal-party-presented-with-media-meltdown/0801/32294/showtimes",
"path": "/arts/13865507/now-playing-the-5000-fingers-of-dr-t-at-alamo-drafthouse",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>’Tis the season when we wave goodbye to splashy summer frolics and dive headlong into the serious work (and art) of fall. Back to the grind, as it were. But what’s the rush? Let’s extend our escape just a few more days, until the \u003ca href=\"https://drafthouse.com/sf/show/the-5000-fingers-of-dr.-t-cereal-party-presented-with-media-meltdown\" rel=\"noopener\" target=\"_blank\">Alamo Drafthouse\u003c/a> “cereal breakfast” screening of \u003cem>The 5,000 Fingers of Dr. T.\u003c/em> on Saturday, Sept. 7 at noon.\u003c/p>\n\u003cp>Penned by Theodor Geisel, a.k.a. Dr. Seuss, and produced by earnest Hollywood heavyweight Stanley Kramer, \u003cem>The 5,000 Fingers of Dr. T.\u003c/em> (1953) is one of the strangest collaborations in the checkered history of the studio system. A live-action musical parable about control and conformity with fantastical sets and costumes (check out the trailer below), it was allegedly made for children, but truly intended for adults.\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/dgpfMxYFSmE'\n title='//www.youtube.com/embed/dgpfMxYFSmE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The heart of this fractured fairy tale is piano practice, a socially acceptable form of daily childhood imprisonment that swaths of the upwardly mobile American middle class adopted in the 1950s. Multiply this sadistic practice by 500 children, grinding away at a humongous piano under the “direction” of the supervillainous Dr. Terwilliker (Hans Conried), and you have the stuff that nightmares are made of.\u003c/p>\n\u003cp>Indeed, there are grown men and women walking the streets and malls at this very moment who can recall the trauma of seeing Dr. Seuss’ ostensibly benign children’s movie. If that isn’t a movie recommendation you can trust, I don’t know what to tell you.\u003c/p>\n\u003cp>Seriously, if you’re a parent who’s saturated your child with \u003cem>Star Wars\u003c/em> and Disney films, take a deep breath. How does that constitute a normal childhood? Plant a little—OK, a lot of—weirdness in your offspring’s imagination, courtesy of Dr. Seuss and Drafthouse.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13865507/now-playing-the-5000-fingers-of-dr-t-at-alamo-drafthouse",
"authors": [
"22"
],
"programs": [
"arts_140"
],
"categories": [
"arts_74"
],
"tags": [
"arts_928",
"arts_1118",
"arts_1006",
"arts_596",
"arts_1334"
],
"featImg": "arts_13865568",
"label": "arts_140"
},
"arts_13865343": {
"type": "posts",
"id": "arts_13865343",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13865343",
"score": null,
"sort": [
1567170058000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1567170058,
"format": "standard",
"title": "In Stalker Thriller 'The Fanatic,' Travolta Stalks, But Never Thrills",
"headTitle": "In Stalker Thriller ‘The Fanatic,’ Travolta Stalks, But Never Thrills | KQED",
"content": "\u003cp>Halfway through the miserable psychodrama \u003cem>The Fanatic\u003c/em>, Dick (Kenneth Farmer, playing a minor character with only a few lines), asks a couple of aggressive panhandlers to stop harassing his buddy Moose (John Travolta): “Why can’t you leave this guy alone, huh?” You won’t find any good answers in the movie, an ugly character study about Moose, an emotionally unstable cinephile who stalks Hunter Dunbar (Devon Sawa), his favorite horror movie star. \u003c/p>\n\u003cp>Moose is such an underdeveloped character that one can’t help but wonder why co-writer/director Fred Durst (lead singer of the Nu-Metal group Limp Bizkit)\u003cstrong>, \u003c/strong>can’t stop picking on Travolta’s character, though \u003cem>The Fanatic\u003c/em> is supposedly based (in part) on Durst’s real-life encounters with a starstruck harasser. (Durst shares screenplay credit with Dave Bekerman.)\u003c/p>\n\u003cp>https://youtu.be/YRS6V8RXIKE\u003c/p>\n\u003cp>There’s nothing sympathetic about Moose, a petulant fanboy who’s defined by his childlike accessories — Hawaiian shirts, a backpack, and a haircut that’s halfway between a bowl cut and a mullet, hunched shoulders, constipated waddle, and emotional volatility. Moose repeatedly tries to befriend Hunter, an ungenerous, but understandably vexed B-lister, after the actor leaves a book signing before he can sign Moose’s memorabilia. \u003c/p>\n\u003cp>Some cliché-filled voiceover narration, provided by Moose’s celeb-hating/chasing paparazzo friend Leah (Ana Golja), ties Moose and Hunter together, but always in a way that suggests Hunter deserves whatever’s coming to him, like when she mysteriously suggests that while, “I have no idea why Moose would go back to that man’s house. But I suppose when you find the cookie jar, it’s hard to not go back for more.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Still: There’s nothing to Moose beyond some general commentary about how fans are entitled bullies, a proposition that’s literally spelled out, onscreen, in an introductory quote from Hunter (which he repeats later in the movie, only this time the line occurs as dialogue that Moose forces Hunter to say): “You are a fan. Without you I’m nothing.” \u003c/p>\n\u003cp>Moose’s behavior suggests that he’s mentally unstable, but the film never explicitly suggests that he’s psychologically impaired. Instead, Moose runs around doing whatever he wants, busking on Hollywood Boulevard (dressed as a British bobby, with a truly regrettable accent and fake mustache) and stalking Hunter at his home. Moose is also frequently picked on by fellow street performer Todd (Jacob Grodnik), but that doesn’t slow Moose down anymore than do Leah’s admonishments to stop stalking Hunter. \u003c/p>\n\u003cp>Durst fixates on Moose’s freakish behavior to the same unhealthy degree that Moose tries to impress Hunter. This is disappointing since Durst—who directed almost two dozen music videos before helming two sturdy enough features (\u003ci>The Education of Charlie Banks\u003c/i>, \u003ci>The Longshots\u003c/i>)—isn’t as amateurish a story-teller as \u003cem>The Fanatic\u003c/em> would attest. Still, \u003cem>The Fanatic\u003c/em> stinks because Durst doesn’t really care about whatever it is that’s motivating Moose. He’s violent and movie-obsessed, but viewers barely see what Hunter’s movies are like, or what Moose likes about them. Moose’s friends prove equally hard to read: Leah and Dick never register strongly enough as characters to provide Travolta’s character any useful, normalizing context.\u003c/p>\n\u003cp>Instead, we get a bunch of scenes where Travolta zealously overacts, as when he screams at Hunter, “I wish Freddy Krueger would come, and chop off your head, and it would roll in the street, and a truck would squish it, and the blood would splatter everywhere, and everyone would watch it.” Durst sometimes seems to pity Moose, as when he underscores, with a dramatic musical sting, his emotional devastation when Hunter pokes his chest with a marker and angrily signs his name on his shirt. But Travolta’s performance, like his twitchy character, isn’t even desperate in a cruelly amusing way: When he inevitably manages to get Hunter where he wants him, Moose tries to win over his captive audience by crudely imitating movie baddies from \u003cem>Friday the 13\u003c/em>\u003cem>\u003csup>th\u003c/sup>\u003c/em>, \u003cem>Saw\u003c/em> and \u003cem>Reservoir Dogs\u003c/em>, as if we needed reminding that this character knows more about movies than reality.\u003c/p>\n\u003cp>The same could be said about Durst and \u003cem>The Fanatic\u003c/em>: He consistently punches down at fans who, in the relatively innocent days of the late 90s and early 00s, might have been encouraged by Durst’s band when they sang about “my generation” and doing things “my way,” not to mention feeling misunderstood “behind blue eyes,” and “[doing] it all for the nookie.” \u003c/p>\n\u003cp>Instead, Durst now refers us to “The Truth”—Limp Bizkit’s 2005 rallying cry about “accepting the truth” and rejecting a vaguely menacing father figure—in a brief scene where Hunter and his son bond over Durst’s mediocre metal music. Unfortunately, \u003cem>The Fanatic \u003c/em>proves just as opaque as that song’s lyrics: “Somehow, you replaced all your game with a debt, now the payback’s a bitch/Why owe your life to a bitch?” \u003c/p>\n\u003cp>Hunter, in this example, is presumably the “bitch” that leads Moose astray, but nothing he does makes their fallen idol/clueless stalker power dynamic any more concrete and apprehendable. Moose’s addiction to social media serves him poorly, his fair-weather friends treat him abominably, but in the end, nothing regards him with more cruel indifference than the film itself. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2019 \u003ca href=\"https://www.npr.org\" rel=\"noopener\" target=\"_blank\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 962,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 14
},
"modified": 1705022227,
"excerpt": "In Fred Durst's third feature, based loosely on his experience with an overzealous fan, the director lectures the audience while star John Travolta flails away at a one-note performance. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "In Fred Durst's third feature, based loosely on his experience with an overzealous fan, the director lectures the audience while star John Travolta flails away at a one-note performance. ",
"title": "In Stalker Thriller 'The Fanatic,' Travolta Stalks, But Never Thrills | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "In Stalker Thriller 'The Fanatic,' Travolta Stalks, But Never Thrills",
"datePublished": "2019-08-30T06:00:58-07:00",
"dateModified": "2024-01-11T17:17:07-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "in-stalker-thriller-the-fanatic-travolta-stalks-but-never-thrills",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=753833401&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprByline": "Simon Abrams",
"nprStoryDate": "Thu, 29 Aug 2019 17:00:48 -0400",
"nprLastModifiedDate": "Thu, 29 Aug 2019 17:00:48 -0400",
"featuredImageType": "standard",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/2019/08/29/753833401/in-stalker-thriller-the-fanatic-travolta-stalks-but-never-thrills?ft=nprml&f=753833401",
"nprImageAgency": "Quiver ",
"nprStoryId": "753833401",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 29 Aug 2019 17:00:00 -0400",
"path": "/arts/13865343/in-stalker-thriller-the-fanatic-travolta-stalks-but-never-thrills",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Halfway through the miserable psychodrama \u003cem>The Fanatic\u003c/em>, Dick (Kenneth Farmer, playing a minor character with only a few lines), asks a couple of aggressive panhandlers to stop harassing his buddy Moose (John Travolta): “Why can’t you leave this guy alone, huh?” You won’t find any good answers in the movie, an ugly character study about Moose, an emotionally unstable cinephile who stalks Hunter Dunbar (Devon Sawa), his favorite horror movie star. \u003c/p>\n\u003cp>Moose is such an underdeveloped character that one can’t help but wonder why co-writer/director Fred Durst (lead singer of the Nu-Metal group Limp Bizkit)\u003cstrong>, \u003c/strong>can’t stop picking on Travolta’s character, though \u003cem>The Fanatic\u003c/em> is supposedly based (in part) on Durst’s real-life encounters with a starstruck harasser. (Durst shares screenplay credit with Dave Bekerman.)\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/YRS6V8RXIKE'\n title='//www.youtube.com/embed/YRS6V8RXIKE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There’s nothing sympathetic about Moose, a petulant fanboy who’s defined by his childlike accessories — Hawaiian shirts, a backpack, and a haircut that’s halfway between a bowl cut and a mullet, hunched shoulders, constipated waddle, and emotional volatility. Moose repeatedly tries to befriend Hunter, an ungenerous, but understandably vexed B-lister, after the actor leaves a book signing before he can sign Moose’s memorabilia. \u003c/p>\n\u003cp>Some cliché-filled voiceover narration, provided by Moose’s celeb-hating/chasing paparazzo friend Leah (Ana Golja), ties Moose and Hunter together, but always in a way that suggests Hunter deserves whatever’s coming to him, like when she mysteriously suggests that while, “I have no idea why Moose would go back to that man’s house. But I suppose when you find the cookie jar, it’s hard to not go back for more.”\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>Still: There’s nothing to Moose beyond some general commentary about how fans are entitled bullies, a proposition that’s literally spelled out, onscreen, in an introductory quote from Hunter (which he repeats later in the movie, only this time the line occurs as dialogue that Moose forces Hunter to say): “You are a fan. Without you I’m nothing.” \u003c/p>\n\u003cp>Moose’s behavior suggests that he’s mentally unstable, but the film never explicitly suggests that he’s psychologically impaired. Instead, Moose runs around doing whatever he wants, busking on Hollywood Boulevard (dressed as a British bobby, with a truly regrettable accent and fake mustache) and stalking Hunter at his home. Moose is also frequently picked on by fellow street performer Todd (Jacob Grodnik), but that doesn’t slow Moose down anymore than do Leah’s admonishments to stop stalking Hunter. \u003c/p>\n\u003cp>Durst fixates on Moose’s freakish behavior to the same unhealthy degree that Moose tries to impress Hunter. This is disappointing since Durst—who directed almost two dozen music videos before helming two sturdy enough features (\u003ci>The Education of Charlie Banks\u003c/i>, \u003ci>The Longshots\u003c/i>)—isn’t as amateurish a story-teller as \u003cem>The Fanatic\u003c/em> would attest. Still, \u003cem>The Fanatic\u003c/em> stinks because Durst doesn’t really care about whatever it is that’s motivating Moose. He’s violent and movie-obsessed, but viewers barely see what Hunter’s movies are like, or what Moose likes about them. Moose’s friends prove equally hard to read: Leah and Dick never register strongly enough as characters to provide Travolta’s character any useful, normalizing context.\u003c/p>\n\u003cp>Instead, we get a bunch of scenes where Travolta zealously overacts, as when he screams at Hunter, “I wish Freddy Krueger would come, and chop off your head, and it would roll in the street, and a truck would squish it, and the blood would splatter everywhere, and everyone would watch it.” Durst sometimes seems to pity Moose, as when he underscores, with a dramatic musical sting, his emotional devastation when Hunter pokes his chest with a marker and angrily signs his name on his shirt. But Travolta’s performance, like his twitchy character, isn’t even desperate in a cruelly amusing way: When he inevitably manages to get Hunter where he wants him, Moose tries to win over his captive audience by crudely imitating movie baddies from \u003cem>Friday the 13\u003c/em>\u003cem>\u003csup>th\u003c/sup>\u003c/em>, \u003cem>Saw\u003c/em> and \u003cem>Reservoir Dogs\u003c/em>, as if we needed reminding that this character knows more about movies than reality.\u003c/p>\n\u003cp>The same could be said about Durst and \u003cem>The Fanatic\u003c/em>: He consistently punches down at fans who, in the relatively innocent days of the late 90s and early 00s, might have been encouraged by Durst’s band when they sang about “my generation” and doing things “my way,” not to mention feeling misunderstood “behind blue eyes,” and “[doing] it all for the nookie.” \u003c/p>\n\u003cp>Instead, Durst now refers us to “The Truth”—Limp Bizkit’s 2005 rallying cry about “accepting the truth” and rejecting a vaguely menacing father figure—in a brief scene where Hunter and his son bond over Durst’s mediocre metal music. Unfortunately, \u003cem>The Fanatic \u003c/em>proves just as opaque as that song’s lyrics: “Somehow, you replaced all your game with a debt, now the payback’s a bitch/Why owe your life to a bitch?” \u003c/p>\n\u003cp>Hunter, in this example, is presumably the “bitch” that leads Moose astray, but nothing he does makes their fallen idol/clueless stalker power dynamic any more concrete and apprehendable. Moose’s addiction to social media serves him poorly, his fair-weather friends treat him abominably, but in the end, nothing regards him with more cruel indifference than the film itself. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2019 \u003ca href=\"https://www.npr.org\" rel=\"noopener\" target=\"_blank\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13865343/in-stalker-thriller-the-fanatic-travolta-stalks-but-never-thrills",
"authors": [
"byline_arts_13865343"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_977",
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13865344",
"label": "arts_137"
},
"arts_13865292": {
"type": "posts",
"id": "arts_13865292",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13865292",
"score": null,
"sort": [
1567114505000
]
},
"guestAuthors": [],
"slug": "the-do-list-listen-to-our-weekend-picks-for-aug-30-sept-5",
"title": "The Do List: Listen to Our Weekend Picks for Aug. 30–Sept. 5",
"publishDate": 1567114505,
"format": "audio",
"headTitle": "The Do List: Listen to Our Weekend Picks for Aug. 30–Sept. 5 | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>It’s time for Labor Day weekend!\u003c/p>\n\u003cp>Looking for things to do in the Bay Area? Listen to KQED Arts’ Gabe Meline and Sarah Hotchkiss discuss their critic’s picks for this weekend at the audio link above, and read about each event below.\u003c/p>\n\u003cp>\u003cstrong>Hiero Day\u003c/strong>: When East Bay hip-hop crew Hieroglyphics puts on a music festival, it’s more block party than Bonnaroo. The scene is casual, there’s usually people out breakdancing and skateboarding, and the lineup always pulls together underground rappers from all over the country. This year, it’s heavy on the ’90s: that means you’ll see Scarface from the Geto Boys, the producer Pete Rock, a reunion of the duo Little Brother, Black Moon, Smif-n-Wessun, Count Bass D, Diamond D, and a ton more. It all goes down on Labor Day, Sept. 2, along Third Street on the edge of the Jack London district in Oakland. \u003ca href=\"https://www.hieroday.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘Against the Ropes’\u003c/strong>: Many of you know the Netflix show \u003cem>GLOW\u003c/em>. And San Francisco artist Kelly Inouye has a new show of large-scale watercolor paintings that’s inspired in part by her rediscovery of women’s professional wrestling. At the same time, Inouye was reading a lot of feminist writing about empowerment, intersectionality and female rage, and she channeled that need for catharsis into these giant works on paper depicting really powerful, athletic women playing with different personas (the biggest one is 60 x 74 inches). The show opens at Marrow Gallery in the Inner Sunset on Friday, Aug. 30, and runs through September 28. \u003ca href=\"https://www.marrowgallery.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘Tierra de Rosas’\u003c/strong>: This a show of painting and sculpture by Maria de los Angeles, who was born in Mexico, came to Santa Rosa’s Roseland district as a young girl, and for the past 10 years has lived on the East Coast. This exhibit in Santa Rosa serves as a homecoming of sorts, in a city that remembers her well—at the opening last weekend, it was packed. She’s paired her own work with that of 10 other artists who’ve inspired her, much of it unpacking immigration, and much of it joyful. It’s up now, and runs through Nov. 3 at the Museum of Sonoma County in Santa Rosa. \u003ca href=\"https://museumsc.org/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>‘Jodorowsky’s Dune’\u003c/strong>: You may be familiar with David Lynch’s 1984 adaptation of the epic Frank Herbert sci-fi, starring Kyle MacLaughlan and Sting. You may \u003cem>also\u003c/em> know that director Denis Villeneuve is working on his own \u003cem>Dune\u003c/em> for 2020. But before both of these, there was another \u003cem>Dune\u003c/em> that never got made, a visionary film by Chilean director Alejandro Jodorowsky. When he started working on it in 1974, it was going to star Orson Welles, Mick Jagger, David Carradine and even the artist Salvador Dalí, and he commissioned designs from artists like H.R. Giger and Jean Giraud. In this documentary, Jodorowsky gets to describe the film that could have been, as well as its influences on so many movies that followed. It screens Friday, Aug. 30, at the New Parkway in Oakland. \u003ca href=\"https://www.thenewparkway.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Sonido Clash\u003c/strong>: Nina Sky headline this year’s Sonido Clash music festival in San Jose, a day-long celebration with two dozen buzzed-about indie and alternative Latino artists—the type of acts you’re likely to see on NPR’s Tiny Desk in a year or two. Katzu Oso, Ms. Nina, Reyna Tropical and a ton more play in the cozy courtyard setting, at the School of Arts and Culture at the Mexican Heritage Plaza, in San Jose. It’s on Sunday, Sept. 1. \u003ca href=\"http://sonidoclash.com/sonido-clash-music-fest/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\n",
"blocks": [],
"excerpt": "On the Do list this week, we're talking about Hiero Day, women's wrestling, 'Jodorowsky's Dune,' Sonido Clash and more. ",
"status": "publish",
"parent": 0,
"modified": 1726766293,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 9,
"wordCount": 635
},
"headData": {
"title": "The Do List: Listen to Our Weekend Picks for Aug. 30–Sept. 5 | KQED",
"description": "On the Do list this week, we're talking about Hiero Day, women's wrestling, 'Jodorowsky's Dune,' Sonido Clash and more. ",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The Do List: Listen to Our Weekend Picks for Aug. 30–Sept. 5",
"datePublished": "2019-08-29T14:35:05-07:00",
"dateModified": "2024-09-19T10:18:13-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"audioUrl": "https://ww2.kqed.org/podcasts/wp-content/uploads/sites/77/2019/08/The-Do-List-for-Thursday-Aug-28-Monday-Sept-2-v2.mp3",
"sticky": false,
"audioTrackLength": 260,
"templateType": "standard",
"featuredImageType": "standard",
"path": "/arts/13865292/the-do-list-listen-to-our-weekend-picks-for-aug-30-sept-5",
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s time for Labor Day weekend!\u003c/p>\n\u003cp>Looking for things to do in the Bay Area? Listen to KQED Arts’ Gabe Meline and Sarah Hotchkiss discuss their critic’s picks for this weekend at the audio link above, and read about each event below.\u003c/p>\n\u003cp>\u003cstrong>Hiero Day\u003c/strong>: When East Bay hip-hop crew Hieroglyphics puts on a music festival, it’s more block party than Bonnaroo. The scene is casual, there’s usually people out breakdancing and skateboarding, and the lineup always pulls together underground rappers from all over the country. This year, it’s heavy on the ’90s: that means you’ll see Scarface from the Geto Boys, the producer Pete Rock, a reunion of the duo Little Brother, Black Moon, Smif-n-Wessun, Count Bass D, Diamond D, and a ton more. It all goes down on Labor Day, Sept. 2, along Third Street on the edge of the Jack London district in Oakland. \u003ca href=\"https://www.hieroday.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘Against the Ropes’\u003c/strong>: Many of you know the Netflix show \u003cem>GLOW\u003c/em>. And San Francisco artist Kelly Inouye has a new show of large-scale watercolor paintings that’s inspired in part by her rediscovery of women’s professional wrestling. At the same time, Inouye was reading a lot of feminist writing about empowerment, intersectionality and female rage, and she channeled that need for catharsis into these giant works on paper depicting really powerful, athletic women playing with different personas (the biggest one is 60 x 74 inches). The show opens at Marrow Gallery in the Inner Sunset on Friday, Aug. 30, and runs through September 28. \u003ca href=\"https://www.marrowgallery.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘Tierra de Rosas’\u003c/strong>: This a show of painting and sculpture by Maria de los Angeles, who was born in Mexico, came to Santa Rosa’s Roseland district as a young girl, and for the past 10 years has lived on the East Coast. This exhibit in Santa Rosa serves as a homecoming of sorts, in a city that remembers her well—at the opening last weekend, it was packed. She’s paired her own work with that of 10 other artists who’ve inspired her, much of it unpacking immigration, and much of it joyful. It’s up now, and runs through Nov. 3 at the Museum of Sonoma County in Santa Rosa. \u003ca href=\"https://museumsc.org/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>‘Jodorowsky’s Dune’\u003c/strong>: You may be familiar with David Lynch’s 1984 adaptation of the epic Frank Herbert sci-fi, starring Kyle MacLaughlan and Sting. You may \u003cem>also\u003c/em> know that director Denis Villeneuve is working on his own \u003cem>Dune\u003c/em> for 2020. But before both of these, there was another \u003cem>Dune\u003c/em> that never got made, a visionary film by Chilean director Alejandro Jodorowsky. When he started working on it in 1974, it was going to star Orson Welles, Mick Jagger, David Carradine and even the artist Salvador Dalí, and he commissioned designs from artists like H.R. Giger and Jean Giraud. In this documentary, Jodorowsky gets to describe the film that could have been, as well as its influences on so many movies that followed. It screens Friday, Aug. 30, at the New Parkway in Oakland. \u003ca href=\"https://www.thenewparkway.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Sonido Clash\u003c/strong>: Nina Sky headline this year’s Sonido Clash music festival in San Jose, a day-long celebration with two dozen buzzed-about indie and alternative Latino artists—the type of acts you’re likely to see on NPR’s Tiny Desk in a year or two. Katzu Oso, Ms. Nina, Reyna Tropical and a ton more play in the cozy courtyard setting, at the School of Arts and Culture at the Mexican Heritage Plaza, in San Jose. It’s on Sunday, Sept. 1. \u003ca href=\"http://sonidoclash.com/sonido-clash-music-fest/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13865292/the-do-list-listen-to-our-weekend-picks-for-aug-30-sept-5",
"authors": [
"185"
],
"programs": [
"arts_140"
],
"categories": [
"arts_74",
"arts_69",
"arts_70"
],
"tags": [
"arts_1088",
"arts_3648",
"arts_2238",
"arts_1334"
],
"featImg": "arts_13865296",
"label": "arts_140"
},
"arts_13864853": {
"type": "posts",
"id": "arts_13864853",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13864853",
"score": null,
"sort": [
1566848206000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1566848206,
"format": "standard",
"title": "Now Playing! Independent Spirit Fuels ‘Give Me Liberty’ at the Roxie",
"headTitle": "Now Playing! Independent Spirit Fuels ‘Give Me Liberty’ at the Roxie | KQED",
"content": "\u003cp>Life is hard, and then you drive. Harried Milwaukee paratransit driver Vic can’t say no to anybody, which makes him an empathetic caregiver and also perennially and perpetually late. Vic (played by newcomer Chris Galust, who sounds and looks like Casey Affleck, only likable) is the hub and the heart of \u003cem>Give Me Liberty\u003c/em>, a wonderfully chaotic seriocomedy from America’s depressed heartland playing the \u003ca href=\"https://www.roxie.com/ai1ec_event/give-me-liberty/?instance_id=35907\" rel=\"noopener\" target=\"_blank\">Roxie\u003c/a> for a week starting this Friday, Aug. 30.\u003c/p>\n\u003cp>Vic is behind schedule almost immediately, thanks to his Russian grandfather’s sluggishness and stubbornness. Yet he agrees to drive a group of Russian Jews to a funeral, an errand which turns into a four-lane clusterfudge of detours, mix-ups and cross-cultural bonding, the latter at a facility for differently abled people where one of Vic’s scheduled passengers is slated to sing “Rock Around the Clock” at a talent show. (The movie’s musical palette also encompasses a wealth of accordion and a poignant passage or two from John Lee Hooker.)\u003c/p>\n\u003cfigure id=\"attachment_13864862\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/GML_4_1200.jpg\" alt=\"Still from 'Give Me Liberty.'\" width=\"1200\" height=\"732\" class=\"size-full wp-image-13864862\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GML_4_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GML_4_1200-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GML_4_1200-800x488.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GML_4_1200-768x468.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GML_4_1200-1020x622.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Give Me Liberty.’ \u003ccite>(Courtesy of Roxie Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another regular rider, a sharply intelligent young woman with ALS named Tracy, gives Vic (and the movie) access to the dynamics of a multi-generational black family. While Vic holds the movie’s big-hearted center, Dima (Maksim Stoyanov) is its full-tilt motor. A fast-talking Russian who claims to be the deceased’s nephew, Dima charms and schemes himself, Vic and the 10-year-old Dodge van through a day crammed with incident and interaction. \u003c/p>\n\u003cp>A crime-free cousin of the Safdie brothers’ frenetic 2017 romp \u003cem>Good Time\u003c/em>, \u003cem>Give Me Liberty\u003c/em> revels in the gray streets and prosaic homes—and the vibrant people relegated to solitary, interior worlds by circumstance and/or disability—invisible to most moviemakers. Inspired by his own experience, writer-director Kirill Mikhanovsky, working with writer-producer Alice Austen and a cast of nonprofessionals, achieves something far greater, though, than a slice of gritty, messy, dogged Midwestern life.\u003c/p>\n\u003cfigure id=\"attachment_13864864\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/GML_1_web-1.jpg\" alt=\"Still from 'Give Me Liberty.'\" width=\"1000\" height=\"667\" class=\"size-full wp-image-13864864\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GML_1_web-1.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GML_1_web-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GML_1_web-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GML_1_web-1-768x512.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Give Me Liberty.’ \u003ccite>(Courtesy of Roxie Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Give Me Liberty\u003c/em> is an affirmation of foundational American ideals, particularly a responsibility to other people that supersedes one’s own needs. Vic embodies this ethos, but it’s all around him, manifested at one time or another by nearly every character in the film. The characters in this mad mosaic are striving for independence, yet they all accept that the quickest route involves cooperation, not selfishness.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Righteously generous without being moralizing or politically correct, \u003cem>Give Me Liberty\u003c/em> shines a slim ray of light on the contemporary landscape. With Vic behind the wheel, it’s enough to navigate by. And for tramps like us, that might just be the best we can hope for in 2019.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 477,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 8
},
"modified": 1705022259,
"excerpt": "This wonderfully chaotic seriocomedy about a Milwaukee paratransit driver is an affirmation of foundational American ideals.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "This wonderfully chaotic seriocomedy about a Milwaukee paratransit driver is an affirmation of foundational American ideals.",
"title": "Now Playing! Independent Spirit Fuels ‘Give Me Liberty’ at the Roxie | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Now Playing! Independent Spirit Fuels ‘Give Me Liberty’ at the Roxie",
"datePublished": "2019-08-26T12:36:46-07:00",
"dateModified": "2024-01-11T17:17:39-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "now-playing-independent-spirit-fuels-give-me-liberty-at-the-roxie",
"status": "publish",
"templateType": "standard",
"featuredImageType": "standard",
"sticky": false,
"path": "/arts/13864853/now-playing-independent-spirit-fuels-give-me-liberty-at-the-roxie",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Life is hard, and then you drive. Harried Milwaukee paratransit driver Vic can’t say no to anybody, which makes him an empathetic caregiver and also perennially and perpetually late. Vic (played by newcomer Chris Galust, who sounds and looks like Casey Affleck, only likable) is the hub and the heart of \u003cem>Give Me Liberty\u003c/em>, a wonderfully chaotic seriocomedy from America’s depressed heartland playing the \u003ca href=\"https://www.roxie.com/ai1ec_event/give-me-liberty/?instance_id=35907\" rel=\"noopener\" target=\"_blank\">Roxie\u003c/a> for a week starting this Friday, Aug. 30.\u003c/p>\n\u003cp>Vic is behind schedule almost immediately, thanks to his Russian grandfather’s sluggishness and stubbornness. Yet he agrees to drive a group of Russian Jews to a funeral, an errand which turns into a four-lane clusterfudge of detours, mix-ups and cross-cultural bonding, the latter at a facility for differently abled people where one of Vic’s scheduled passengers is slated to sing “Rock Around the Clock” at a talent show. (The movie’s musical palette also encompasses a wealth of accordion and a poignant passage or two from John Lee Hooker.)\u003c/p>\n\u003cfigure id=\"attachment_13864862\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/GML_4_1200.jpg\" alt=\"Still from 'Give Me Liberty.'\" width=\"1200\" height=\"732\" class=\"size-full wp-image-13864862\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GML_4_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GML_4_1200-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GML_4_1200-800x488.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GML_4_1200-768x468.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GML_4_1200-1020x622.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Give Me Liberty.’ \u003ccite>(Courtesy of Roxie Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another regular rider, a sharply intelligent young woman with ALS named Tracy, gives Vic (and the movie) access to the dynamics of a multi-generational black family. While Vic holds the movie’s big-hearted center, Dima (Maksim Stoyanov) is its full-tilt motor. A fast-talking Russian who claims to be the deceased’s nephew, Dima charms and schemes himself, Vic and the 10-year-old Dodge van through a day crammed with incident and interaction. \u003c/p>\n\u003cp>A crime-free cousin of the Safdie brothers’ frenetic 2017 romp \u003cem>Good Time\u003c/em>, \u003cem>Give Me Liberty\u003c/em> revels in the gray streets and prosaic homes—and the vibrant people relegated to solitary, interior worlds by circumstance and/or disability—invisible to most moviemakers. Inspired by his own experience, writer-director Kirill Mikhanovsky, working with writer-producer Alice Austen and a cast of nonprofessionals, achieves something far greater, though, than a slice of gritty, messy, dogged Midwestern life.\u003c/p>\n\u003cfigure id=\"attachment_13864864\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/GML_1_web-1.jpg\" alt=\"Still from 'Give Me Liberty.'\" width=\"1000\" height=\"667\" class=\"size-full wp-image-13864864\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GML_1_web-1.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GML_1_web-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GML_1_web-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GML_1_web-1-768x512.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Give Me Liberty.’ \u003ccite>(Courtesy of Roxie Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Give Me Liberty\u003c/em> is an affirmation of foundational American ideals, particularly a responsibility to other people that supersedes one’s own needs. Vic embodies this ethos, but it’s all around him, manifested at one time or another by nearly every character in the film. The characters in this mad mosaic are striving for independence, yet they all accept that the quickest route involves cooperation, not selfishness.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Righteously generous without being moralizing or politically correct, \u003cem>Give Me Liberty\u003c/em> shines a slim ray of light on the contemporary landscape. With Vic behind the wheel, it’s enough to navigate by. And for tramps like us, that might just be the best we can hope for in 2019.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13864853/now-playing-independent-spirit-fuels-give-me-liberty-at-the-roxie",
"authors": [
"22"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_596",
"arts_1009"
],
"featImg": "arts_13864863",
"label": "arts"
},
"arts_13864820": {
"type": "posts",
"id": "arts_13864820",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13864820",
"score": null,
"sort": [
1566840969000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1566840969,
"format": "standard",
"title": "Only 4.5% Speaking Roles in Hollywood Go to Latino Actors, Study Shows",
"headTitle": "Only 4.5% Speaking Roles in Hollywood Go to Latino Actors, Study Shows | KQED",
"content": "\u003cp>Latinos make up 18% of the U.S. population and 24% of its frequent moviegoers, yet they rarely see themselves on movie screens.\u003c/p>\n\u003cp>A new study by the USC Annenberg Inclusion Initiative finds that Latino representation in film lags significantly behind the U.S. population and that, over the last decade, the number of Latino characters in the most popular movies is virtually unchanged.\u003c/p>\n\u003cp>The report, released Monday and conducted in partnership with the National Association of Latino Independent Producers (NALIP) and Wise Entertainment, analyzed the 1,200 top-grossing films from 2007 to 2018 and some 47,268 speaking or named characters. It found that in that 12-year period, 4.5% of all speaking or named characters were Latino, and just 3% of leads or co-leads.\u003c/p>\n\u003cp>Over that time, the rate of representation has hovered between 3-6%, researchers found. In, 2018, there were Latino speaking characters in 5% of the most popular films — the same rate as in 2008.\u003c/p>\n\u003cp>[aside tag='latinx,latino,bilingual' label='More Stories For You']\u003c/p>\n\u003cp>Inclusion Initiative founder and director Stacy L. Smith, who co-authored the study, said that in all areas of film, Latino are “vastly underrepresented.”\u003c/p>\n\u003cp>“At a time where Latinos in our country are facing intense concerns over their safety, we urgently need to see the Latino community authentically and accurately represented throughout entertainment,” Smith said in a statement.\u003c/p>\n\u003cp>Researchers found that in the films studied, 4% had a Latino director, and most of those filmmakers — 71% — were from outside the U.S. Out of the 1,335 directors, only one was a Latina. Among producers, just 3% were Latino.\u003c/p>\n\u003cp>The study also found that Latinos, when they are on screen, frequently appear in stereotyped roles. In the most popular films at the U.S. box office, Latinos are depicted as criminals 24% of the time; 17% were portrayed as poor or with a low income.\u003c/p>\n\u003cp>“The Latino community has not been prioritized, and it is imperative that we shed light on the glaring reality of Latino representation in film,” said Benjamin Lopez, executive director of NALIP.\u003c/p>\n\u003cp>The results of the study, while hardly surprising, are particularly striking considering what avid moviegoers Latinos generally are. The MPAA has said that 24% of frequent moviegoers — those who go to the movies at least once a month — are Latino. No other ethnic demographic is more overrepresented among moviegoers.\u003c/p>\n\u003cp>The disparity is even more glaring considering that the movie business is centered in Los Angeles, where Latinos make up 49% of the population.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 435,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 14
},
"modified": 1705022261,
"excerpt": "The USC Annenberg Inclusion Initiative released a report showing how Latino representation in film lags significantly behind the U.S. population and that the number of Latino characters in movies is virtually unchanged over the last decade.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The USC Annenberg Inclusion Initiative released a report showing how Latino representation in film lags significantly behind the U.S. population and that the number of Latino characters in movies is virtually unchanged over the last decade.",
"title": "Only 4.5% Speaking Roles in Hollywood Go to Latino Actors, Study Shows | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Only 4.5% Speaking Roles in Hollywood Go to Latino Actors, Study Shows",
"datePublished": "2019-08-26T10:36:09-07:00",
"dateModified": "2024-01-11T17:17:41-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "only-4-5-speaking-roles-in-hollywood-go-to-latino-actors-study-shows",
"status": "publish",
"nprByline": "Jake Coyle, Associated Press",
"sticky": false,
"path": "/arts/13864820/only-4-5-speaking-roles-in-hollywood-go-to-latino-actors-study-shows",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Latinos make up 18% of the U.S. population and 24% of its frequent moviegoers, yet they rarely see themselves on movie screens.\u003c/p>\n\u003cp>A new study by the USC Annenberg Inclusion Initiative finds that Latino representation in film lags significantly behind the U.S. population and that, over the last decade, the number of Latino characters in the most popular movies is virtually unchanged.\u003c/p>\n\u003cp>The report, released Monday and conducted in partnership with the National Association of Latino Independent Producers (NALIP) and Wise Entertainment, analyzed the 1,200 top-grossing films from 2007 to 2018 and some 47,268 speaking or named characters. It found that in that 12-year period, 4.5% of all speaking or named characters were Latino, and just 3% of leads or co-leads.\u003c/p>\n\u003cp>Over that time, the rate of representation has hovered between 3-6%, researchers found. In, 2018, there were Latino speaking characters in 5% of the most popular films — the same rate as in 2008.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"tag": "latinx,latino,bilingual",
"label": "More Stories For You "
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Inclusion Initiative founder and director Stacy L. Smith, who co-authored the study, said that in all areas of film, Latino are “vastly underrepresented.”\u003c/p>\n\u003cp>“At a time where Latinos in our country are facing intense concerns over their safety, we urgently need to see the Latino community authentically and accurately represented throughout entertainment,” Smith said in a statement.\u003c/p>\n\u003cp>Researchers found that in the films studied, 4% had a Latino director, and most of those filmmakers — 71% — were from outside the U.S. Out of the 1,335 directors, only one was a Latina. Among producers, just 3% were Latino.\u003c/p>\n\u003cp>The study also found that Latinos, when they are on screen, frequently appear in stereotyped roles. In the most popular films at the U.S. box office, Latinos are depicted as criminals 24% of the time; 17% were portrayed as poor or with a low income.\u003c/p>\n\u003cp>“The Latino community has not been prioritized, and it is imperative that we shed light on the glaring reality of Latino representation in film,” said Benjamin Lopez, executive director of NALIP.\u003c/p>\n\u003cp>The results of the study, while hardly surprising, are particularly striking considering what avid moviegoers Latinos generally are. The MPAA has said that 24% of frequent moviegoers — those who go to the movies at least once a month — are Latino. No other ethnic demographic is more overrepresented among moviegoers.\u003c/p>\n\u003cp>The disparity is even more glaring considering that the movie business is centered in Los Angeles, where Latinos make up 49% of the population.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13864820/only-4-5-speaking-roles-in-hollywood-go-to-latino-actors-study-shows",
"authors": [
"byline_arts_13864820"
],
"categories": [
"arts_74",
"arts_235",
"arts_75"
],
"tags": [
"arts_977",
"arts_8393",
"arts_1256",
"arts_5747",
"arts_596",
"arts_8394"
],
"featImg": "arts_13864823",
"label": "arts"
},
"arts_13864805": {
"type": "posts",
"id": "arts_13864805",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13864805",
"score": null,
"sort": [
1566837488000
]
},
"guestAuthors": [],
"slug": "hair-love-uses-animation-to-bring-a-story-of-natural-hair-in-black-families-to-life",
"title": "'Hair Love' Uses Animation To Bring A Story Of Natural Hair In Black Families To Life",
"publishDate": 1566837488,
"format": "standard",
"headTitle": "‘Hair Love’ Uses Animation To Bring A Story Of Natural Hair In Black Families To Life | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>If you are heading to the movies to see \u003cem>The Angry Birds Movie 2,\u003c/em> then you are in for a double treat. Playing before that feature is an animated short called \u003cem>Hair Love.\u003c/em>\u003c/p>\n\u003cp>Conceived and directed by Matthew Cherry, it follows the story of an African American father — Stephen — and his daughter, Zuri. Stephen is trying to learn how to do young Zuri’s glorious natural hair, and, well, it’s not so easy.\u003c/p>\n\u003cp>To help fund the project, Cherry went to Kickstarter and began a campaign as he previously did for his two indie films. He says these campaigns aren’t just about financing the projects but also about building a fan base and allowing “people who may want to be involved or kind of see the project through to help out.”\u003c/p>\n\u003cp>As audiences have been introduced to Zuri and Stephen, they’ve seen the father’s struggle in trying to groom his daughter’s hair and have been able to relate. Cherry says one of the biggest things he has heard in response from those who have seen the short is about the representation it provides.\u003c/p>\n\u003cp>https://youtu.be/qI7Jla3UgSE\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“When we did this campaign two years ago, there wasn’t a lot of representation in animated projects,” Cherry says. “You know, oftentimes they would cast actors of color, but, you know, they’d be playing inanimate objects or animals. And, you know, it was rarely, like, actually seeing a family dynamic in animation.”\u003c/p>\n\u003cp>He notes that there are films like Disney’s \u003cem>The Princess and the Frog \u003c/em>and \u003cem>Home, \u003c/em>which features Rihanna, but Cherry says he wanted to give audiences an animated black family.\u003c/p>\n\u003cp>“I think it does also a lot for young people’s confidence when they see themselves represented,” Cherry says. “You know, media is so powerful. And when you grow up and see magazine covers and TV shows and movies and you don’t see yourself represented, but you see every other type of hairstyle represented, that can really affect your self-confidence.”\u003c/p>\n\u003cp>Cherry says he has heard from both young girls and boys, as well as fathers and mothers who aren’t African American — all of whom have connected with the short.\u003c/p>\n\u003cp>Though he isn’t a father himself, Cherry says it was important to him to show a black man in a loving, tender role.\u003c/p>\n\u003cp>“We really get a bad rap in mainstream media, particularly black fathers,” he says. “There’s always the stereotype that we’re not present or deadbeats. … And while obviously those situations do exist, it feels very much so that it’s just like disproportionately represented in that way.”\u003c/p>\n\u003cp>But that’s not the kind of fathers his friends are, so Cherry channeled their experiences when creating \u003cem>Hair Love. \u003c/em>\u003c/p>\n\u003cp>“I have a lot of friends that are young fathers, and they’re all willing to do whatever it takes for their young girls,” he says. “This was just kind of me put[ting] myself in their shoes and kind of representing and also really being inspired by all these viral videos of dads doing their daughter’s hair and people just really being fascinated by that.”\u003c/p>\n\u003cp>Prior to \u003cem>Hair Love, \u003c/em>Cherry worked as an executive producer on Spike Lee’s \u003cem>BlacKkKlansman.\u003c/em> He also worked on commercials and music videos, and before that, he played in the NFL.\u003c/p>\n\u003cp>While creating the \u003cem>Hair Love \u003c/em>book and short, Cherry kept in mind his own experience with natural hair during his time in the NFL.\u003c/p>\n\u003cp>“I had my hair long enough to where it could be braided,” he says. “Every week I’d have to go and get it worked on and stuff. So, you know, I think for both men and women, it’s definitely something that’s a big part of our life.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\n",
"blocks": [],
"excerpt": "Conceived and directed by Matthew Cherry, it follows the story of an African American father — Stephen — and his daughter, Zuri. Stephen is trying to learn how to do Zuri's glorious natural hair.",
"status": "publish",
"parent": 0,
"modified": 1726766326,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 18,
"wordCount": 687
},
"headData": {
"title": "'Hair Love' Uses Animation To Bring A Story Of Natural Hair In Black Families To Life | KQED",
"description": "Conceived and directed by Matthew Cherry, it follows the story of an African American father — Stephen — and his daughter, Zuri. Stephen is trying to learn how to do Zuri's glorious natural hair.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Hair Love' Uses Animation To Bring A Story Of Natural Hair In Black Families To Life",
"datePublished": "2019-08-26T09:38:08-07:00",
"dateModified": "2024-09-19T10:18:46-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Michel Martin",
"nprImageAgency": "Courtesy of Sony Pictures Animation",
"nprStoryId": "754160144",
"nprApiLink": "http://api.npr.org/query?id=754160144&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "https://www.npr.org/2019/08/25/754160144/hair-love-uses-animation-to-bring-a-story-of-natural-hair-in-black-families-to-l?ft=nprml&f=754160144",
"nprRetrievedStory": "1",
"nprPubDate": "Sun, 25 Aug 2019 16:30:00 -0400",
"nprStoryDate": "Sun, 25 Aug 2019 14:26:00 -0400",
"nprLastModifiedDate": "Sun, 25 Aug 2019 16:30:56 -0400",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2019/08/20190824_atc_movie_hair_love.mp3?orgId=1&topicId=1008&d=447&story=754160144&ft=nprml&f=754160144",
"nprAudioM3u": "http://api.npr.org/m3u/1754175807-bec0d5.m3u?orgId=1&topicId=1008&d=447&story=754160144&ft=nprml&f=754160144",
"audioTrackLength": 447,
"path": "/arts/13864805/hair-love-uses-animation-to-bring-a-story-of-natural-hair-in-black-families-to-life",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2019/08/20190824_atc_movie_hair_love.mp3?orgId=1&topicId=1008&d=447&story=754160144&ft=nprml&f=754160144",
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you are heading to the movies to see \u003cem>The Angry Birds Movie 2,\u003c/em> then you are in for a double treat. Playing before that feature is an animated short called \u003cem>Hair Love.\u003c/em>\u003c/p>\n\u003cp>Conceived and directed by Matthew Cherry, it follows the story of an African American father — Stephen — and his daughter, Zuri. Stephen is trying to learn how to do young Zuri’s glorious natural hair, and, well, it’s not so easy.\u003c/p>\n\u003cp>To help fund the project, Cherry went to Kickstarter and began a campaign as he previously did for his two indie films. He says these campaigns aren’t just about financing the projects but also about building a fan base and allowing “people who may want to be involved or kind of see the project through to help out.”\u003c/p>\n\u003cp>As audiences have been introduced to Zuri and Stephen, they’ve seen the father’s struggle in trying to groom his daughter’s hair and have been able to relate. Cherry says one of the biggest things he has heard in response from those who have seen the short is about the representation it provides.\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/qI7Jla3UgSE'\n title='//www.youtube.com/embed/qI7Jla3UgSE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“When we did this campaign two years ago, there wasn’t a lot of representation in animated projects,” Cherry says. “You know, oftentimes they would cast actors of color, but, you know, they’d be playing inanimate objects or animals. And, you know, it was rarely, like, actually seeing a family dynamic in animation.”\u003c/p>\n\u003cp>He notes that there are films like Disney’s \u003cem>The Princess and the Frog \u003c/em>and \u003cem>Home, \u003c/em>which features Rihanna, but Cherry says he wanted to give audiences an animated black family.\u003c/p>\n\u003cp>“I think it does also a lot for young people’s confidence when they see themselves represented,” Cherry says. “You know, media is so powerful. And when you grow up and see magazine covers and TV shows and movies and you don’t see yourself represented, but you see every other type of hairstyle represented, that can really affect your self-confidence.”\u003c/p>\n\u003cp>Cherry says he has heard from both young girls and boys, as well as fathers and mothers who aren’t African American — all of whom have connected with the short.\u003c/p>\n\u003cp>Though he isn’t a father himself, Cherry says it was important to him to show a black man in a loving, tender role.\u003c/p>\n\u003cp>“We really get a bad rap in mainstream media, particularly black fathers,” he says. “There’s always the stereotype that we’re not present or deadbeats. … And while obviously those situations do exist, it feels very much so that it’s just like disproportionately represented in that way.”\u003c/p>\n\u003cp>But that’s not the kind of fathers his friends are, so Cherry channeled their experiences when creating \u003cem>Hair Love. \u003c/em>\u003c/p>\n\u003cp>“I have a lot of friends that are young fathers, and they’re all willing to do whatever it takes for their young girls,” he says. “This was just kind of me put[ting] myself in their shoes and kind of representing and also really being inspired by all these viral videos of dads doing their daughter’s hair and people just really being fascinated by that.”\u003c/p>\n\u003cp>Prior to \u003cem>Hair Love, \u003c/em>Cherry worked as an executive producer on Spike Lee’s \u003cem>BlacKkKlansman.\u003c/em> He also worked on commercials and music videos, and before that, he played in the NFL.\u003c/p>\n\u003cp>While creating the \u003cem>Hair Love \u003c/em>book and short, Cherry kept in mind his own experience with natural hair during his time in the NFL.\u003c/p>\n\u003cp>“I had my hair long enough to where it could be braided,” he says. “Every week I’d have to go and get it worked on and stuff. So, you know, I think for both men and women, it’s definitely something that’s a big part of our life.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13864805/hair-love-uses-animation-to-bring-a-story-of-natural-hair-in-black-families-to-life",
"authors": [
"byline_arts_13864805"
],
"categories": [
"arts_74",
"arts_235",
"arts_75"
],
"tags": [
"arts_4262",
"arts_1118",
"arts_8390",
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13864806",
"label": "arts_137"
},
"arts_13864617": {
"type": "posts",
"id": "arts_13864617",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13864617",
"score": null,
"sort": [
1566420264000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1566420264,
"format": "standard",
"title": "'Brittany Runs a Marathon' is Formulaic, But Victorious at the Finish Line",
"headTitle": "‘Brittany Runs a Marathon’ is Formulaic, But Victorious at the Finish Line | KQED",
"content": "\u003cp>In the terrifically smart and genuinely inspiring comedy \u003cem>Brittany Runs a Marathon,\u003c/em> Jillian Bell stars as Brittany, a 27-year-old New Yorker who decides to turn her life around. When we first meet Brittany, she has a dead-end job at a small theater and spends most of her nights out drinking and partying with friends. She gets in shape, takes up long-distance running and decides to give the \u003ca href=\"https://www.npr.org/tags/164212789/new-york-city-marathon\">New York City Marathon\u003c/a> a try. The title more or less gives away the entire plot, which just goes to show that unpredictability can be overrated. Even a formulaic crowd-pleaser can be hard to resist if the formula is this well executed.\u003c/p>\n\u003cp>You know the movie will end with Brittany crossing the finish line, but the point is the journey, the long, agonizing buildup to the race. The writer-director Paul Downs Colaizzo drew the story from a close friend’s experience, and he confronts issues of weight, body image and physical and mental health with a boldness that’s rare in mainstream comedy.\u003c/p>\n\u003cp>One day Brittany visits a doctor hoping to procure some \u003ca href=\"https://www.npr.org/2018/03/15/594009472/a-new-documentary-about-adults-on-adderall-and-not-just-for-adhd\">Adderall \u003c/a>for recreational use. The doctor refuses and instead gives Brittany a diagnosis: Because she weighs 190 pounds and already has high blood pressure and an elevated heart rate, she’s in danger of health risks down the road. Brittany, with typical good humor, needles the doctor for fat-shaming her, but he replies that he just wants her to be healthy and advises her to start eating better and exercising.\u003c/p>\n\u003cp>Brittany takes his words to heart, but it isn’t easy to turn over a new leaf. She swings by her local gym, where she considers—and then quickly rejects—the idea of signing up for an expensive membership. Instead she starts running on her own, and though she’s left panting after just one block, she decides to stick with it. Her cranky neighbor, Catherine (Michaela Watkins), extends an olive branch and invites her to join a running group. They befriend a third runner, Seth (Micah Stock), who’s as much of a fitness novice as Brittany is.\u003c/p>\n\u003cp>Slowly but surely, everyone starts to improve. Brittany runs longer and longer distances and sheds several pounds in the process. She enjoys her boost in confidence and starts making new friends, lands a better-paying job and even rejoins the dating scene she’d given up on long ago. But as good as she looks and feels, she continues to struggle with feelings of worthlessness and despair, and she has a tendency to push her friends away, mistaking their compassion for pity.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>You may recall the actress Jillian Bell from the Comedy Central series \u003cem>Workaholics\u003c/em>, or perhaps her scene-stealing performance in the movie \u003ca href=\"https://www.npr.org/2012/03/15/148696541/21-jump-street-one-remake-that-isnt-a-crime\">\u003cem>22 Jump Street\u003c/em>\u003c/a>. Brittany is the richest, most complex role she’s ever played, in part because her sense of humor is just one of her many emotional layers. We come to see how she uses comedy as a defense, encouraging others to laugh at her foibles so that she won’t have to face them herself.\u003c/p>\n\u003cp>If this all makes \u003cem>Brittany Runs a Marathon \u003c/em>sound like therapy, I suppose it is. But some therapy sessions are more entertaining than others. Nearly all the supporting characters are on hand to teach Brittany a life lesson or two, but they’re all so fun to spend time with that it hardly matters.\u003c/p>\n\u003cp>Utkarsh Ambudkar, from \u003cem>The Mindy Project, \u003c/em>plays a slacker artist type named Jern who gets thrown together with Brittany during an extended house-sitting gig. He’s super-annoying and totally charming, and you know from their first friendly spat that they’re made for each other. Alice Lee makes a nuanced villain as Brittany’s self-absorbed roommate, Gretchen, an aspiring Instagram influencer who superficially cheers her on but seems to enjoy having, in Brittany’s own words, “a fat sidekick.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And Watkins is especially good as Catherine, who seems so fit and successful and put together at first, until Brittany realizes she’s going through intense emotional pain of her own. In less assured hands, \u003cem>Brittany Runs a Marathon\u003c/em> might have been an advertisement for the benefits of weight loss or a simplistic ode to the joys of inner beauty. But instead, it’s about how personal insecurity takes many forms, not all of which can be conquered, though maybe some of them can. And since we’re all messed up in our own ways and just trying to do better, we might as well do it together, one mile at a time.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Brittany+Runs+A+Marathon%27+Is+Formulaic%2C+But+Victorious+At+The+Finish+Line&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 799,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 11
},
"modified": 1705022277,
"excerpt": "The underdog comedy, which centers on a hard-partying woman who signs up for the New York City Marathon, proves that even a predictable plot can be hard to resist if it's well executed.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The underdog comedy, which centers on a hard-partying woman who signs up for the New York City Marathon, proves that even a predictable plot can be hard to resist if it's well executed.",
"title": "'Brittany Runs a Marathon' is Formulaic, But Victorious at the Finish Line | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Brittany Runs a Marathon' is Formulaic, But Victorious at the Finish Line",
"datePublished": "2019-08-21T13:44:24-07:00",
"dateModified": "2024-01-11T17:17:57-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "brittany-runs-a-marathon-is-formulaic-but-victorious-at-the-finish-line",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=753059965&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Wed, 21 Aug 2019 13:22:40 -0400",
"nprLastModifiedDate": "Wed, 21 Aug 2019 13:22:40 -0400",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2019/08/21/753059965/brittany-runs-a-marathon-is-formulaic-but-victorious-at-the-finish-line?ft=nprml&f=753059965",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/fa/2019/08/20190821_fa_03.mp3?orgId=427869011&topicId=4467349&d=357&p=13&story=753059965&ft=nprml&f=753059965",
"nprImageAgency": "Courtesy of Amazon Studios",
"nprAudioM3u": "http://api.npr.org/m3u/1753131675-1ea254.m3u?orgId=427869011&topicId=4467349&d=357&p=13&story=753059965&ft=nprml&f=753059965",
"nprStoryId": "753059965",
"nprByline": "Justin Chang",
"sticky": false,
"audioTrackLength": 357,
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 21 Aug 2019 13:22:00 -0400",
"path": "/arts/13864617/brittany-runs-a-marathon-is-formulaic-but-victorious-at-the-finish-line",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/fa/2019/08/20190821_fa_03.mp3?orgId=427869011&topicId=4467349&d=357&p=13&story=753059965&ft=nprml&f=753059965",
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the terrifically smart and genuinely inspiring comedy \u003cem>Brittany Runs a Marathon,\u003c/em> Jillian Bell stars as Brittany, a 27-year-old New Yorker who decides to turn her life around. When we first meet Brittany, she has a dead-end job at a small theater and spends most of her nights out drinking and partying with friends. She gets in shape, takes up long-distance running and decides to give the \u003ca href=\"https://www.npr.org/tags/164212789/new-york-city-marathon\">New York City Marathon\u003c/a> a try. The title more or less gives away the entire plot, which just goes to show that unpredictability can be overrated. Even a formulaic crowd-pleaser can be hard to resist if the formula is this well executed.\u003c/p>\n\u003cp>You know the movie will end with Brittany crossing the finish line, but the point is the journey, the long, agonizing buildup to the race. The writer-director Paul Downs Colaizzo drew the story from a close friend’s experience, and he confronts issues of weight, body image and physical and mental health with a boldness that’s rare in mainstream comedy.\u003c/p>\n\u003cp>One day Brittany visits a doctor hoping to procure some \u003ca href=\"https://www.npr.org/2018/03/15/594009472/a-new-documentary-about-adults-on-adderall-and-not-just-for-adhd\">Adderall \u003c/a>for recreational use. The doctor refuses and instead gives Brittany a diagnosis: Because she weighs 190 pounds and already has high blood pressure and an elevated heart rate, she’s in danger of health risks down the road. Brittany, with typical good humor, needles the doctor for fat-shaming her, but he replies that he just wants her to be healthy and advises her to start eating better and exercising.\u003c/p>\n\u003cp>Brittany takes his words to heart, but it isn’t easy to turn over a new leaf. She swings by her local gym, where she considers—and then quickly rejects—the idea of signing up for an expensive membership. Instead she starts running on her own, and though she’s left panting after just one block, she decides to stick with it. Her cranky neighbor, Catherine (Michaela Watkins), extends an olive branch and invites her to join a running group. They befriend a third runner, Seth (Micah Stock), who’s as much of a fitness novice as Brittany is.\u003c/p>\n\u003cp>Slowly but surely, everyone starts to improve. Brittany runs longer and longer distances and sheds several pounds in the process. She enjoys her boost in confidence and starts making new friends, lands a better-paying job and even rejoins the dating scene she’d given up on long ago. But as good as she looks and feels, she continues to struggle with feelings of worthlessness and despair, and she has a tendency to push her friends away, mistaking their compassion for pity.\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>You may recall the actress Jillian Bell from the Comedy Central series \u003cem>Workaholics\u003c/em>, or perhaps her scene-stealing performance in the movie \u003ca href=\"https://www.npr.org/2012/03/15/148696541/21-jump-street-one-remake-that-isnt-a-crime\">\u003cem>22 Jump Street\u003c/em>\u003c/a>. Brittany is the richest, most complex role she’s ever played, in part because her sense of humor is just one of her many emotional layers. We come to see how she uses comedy as a defense, encouraging others to laugh at her foibles so that she won’t have to face them herself.\u003c/p>\n\u003cp>If this all makes \u003cem>Brittany Runs a Marathon \u003c/em>sound like therapy, I suppose it is. But some therapy sessions are more entertaining than others. Nearly all the supporting characters are on hand to teach Brittany a life lesson or two, but they’re all so fun to spend time with that it hardly matters.\u003c/p>\n\u003cp>Utkarsh Ambudkar, from \u003cem>The Mindy Project, \u003c/em>plays a slacker artist type named Jern who gets thrown together with Brittany during an extended house-sitting gig. He’s super-annoying and totally charming, and you know from their first friendly spat that they’re made for each other. Alice Lee makes a nuanced villain as Brittany’s self-absorbed roommate, Gretchen, an aspiring Instagram influencer who superficially cheers her on but seems to enjoy having, in Brittany’s own words, “a fat sidekick.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And Watkins is especially good as Catherine, who seems so fit and successful and put together at first, until Brittany realizes she’s going through intense emotional pain of her own. In less assured hands, \u003cem>Brittany Runs a Marathon\u003c/em> might have been an advertisement for the benefits of weight loss or a simplistic ode to the joys of inner beauty. But instead, it’s about how personal insecurity takes many forms, not all of which can be conquered, though maybe some of them can. And since we’re all messed up in our own ways and just trying to do better, we might as well do it together, one mile at a time.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Brittany+Runs+A+Marathon%27+Is+Formulaic%2C+But+Victorious+At+The+Finish+Line&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13864617/brittany-runs-a-marathon-is-formulaic-but-victorious-at-the-finish-line",
"authors": [
"byline_arts_13864617"
],
"categories": [
"arts_74",
"arts_75"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13864618",
"label": "arts_137"
},
"arts_13864462": {
"type": "posts",
"id": "arts_13864462",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13864462",
"score": null,
"sort": [
1566242024000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1566242024,
"format": "standard",
"title": "Now Playing! Twin Killings at the Castro",
"headTitle": "Now Playing! Twin Killings at the Castro | KQED",
"content": "\u003cp>Before air conditioning, apartment living in the summer was oppressive, if not downright dangerous. Patricide and fratricide may not have been common half a century ago, but they weren’t unheard of. By the time late August crawled along, anyone and everyone seemed capable of murder.\u003c/p>\n\u003cp>Strangers were the biggest threat, unsurprisingly. The Boston Strangler, as the newspapers dubbed him, murdered his first blameless woman in July of 1962. Richard Speck’s July 14, 1966 killing spree of eight student nurses in a South Chicago townhouse was even more shocking. Ten years later to the month, David Berkowiz began shooting random New Yorkers (and terrorizing the rest, thanks to the tabloids) in a year‐long horror known as the Son of Sam killings. The Zodiac killer has something to say on the subject, too.\u003c/p>\n\u003cp>Filmmakers are naturally attracted to crime stories, especially when they involve the collision of innocence and evil, and the spiraling of trust into paranoia. Richard Fleischer’s 1968 take on Gerold Frank’s sensational (in every sense) bestseller, \u003cem>The Boston Strangler\u003c/em> (\u003ca href=\"https://www.castrotheatre.com/p-list.html#aug21\" rel=\"noopener\" target=\"_blank\">Wednesday, Aug. 21, at the Castro Theatre\u003c/a>), marked one of the first times that a major star (in this case, Tony Curtis) was willing to play an unredeemable killer.\u003c/p>\n\u003cfigure id=\"attachment_13864470\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Frenzy.INline-800x492.jpg\" alt=\"A still from Alfred Hitchcock's 'Frenzy.'\" width=\"800\" height=\"492\" class=\"size-medium wp-image-13864470\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Frenzy.INline.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Frenzy.INline-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Frenzy.INline-768x472.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from Alfred Hitchcock’s ‘Frenzy.’ \u003ccite>(Courtesy Castro Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Alfred Hitchcock got into the game with 1972’s \u003cem>Frenzy\u003c/em> (\u003ca href=\"https://www.castrotheatre.com/p-list.html#aug21\" rel=\"noopener\" target=\"_blank\">also at the Castro on Wednesday, Aug. 21\u003c/a>), and it may seem natural and inevitable that the prime purveyor of daylight frights would cheerfully expose the mass murderer next door. But there was widespread doubt at the time that Hitch had the stomach and chops to confront both the explicit brutality of real‐world serial killers and the new landscape of blood‐soaked movies.\u003c/p>\n\u003cp>Coming after several disappointing films suggesting that Hitchcock’s time and talents had passed, \u003cem>Frenzy\u003c/em> is an unequivocal masterpiece of character, pacing, audience engagement and (in one perfectly succinct and perfectly horrific sequence) sound design. Most memorably, the movie pierces the facade of male charm to reveal the depths of misogyny in a way that still shocks. It taps into that universal dilemma of urban life, namely the dangerous attraction of strangers, and the even more dangerous anonymity of the strangers we don’t see or meet—until it’s too late.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 397,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 7
},
"modified": 1705022292,
"excerpt": "Richard Fleischer's 'The Boston Strangler' and Alfred Hitchcock's 'Frenzy' screen at the Castro Theatre.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Richard Fleischer's 'The Boston Strangler' and Alfred Hitchcock's 'Frenzy' screen at the Castro Theatre.",
"title": "Now Playing! Twin Killings at the Castro | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Now Playing! Twin Killings at the Castro",
"datePublished": "2019-08-19T12:13:44-07:00",
"dateModified": "2024-01-11T17:18:12-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "now-playing-twin-killings-at-the-castro",
"status": "publish",
"templateType": "standard",
"featuredImageType": "standard",
"sticky": false,
"path": "/arts/13864462/now-playing-twin-killings-at-the-castro",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Before air conditioning, apartment living in the summer was oppressive, if not downright dangerous. Patricide and fratricide may not have been common half a century ago, but they weren’t unheard of. By the time late August crawled along, anyone and everyone seemed capable of murder.\u003c/p>\n\u003cp>Strangers were the biggest threat, unsurprisingly. The Boston Strangler, as the newspapers dubbed him, murdered his first blameless woman in July of 1962. Richard Speck’s July 14, 1966 killing spree of eight student nurses in a South Chicago townhouse was even more shocking. Ten years later to the month, David Berkowiz began shooting random New Yorkers (and terrorizing the rest, thanks to the tabloids) in a year‐long horror known as the Son of Sam killings. The Zodiac killer has something to say on the subject, too.\u003c/p>\n\u003cp>Filmmakers are naturally attracted to crime stories, especially when they involve the collision of innocence and evil, and the spiraling of trust into paranoia. Richard Fleischer’s 1968 take on Gerold Frank’s sensational (in every sense) bestseller, \u003cem>The Boston Strangler\u003c/em> (\u003ca href=\"https://www.castrotheatre.com/p-list.html#aug21\" rel=\"noopener\" target=\"_blank\">Wednesday, Aug. 21, at the Castro Theatre\u003c/a>), marked one of the first times that a major star (in this case, Tony Curtis) was willing to play an unredeemable killer.\u003c/p>\n\u003cfigure id=\"attachment_13864470\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Frenzy.INline-800x492.jpg\" alt=\"A still from Alfred Hitchcock's 'Frenzy.'\" width=\"800\" height=\"492\" class=\"size-medium wp-image-13864470\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Frenzy.INline.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Frenzy.INline-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Frenzy.INline-768x472.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from Alfred Hitchcock’s ‘Frenzy.’ \u003ccite>(Courtesy Castro Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Alfred Hitchcock got into the game with 1972’s \u003cem>Frenzy\u003c/em> (\u003ca href=\"https://www.castrotheatre.com/p-list.html#aug21\" rel=\"noopener\" target=\"_blank\">also at the Castro on Wednesday, Aug. 21\u003c/a>), and it may seem natural and inevitable that the prime purveyor of daylight frights would cheerfully expose the mass murderer next door. But there was widespread doubt at the time that Hitch had the stomach and chops to confront both the explicit brutality of real‐world serial killers and the new landscape of blood‐soaked movies.\u003c/p>\n\u003cp>Coming after several disappointing films suggesting that Hitchcock’s time and talents had passed, \u003cem>Frenzy\u003c/em> is an unequivocal masterpiece of character, pacing, audience engagement and (in one perfectly succinct and perfectly horrific sequence) sound design. Most memorably, the movie pierces the facade of male charm to reveal the depths of misogyny in a way that still shocks. It taps into that universal dilemma of urban life, namely the dangerous attraction of strangers, and the even more dangerous anonymity of the strangers we don’t see or meet—until it’s too late.\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/13864462/now-playing-twin-killings-at-the-castro",
"authors": [
"22"
],
"programs": [
"arts_140"
],
"categories": [
"arts_74"
],
"tags": [
"arts_3669",
"arts_6476",
"arts_1118",
"arts_1006",
"arts_596",
"arts_1334"
],
"featImg": "arts_13864467",
"label": "arts_140"
},
"arts_13864252": {
"type": "posts",
"id": "arts_13864252",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13864252",
"score": null,
"sort": [
1566233780000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1566233780,
"format": "standard",
"title": "Watch the Untold Story of Bay Area Thrash Metal in 'Murder in the Front Row'",
"headTitle": "Watch the Untold Story of Bay Area Thrash Metal in ‘Murder in the Front Row’ | KQED",
"content": "\u003cp>The hippies had the \u003ca href=\"https://www.kqed.org/arts/program/summer-of-love\" target=\"_blank\" rel=\"noopener\">Summer of Love\u003c/a> in ’69, the punks had the \u003ca href=\"https://www.theguardian.com/music/2017/feb/23/punk-rock-san-francisco-jim-jocoy-order-of-appearance\" target=\"_blank\" rel=\"noopener\">“Summer of Hate”\u003c/a> in ’79, and in the early-1980s, the metalheads crashed in and took over. Of all the music scenes the Bay Area spawned over the past half-century, thrash metal has proven to be simultaneously one of the most prominent and one of the most publicly unsung. The new documentary \u003ca href=\"https://mitfr.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Murder in the Front Row\u003c/em>\u003c/a> is here to change that.\u003c/p>\n\u003cp>Having premiered to screaming, sold-out audiences at \u003ca href=\"https://prod3.agileticketing.net/websales/pages/list.aspx?epguid=c38c6c79-7580-4652-a103-3e55898dcc8b&view=tiles3&page=2&\">SF Doc Fest\u003c/a>, this love letter to Metallica, Megadeth, Slayer and many more—based on a \u003ca href=\"https://www.amazon.com/Murder-Front-Row-Thrash-Epicenter/dp/1935950037/ref=sr_1_1?crid=G2AG0X0C3AH5&keywords=murder+in+the+front+row+book&qid=1566119469&s=gateway&sprefix=murder+in+the+front+row%2Caps%2C242&sr=8-1\" target=\"_blank\" rel=\"noopener\">2012 book\u003c/a> of the same name by Harald Oimoen and Brian Lew—is returning for three September screenings: at San Francisco’s Alamo Drafthouse and Roxie Theater, as well as Oakland’s Regal Jack London.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LiEQF2aXoY4\u003c/p>\n\u003cp>Filmmaker and director Adam Dubin—previously responsible for the Beastie Boys music video “\u003ca href=\"https://www.youtube.com/watch?v=eBShN8qT4lk\" target=\"_blank\" rel=\"noopener\">(You Gotta) Fight for Your Right (to Party!)\u003c/a>” and the Metallica documentary \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/A_Year_and_a_Half_in_the_Life_of_Metallica\" target=\"_blank\" rel=\"noopener\">A Year and a Half in the Life of Metallica\u003c/a>\u003c/em>—spent three years putting the film together, and was stunned by the degree of emotion present in the final product. “This music … it’s very harsh, very fast music,” \u003ca href=\"https://www.youtube.com/watch?v=W2JLdznlIOM\" target=\"_blank\" rel=\"noopener\">Dubin told KPIX\u003c/a> before the premiere, “but what was surprising and what I think comes through in the film is that there’s actually a warm, fuzzy, beating heart in the scene. The fans [and] musicians all kind of took care of each other.”\u003c/p>\n\u003cp>The movie, which takes its name from the 1985 Exodus track “\u003ca href=\"https://www.youtube.com/watch?v=tTdGnKB8j7U\" target=\"_blank\" rel=\"noopener\">Bonded By Blood\u003c/a>,” combines rare footage, extensive interviews, vintage photos and new animation to tell the expansive story.\u003c/p>\n\u003cfigure id=\"attachment_13864423\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864423\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/maxresdefault-800x450.jpg\" alt=\"Art by M. Wartella, based on "classic hand-drawn metal posters," as featured in the documentary, 'Murder in the Front Row.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Art by M. Wartella, based on “classic hand-drawn metal posters,” as featured in the documentary, ‘Murder in the Front Row.’ \u003ccite>(YouTube/'Murder in the Front Row')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There were so many personal stories from Bay Area legends here, that Adam needed a way to bring all these tales to life,” animation director \u003ca href=\"https://ackxhpaez.com/animation.html\" target=\"_blank\" rel=\"noopener\">M. Wartella\u003c/a> told KQED Arts. “To give you one example, there were people like this guy Ron “Skitchie” Burch, who was kind of a metal Pied Piper in the ’80s on Telegraph Avenue. He introduced all the key players to each other—they’d hang out listening to the Scorpions and Motörhead on Strawberry Hill in Golden Gate Park—but there weren’t a lot of photos of him. So animating a drawing of him coming to life was kind of magical and a pure honor.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Murder in the Front Row\u003c/em> promises to capture the complexities of this underground scene as it scrabbled its way together, expanded and exploded, and eventually found its way to an international audience, changing heavy metal forever. “You’ll laugh, you’ll cry, you’ll definitely become an Exodus fan,” M. Wartella smiles. “This is one of those films that is in a super-limited run too. So if it’s playing anywhere within a 120-mile radius of you? You have to be there.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>—\u003cem>Rae Alexandra\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 560,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 9
},
"modified": 1705022296,
"excerpt": "Adam Dubin's documentary about the birth of thrash metal in the 1980s Bay Area returns for three screenings. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Adam Dubin's documentary about the birth of thrash metal in the 1980s Bay Area returns for three screenings. ",
"title": "Watch the Untold Story of Bay Area Thrash Metal in 'Murder in the Front Row' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Watch the Untold Story of Bay Area Thrash Metal in 'Murder in the Front Row'",
"datePublished": "2019-08-19T09:56:20-07:00",
"dateModified": "2024-01-11T17:18:16-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "watch-the-untold-story-of-bay-area-thrash-metal-in-murder-in-the-front-row",
"status": "publish",
"templateType": "event",
"venueName": "Various Theaters",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"startTime": 1568271600,
"endTime": 1569564000,
"startTimeString": "Sept. 12, 14 and 26",
"venueAddress": "San Francisco and Oakland",
"articleAge": "0",
"eventLink": "https://mitfr.com/see-the-film",
"path": "/arts/13864252/watch-the-untold-story-of-bay-area-thrash-metal-in-murder-in-the-front-row",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The hippies had the \u003ca href=\"https://www.kqed.org/arts/program/summer-of-love\" target=\"_blank\" rel=\"noopener\">Summer of Love\u003c/a> in ’69, the punks had the \u003ca href=\"https://www.theguardian.com/music/2017/feb/23/punk-rock-san-francisco-jim-jocoy-order-of-appearance\" target=\"_blank\" rel=\"noopener\">“Summer of Hate”\u003c/a> in ’79, and in the early-1980s, the metalheads crashed in and took over. Of all the music scenes the Bay Area spawned over the past half-century, thrash metal has proven to be simultaneously one of the most prominent and one of the most publicly unsung. The new documentary \u003ca href=\"https://mitfr.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Murder in the Front Row\u003c/em>\u003c/a> is here to change that.\u003c/p>\n\u003cp>Having premiered to screaming, sold-out audiences at \u003ca href=\"https://prod3.agileticketing.net/websales/pages/list.aspx?epguid=c38c6c79-7580-4652-a103-3e55898dcc8b&view=tiles3&page=2&\">SF Doc Fest\u003c/a>, this love letter to Metallica, Megadeth, Slayer and many more—based on a \u003ca href=\"https://www.amazon.com/Murder-Front-Row-Thrash-Epicenter/dp/1935950037/ref=sr_1_1?crid=G2AG0X0C3AH5&keywords=murder+in+the+front+row+book&qid=1566119469&s=gateway&sprefix=murder+in+the+front+row%2Caps%2C242&sr=8-1\" target=\"_blank\" rel=\"noopener\">2012 book\u003c/a> of the same name by Harald Oimoen and Brian Lew—is returning for three September screenings: at San Francisco’s Alamo Drafthouse and Roxie Theater, as well as Oakland’s Regal Jack London.\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/LiEQF2aXoY4'\n title='//www.youtube.com/embed/LiEQF2aXoY4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Filmmaker and director Adam Dubin—previously responsible for the Beastie Boys music video “\u003ca href=\"https://www.youtube.com/watch?v=eBShN8qT4lk\" target=\"_blank\" rel=\"noopener\">(You Gotta) Fight for Your Right (to Party!)\u003c/a>” and the Metallica documentary \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/A_Year_and_a_Half_in_the_Life_of_Metallica\" target=\"_blank\" rel=\"noopener\">A Year and a Half in the Life of Metallica\u003c/a>\u003c/em>—spent three years putting the film together, and was stunned by the degree of emotion present in the final product. “This music … it’s very harsh, very fast music,” \u003ca href=\"https://www.youtube.com/watch?v=W2JLdznlIOM\" target=\"_blank\" rel=\"noopener\">Dubin told KPIX\u003c/a> before the premiere, “but what was surprising and what I think comes through in the film is that there’s actually a warm, fuzzy, beating heart in the scene. The fans [and] musicians all kind of took care of each other.”\u003c/p>\n\u003cp>The movie, which takes its name from the 1985 Exodus track “\u003ca href=\"https://www.youtube.com/watch?v=tTdGnKB8j7U\" target=\"_blank\" rel=\"noopener\">Bonded By Blood\u003c/a>,” combines rare footage, extensive interviews, vintage photos and new animation to tell the expansive story.\u003c/p>\n\u003cfigure id=\"attachment_13864423\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864423\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/maxresdefault-800x450.jpg\" alt=\"Art by M. Wartella, based on "classic hand-drawn metal posters," as featured in the documentary, 'Murder in the Front Row.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Art by M. Wartella, based on “classic hand-drawn metal posters,” as featured in the documentary, ‘Murder in the Front Row.’ \u003ccite>(YouTube/'Murder in the Front Row')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There were so many personal stories from Bay Area legends here, that Adam needed a way to bring all these tales to life,” animation director \u003ca href=\"https://ackxhpaez.com/animation.html\" target=\"_blank\" rel=\"noopener\">M. Wartella\u003c/a> told KQED Arts. “To give you one example, there were people like this guy Ron “Skitchie” Burch, who was kind of a metal Pied Piper in the ’80s on Telegraph Avenue. He introduced all the key players to each other—they’d hang out listening to the Scorpions and Motörhead on Strawberry Hill in Golden Gate Park—but there weren’t a lot of photos of him. So animating a drawing of him coming to life was kind of magical and a pure honor.”\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>Murder in the Front Row\u003c/em> promises to capture the complexities of this underground scene as it scrabbled its way together, expanded and exploded, and eventually found its way to an international audience, changing heavy metal forever. “You’ll laugh, you’ll cry, you’ll definitely become an Exodus fan,” M. Wartella smiles. “This is one of those films that is in a super-limited run too. So if it’s playing anywhere within a 120-mile radius of you? You have to be there.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>—\u003cem>Rae Alexandra\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13864252/watch-the-untold-story-of-bay-area-thrash-metal-in-murder-in-the-front-row",
"authors": [
"11242"
],
"programs": [
"arts_140"
],
"categories": [
"arts_74",
"arts_69",
"arts_75"
],
"tags": [
"arts_13672",
"arts_1118",
"arts_994",
"arts_1010",
"arts_905"
],
"featImg": "arts_13864442",
"label": "arts_140"
},
"arts_13864374": {
"type": "posts",
"id": "arts_13864374",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13864374",
"score": null,
"sort": [
1565997002000
]
},
"guestAuthors": [],
"slug": "easy-rider-star-and-writer-peter-fonda-has-died-at-age-79",
"title": "‘Easy Rider’ Star and Writer Peter Fonda Has Died at Age 79",
"publishDate": 1565997002,
"format": "standard",
"headTitle": "‘Easy Rider’ Star and Writer Peter Fonda Has Died at Age 79 | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>[aside postID='arts_13807771,pop_98652' label='More on the Fondas']\u003c/p>\n\u003cp>Peter Fonda, the son of a Hollywood legend who became a movie star in his own right both writing and starring in counterculture classics like “Easy Rider,” has died. His family says in a statement that Fonda died Friday morning at his home in Los Angeles. He was 79.\u003c/p>\n\u003cp>The official cause of death was respiratory failure due to lung cancer.\u003c/p>\n\u003cp>Born into Hollywood royalty as Henry Fonda’s only son, Peter Fonda carved his own path with his non-conformist tendencies and earned an Oscar nomination for co-writing “Easy Rider.” He never won an Oscar but would later be nominated for best actor in “Ulee’s Gold.”\u003c/p>\n\u003cdiv class=\"Article\">\n\u003cp>The family says this is one of the saddest moments of their lives and asks for privacy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003c/div>\u003cp>\u003c/p>\n",
"blocks": [],
"excerpt": "Peter Fonda, the son of a Hollywood legend who became a movie star in his own right both writing and starring in counterculture classics like “Easy Rider,” has died. His family says in a statement that Fonda died Friday, Aug. 16, 2019, at his home in Los Angeles. He was 79.",
"status": "publish",
"parent": 0,
"modified": 1726704528,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 7,
"wordCount": 145
},
"headData": {
"title": "‘Easy Rider’ Star and Writer Peter Fonda Has Died at Age 79 | KQED",
"description": "Peter Fonda, the son of a Hollywood legend who became a movie star in his own right both writing and starring in counterculture classics like “Easy Rider,” has died. His family says in a statement that Fonda died Friday, Aug. 16, 2019, at his home in Los Angeles. He was 79.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘Easy Rider’ Star and Writer Peter Fonda Has Died at Age 79",
"datePublished": "2019-08-16T16:10:02-07:00",
"dateModified": "2024-09-18T17:08:48-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Lindsey Bahr, Associated Press",
"path": "/arts/13864374/easy-rider-star-and-writer-peter-fonda-has-died-at-age-79",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13807771,pop_98652",
"label": "More on the Fondas "
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Peter Fonda, the son of a Hollywood legend who became a movie star in his own right both writing and starring in counterculture classics like “Easy Rider,” has died. His family says in a statement that Fonda died Friday morning at his home in Los Angeles. He was 79.\u003c/p>\n\u003cp>The official cause of death was respiratory failure due to lung cancer.\u003c/p>\n\u003cp>Born into Hollywood royalty as Henry Fonda’s only son, Peter Fonda carved his own path with his non-conformist tendencies and earned an Oscar nomination for co-writing “Easy Rider.” He never won an Oscar but would later be nominated for best actor in “Ulee’s Gold.”\u003c/p>\n\u003cdiv class=\"Article\">\n\u003cp>The family says this is one of the saddest moments of their lives and asks for privacy.\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\u003c/div>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13864374/easy-rider-star-and-writer-peter-fonda-has-died-at-age-79",
"authors": [
"byline_arts_13864374"
],
"categories": [
"arts_74",
"arts_235",
"arts_75"
],
"tags": [
"arts_7525"
],
"featImg": "arts_13864378",
"label": "arts"
},
"arts_13864139": {
"type": "posts",
"id": "arts_13864139",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13864139",
"score": null,
"sort": [
1565960445000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1565960445,
"format": "standard",
"title": "In 'After the Wedding,' Family Melodrama with No Heroes—And No Villains",
"headTitle": "In ‘After the Wedding,’ Family Melodrama with No Heroes—And No Villains | KQED",
"content": "\u003cp>Before I spoke with Bart Freundlich about his new film \u003cem>After the Wedding\u003c/em>, I listened to a short review \u003ca href=\"https://www.kcrw.com/news/shows/press-play-with-madeleine-brand/campaign-season-kicks-off-with-iowa-state-fair/dora-and-the-lost-city-of-gold-is-worthy-only-of-silver\" target=\"_blank\" rel=\"noopener\">on KCRW’s Press Play\u003c/a>. The host of the program and her guests, two film critics, summed up the movie as an opportunity for the actors—including Michelle Williams and Freundlich’s wife Julianne Moore—to emote. There was a collective eye roll implicit in their critique.\u003c/p>\n\u003cp>In the film, Williams’ character Isabel runs an orphanage in India. She’s on her way to New York to ask Moore’s Theresa, a media mogul, for a donation. When they meet in person, Isabel’s past sways Theresa’s decision and clues us into the movie’s tagline, “Every family has a secret.” (Freundlich’s \u003cem>After the Wedding\u003c/em> is a remake of Danish filmmaker Susanne Bier’s 2006 \u003ca href=\"https://en.wikipedia.org/wiki/After_the_Wedding_(2006_film)\" target=\"_blank\" rel=\"noopener\">film\u003c/a> of the same name, swapping the lead male characters for leading ladies.)\u003c/p>\n\u003cp>\u003cem>After the Wedding \u003c/em>opens while the number one film at the American box office is the hyper-masculine (or is it the ne plus ultra masculine?) buddy movie \u003cem>Hobbs & Shaw\u003c/em>. In a cinematic ecosystem that rewards fast cars and bulging biceps, the critics on Press Play suggested audiences wouldn’t have the patience to sit through this kind of melodrama.\u003c/p>\n\u003cp>In a phone interview, Freundlich talked about how he handles criticism (“Earnest movies sometimes have a harder time with reviews”), why he decided to remake the original and how something beautiful can also be real.\u003c/p>\n\u003cfigure id=\"attachment_13864144\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864144\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/2.jpg\" alt=\"L to R: Bart Freundlich (Director) and Julio Macat (Director of Photography).\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/2-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">L to R: Bart Freundlich (Director) and Julio Macat (Director of Photography). \u003ccite>(Photo by Elizabeth Fisher; Courtesy Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Was there an expectation that it should have been grittier?\u003c/strong>\u003c/p>\n\u003cp>There might have been a feeling that the gloss of some of the film, the high profile of the actors, could take away from the deeper, more subtle meaning. Or didn’t encourage you to look as hard, or possibly that my intention was to glaze over something, as opposed to telling a story.\u003c/p>\n\u003cp>When, in fact, what I love about this story is that there are no heroes in the movie, and that there are no villains. There’s no judgment, that, as the filmmaker, I’m against any of these characters. It’s much more true to life, where we make decisions and then those consequences tend to play out and are pretty rough.\u003c/p>\n\u003cp>\u003cstrong>You make a point of showing how both Isabel and Theresa are different in public than who they are in private.\u003c/strong>\u003c/p>\n\u003cp>That’s something that books can do, but cinema does beautifully. It lets you see how people present themselves to the world, and then lets you see these private moments, and they don’t all have to necessarily be narrated. You get to do a lot of projection, literally, onto these characters.\u003c/p>\n\u003cp>I was also interested in the way in which our pasts inform the way we think the world has to work. How we assume it works, and then how that helps to form our defense mechanisms, our loves and the things that we pursue.\u003c/p>\n\u003cfigure id=\"attachment_13864150\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864150\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/6.jpg\" alt=\"L to R: Vir Pachisia as Jai, Michelle Williams as Isabel.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/6.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/6-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/6-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/6-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/6-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/6-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">L to R: Vir Pachisia as Jai, Michelle Williams as Isabel. \u003ccite>(Photo by Kevin Nunes; Courtesy Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You bookend the film with the protagonists looking in mirrors, that trope used in film noir and classic melodramas. But you keep the camera as a medium shot. Why didn’t you go in for close-ups?\u003c/strong>\u003c/p>\n\u003cp>It felt reductive to me, once you saw the actual expressions. We did cover those things tight, so I wasn’t against the idea of using them. But what ended up happening, as the editor Joe Krings and I cut the movie, was those two moments, were much more about the fact that these people were perceiving themselves, Isabel and Theresa, how much they were willing to look at themselves, and look beyond the image they were seeing.\u003c/p>\n\u003cp>Especially with Isabel at the end, because she was willing to stand still and look at herself for the first time. She tends to look out at the rest of the world. Her introspection is through her meditation, and that’s how she explores her inner life that way, but really doesn’t want to see who she is in reality, including all the decisions she’s made in her past.\u003c/p>\n\u003cfigure id=\"attachment_13864145\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864145\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/4.jpg\" alt=\"L to R: Billy Crudup as Oscar Carlson, Abby Quinn as Grace Carlson, Julianne Moore as Theresa Young.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/4.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/4-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/4-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/4-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/4-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/4-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">L to R: Billy Crudup as Oscar Carlson, Abby Quinn as Grace Carlson, Julianne Moore as Theresa Young. \u003ccite>(Photo by Julio Macat; Courtesy Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Earlier you mentioned that there was no hero, but Theresa, the millionaire media mogul, is put in the position of being an American savior. Why did you place the characters in such extreme socioeconomic positions?\u003c/strong>\u003c/p>\n\u003cp>My intention was certainly not to paint Theresa as the hero. I think on the outside, you could write an essay about why she is the hero, but you could also write that about Isabel and Oscar [Theresa’s husband, played by Billy Crudup].\u003c/p>\n\u003cp>I felt that it was an effective part of Susanne Bier’s film, to depict these two very, very disparate worlds. I certainly wasn’t intending to say anything about who is more valuable—someone who gives their time and soul to a place, or someone who just gives money. Or, who can be happier.\u003c/p>\n\u003cp>I know that Julianne does as well, but I view Theresa as an extremely morally and ethically compromised person. She’s doing something that’s fairly fraught and selfish. It seems that she’s doing it out of entitlement because of her place in the business world. But ultimately I think she’s just doing it out of desperation. She just happens to have the power.\u003c/p>\n\u003cfigure id=\"attachment_13864148\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13864148 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/7-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/7-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/7-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/7-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/7-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/7-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/7.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Center: Billy Crudup as Oscar Carlson. (Photo by David Giesbrecht. Courtesy Sony Pictures Classics)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>This is your third film with Billy Crudup. What’s your working relationship like?\u003c/strong>\u003c/p>\n\u003cp>After Billy saw the first film that we made, \u003cem>World Traveler\u003c/em>, I remember he came up to me right after the screening and said, “This is exactly the kind of film I want to be in.” I loved the way he said it, because it wasn’t like, “I loved it,” or “We did it,” or “That’s my best performance.” It was just like yeah, what you’re aiming for and what you’re searching for, I’m interested in being along with you on that journey, and trying to get there.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.sonyclassics.com/afterthewedding/\" target=\"_blank\" rel=\"noopener\">After the Wedding’\u003c/a> opens Friday, Aug. 16 at Landmark’s Embarcadero Center Cinema in San Francisco and at CinéArts at Palo Alto Square in Palo Alto.\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1149,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 23
},
"modified": 1705022302,
"excerpt": "Director Bart Freundlich talks about his decision to remake the Danish film, and how he doesn't judge any of his morally compromised characters.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Director Bart Freundlich talks about his decision to remake the Danish film, and how he doesn't judge any of his morally compromised characters.",
"title": "In 'After the Wedding,' Family Melodrama with No Heroes—And No Villains | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "In 'After the Wedding,' Family Melodrama with No Heroes—And No Villains",
"datePublished": "2019-08-16T06:00:45-07:00",
"dateModified": "2024-01-11T17:18:22-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "after-the-wedding-interview",
"status": "publish",
"templateType": "standard",
"featuredImageType": "standard",
"sticky": false,
"path": "/arts/13864139/after-the-wedding-interview",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Before I spoke with Bart Freundlich about his new film \u003cem>After the Wedding\u003c/em>, I listened to a short review \u003ca href=\"https://www.kcrw.com/news/shows/press-play-with-madeleine-brand/campaign-season-kicks-off-with-iowa-state-fair/dora-and-the-lost-city-of-gold-is-worthy-only-of-silver\" target=\"_blank\" rel=\"noopener\">on KCRW’s Press Play\u003c/a>. The host of the program and her guests, two film critics, summed up the movie as an opportunity for the actors—including Michelle Williams and Freundlich’s wife Julianne Moore—to emote. There was a collective eye roll implicit in their critique.\u003c/p>\n\u003cp>In the film, Williams’ character Isabel runs an orphanage in India. She’s on her way to New York to ask Moore’s Theresa, a media mogul, for a donation. When they meet in person, Isabel’s past sways Theresa’s decision and clues us into the movie’s tagline, “Every family has a secret.” (Freundlich’s \u003cem>After the Wedding\u003c/em> is a remake of Danish filmmaker Susanne Bier’s 2006 \u003ca href=\"https://en.wikipedia.org/wiki/After_the_Wedding_(2006_film)\" target=\"_blank\" rel=\"noopener\">film\u003c/a> of the same name, swapping the lead male characters for leading ladies.)\u003c/p>\n\u003cp>\u003cem>After the Wedding \u003c/em>opens while the number one film at the American box office is the hyper-masculine (or is it the ne plus ultra masculine?) buddy movie \u003cem>Hobbs & Shaw\u003c/em>. In a cinematic ecosystem that rewards fast cars and bulging biceps, the critics on Press Play suggested audiences wouldn’t have the patience to sit through this kind of melodrama.\u003c/p>\n\u003cp>In a phone interview, Freundlich talked about how he handles criticism (“Earnest movies sometimes have a harder time with reviews”), why he decided to remake the original and how something beautiful can also be real.\u003c/p>\n\u003cfigure id=\"attachment_13864144\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864144\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/2.jpg\" alt=\"L to R: Bart Freundlich (Director) and Julio Macat (Director of Photography).\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/2-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">L to R: Bart Freundlich (Director) and Julio Macat (Director of Photography). \u003ccite>(Photo by Elizabeth Fisher; Courtesy Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Was there an expectation that it should have been grittier?\u003c/strong>\u003c/p>\n\u003cp>There might have been a feeling that the gloss of some of the film, the high profile of the actors, could take away from the deeper, more subtle meaning. Or didn’t encourage you to look as hard, or possibly that my intention was to glaze over something, as opposed to telling a story.\u003c/p>\n\u003cp>When, in fact, what I love about this story is that there are no heroes in the movie, and that there are no villains. There’s no judgment, that, as the filmmaker, I’m against any of these characters. It’s much more true to life, where we make decisions and then those consequences tend to play out and are pretty rough.\u003c/p>\n\u003cp>\u003cstrong>You make a point of showing how both Isabel and Theresa are different in public than who they are in private.\u003c/strong>\u003c/p>\n\u003cp>That’s something that books can do, but cinema does beautifully. It lets you see how people present themselves to the world, and then lets you see these private moments, and they don’t all have to necessarily be narrated. You get to do a lot of projection, literally, onto these characters.\u003c/p>\n\u003cp>I was also interested in the way in which our pasts inform the way we think the world has to work. How we assume it works, and then how that helps to form our defense mechanisms, our loves and the things that we pursue.\u003c/p>\n\u003cfigure id=\"attachment_13864150\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864150\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/6.jpg\" alt=\"L to R: Vir Pachisia as Jai, Michelle Williams as Isabel.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/6.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/6-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/6-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/6-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/6-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/6-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">L to R: Vir Pachisia as Jai, Michelle Williams as Isabel. \u003ccite>(Photo by Kevin Nunes; Courtesy Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You bookend the film with the protagonists looking in mirrors, that trope used in film noir and classic melodramas. But you keep the camera as a medium shot. Why didn’t you go in for close-ups?\u003c/strong>\u003c/p>\n\u003cp>It felt reductive to me, once you saw the actual expressions. We did cover those things tight, so I wasn’t against the idea of using them. But what ended up happening, as the editor Joe Krings and I cut the movie, was those two moments, were much more about the fact that these people were perceiving themselves, Isabel and Theresa, how much they were willing to look at themselves, and look beyond the image they were seeing.\u003c/p>\n\u003cp>Especially with Isabel at the end, because she was willing to stand still and look at herself for the first time. She tends to look out at the rest of the world. Her introspection is through her meditation, and that’s how she explores her inner life that way, but really doesn’t want to see who she is in reality, including all the decisions she’s made in her past.\u003c/p>\n\u003cfigure id=\"attachment_13864145\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864145\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/4.jpg\" alt=\"L to R: Billy Crudup as Oscar Carlson, Abby Quinn as Grace Carlson, Julianne Moore as Theresa Young.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/4.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/4-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/4-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/4-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/4-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/4-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">L to R: Billy Crudup as Oscar Carlson, Abby Quinn as Grace Carlson, Julianne Moore as Theresa Young. \u003ccite>(Photo by Julio Macat; Courtesy Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Earlier you mentioned that there was no hero, but Theresa, the millionaire media mogul, is put in the position of being an American savior. Why did you place the characters in such extreme socioeconomic positions?\u003c/strong>\u003c/p>\n\u003cp>My intention was certainly not to paint Theresa as the hero. I think on the outside, you could write an essay about why she is the hero, but you could also write that about Isabel and Oscar [Theresa’s husband, played by Billy Crudup].\u003c/p>\n\u003cp>I felt that it was an effective part of Susanne Bier’s film, to depict these two very, very disparate worlds. I certainly wasn’t intending to say anything about who is more valuable—someone who gives their time and soul to a place, or someone who just gives money. Or, who can be happier.\u003c/p>\n\u003cp>I know that Julianne does as well, but I view Theresa as an extremely morally and ethically compromised person. She’s doing something that’s fairly fraught and selfish. It seems that she’s doing it out of entitlement because of her place in the business world. But ultimately I think she’s just doing it out of desperation. She just happens to have the power.\u003c/p>\n\u003cfigure id=\"attachment_13864148\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13864148 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/7-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/7-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/7-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/7-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/7-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/7-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/7.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Center: Billy Crudup as Oscar Carlson. (Photo by David Giesbrecht. Courtesy Sony Pictures Classics)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>This is your third film with Billy Crudup. What’s your working relationship like?\u003c/strong>\u003c/p>\n\u003cp>After Billy saw the first film that we made, \u003cem>World Traveler\u003c/em>, I remember he came up to me right after the screening and said, “This is exactly the kind of film I want to be in.” I loved the way he said it, because it wasn’t like, “I loved it,” or “We did it,” or “That’s my best performance.” It was just like yeah, what you’re aiming for and what you’re searching for, I’m interested in being along with you on that journey, and trying to get there.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.sonyclassics.com/afterthewedding/\" target=\"_blank\" rel=\"noopener\">After the Wedding’\u003c/a> opens Friday, Aug. 16 at Landmark’s Embarcadero Center Cinema in San Francisco and at CinéArts at Palo Alto Square in Palo Alto.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13864139/after-the-wedding-interview",
"authors": [
"42"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_596",
"arts_989"
],
"featImg": "arts_13864146",
"label": "arts"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"radioSearchSegmentsReducer": {},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"racesGenElection2026PresidentialReducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?category=movies": {
"isFetching": false,
"latestQuery": {
"from": 1368,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 3264,
"relation": "eq"
},
"items": [
"arts_13865965",
"arts_13865507",
"arts_13865343",
"arts_13865292",
"arts_13864853",
"arts_13864820",
"arts_13864805",
"arts_13864617",
"arts_13864462",
"arts_13864252",
"arts_13864374",
"arts_13864139"
],
"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_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_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_1270": {
"type": "terms",
"id": "arts_1270",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1270",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Berkeley",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Berkeley Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1282,
"slug": "berkeley",
"isLoading": false,
"link": "/arts/tag/berkeley"
},
"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_2360": {
"type": "terms",
"id": "arts_2360",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2360",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Shotgun Players",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"socialTitle": "Experience Raw & Daring Theatre: Shotgun Players, Berkeley's Gem",
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": "Dive into the electrifying world of Shotgun Players, Berkeley's acclaimed theatre company. Discover immersive productions & intimate experiences.",
"metaRobotsNoIndex": "index",
"title": "Experience Raw & Daring Theatre: Shotgun Players, Berkeley's Gem",
"ogDescription": null
},
"ttid": 2372,
"slug": "shotgun-players",
"isLoading": false,
"link": "/arts/tag/shotgun-players"
},
"arts_1334": {
"type": "terms",
"id": "arts_1334",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1334",
"found": true
},
"relationships": {},
"featImg": null,
"name": "the do list",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "the do list Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1346,
"slug": "the-do-list",
"isLoading": false,
"link": "/arts/tag/the-do-list"
},
"arts_1072": {
"type": "terms",
"id": "arts_1072",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1072",
"found": true
},
"relationships": {},
"featImg": null,
"name": "theater",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "theater Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1089,
"slug": "theater",
"isLoading": false,
"link": "/arts/tag/theater"
},
"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_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_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_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_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_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_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_70": {
"type": "terms",
"id": "arts_70",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "70",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Visual Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Visual Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 71,
"slug": "visualarts",
"isLoading": false,
"link": "/arts/category/visualarts"
},
"arts_1088": {
"type": "terms",
"id": "arts_1088",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1088",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Hiero Day",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Hiero Day Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1105,
"slug": "hiero-day",
"isLoading": false,
"link": "/arts/tag/hiero-day"
},
"arts_3648": {
"type": "terms",
"id": "arts_3648",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3648",
"found": true
},
"relationships": {},
"featImg": null,
"name": "museums",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "museums Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3660,
"slug": "museums",
"isLoading": false,
"link": "/arts/tag/museums"
},
"arts_2238": {
"type": "terms",
"id": "arts_2238",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2238",
"found": true
},
"relationships": {},
"featImg": null,
"name": "sonido clash",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "sonido clash Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2250,
"slug": "sonido-clash",
"isLoading": false,
"link": "/arts/tag/sonido-clash"
},
"arts_1009": {
"type": "terms",
"id": "arts_1009",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1009",
"found": true
},
"relationships": {},
"featImg": null,
"name": "preview",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "preview Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1026,
"slug": "preview",
"isLoading": false,
"link": "/arts/tag/preview"
},
"arts_235": {
"type": "terms",
"id": "arts_235",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "235",
"found": true
},
"relationships": {},
"featImg": null,
"name": "News",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "News Archives | KQED Arts",
"ogDescription": null
},
"ttid": 236,
"slug": "news",
"isLoading": false,
"link": "/arts/category/news"
},
"arts_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_8393": {
"type": "terms",
"id": "arts_8393",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8393",
"found": true
},
"relationships": {},
"featImg": null,
"name": "hollywood",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "hollywood Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8405,
"slug": "hollywood",
"isLoading": false,
"link": "/arts/tag/hollywood"
},
"arts_1256": {
"type": "terms",
"id": "arts_1256",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1256",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Latino",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Latino Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1268,
"slug": "latino",
"isLoading": false,
"link": "/arts/tag/latino"
},
"arts_5747": {
"type": "terms",
"id": "arts_5747",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5747",
"found": true
},
"relationships": {},
"featImg": null,
"name": "latinx",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "latinx Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5759,
"slug": "latinx",
"isLoading": false,
"link": "/arts/tag/latinx"
},
"arts_8394": {
"type": "terms",
"id": "arts_8394",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8394",
"found": true
},
"relationships": {},
"featImg": null,
"name": "representation",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "representation Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8406,
"slug": "representation",
"isLoading": false,
"link": "/arts/tag/representation"
},
"arts_4262": {
"type": "terms",
"id": "arts_4262",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4262",
"found": true
},
"relationships": {},
"featImg": null,
"name": "animation",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "animation Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4274,
"slug": "animation",
"isLoading": false,
"link": "/arts/tag/animation"
},
"arts_8390": {
"type": "terms",
"id": "arts_8390",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8390",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Matthew A. Cherry",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Matthew A. Cherry Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8402,
"slug": "matthew-a-cherry",
"isLoading": false,
"link": "/arts/tag/matthew-a-cherry"
},
"arts_3669": {
"type": "terms",
"id": "arts_3669",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3669",
"found": true
},
"relationships": {},
"featImg": null,
"name": "alfred hitchcock",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "alfred hitchcock Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3681,
"slug": "alfred-hitchcock",
"isLoading": false,
"link": "/arts/tag/alfred-hitchcock"
},
"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_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_994": {
"type": "terms",
"id": "arts_994",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "994",
"found": true
},
"relationships": {},
"featImg": null,
"name": "metal",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "metal Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1012,
"slug": "metal",
"isLoading": false,
"link": "/arts/tag/metal"
},
"arts_1010": {
"type": "terms",
"id": "arts_1010",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1010",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Metallica",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Metallica Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1027,
"slug": "metallica",
"isLoading": false,
"link": "/arts/tag/metallica"
},
"arts_905": {
"type": "terms",
"id": "arts_905",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "905",
"found": true
},
"relationships": {},
"featImg": null,
"name": "rock",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "rock Archives | KQED Arts",
"ogDescription": null
},
"ttid": 923,
"slug": "rock",
"isLoading": false,
"link": "/arts/tag/rock"
},
"arts_7525": {
"type": "terms",
"id": "arts_7525",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7525",
"found": true
},
"relationships": {},
"featImg": null,
"name": "in memoriam",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "in memoriam Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7537,
"slug": "in-memoriam",
"isLoading": false,
"link": "/arts/tag/in-memoriam"
},
"arts_989": {
"type": "terms",
"id": "arts_989",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "989",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Q&A",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Q&A Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1007,
"slug": "qa",
"isLoading": false,
"link": "/arts/tag/qa"
}
},
"userPermissionsReducer": {
"wpLoggedIn": false
},
"eventsReducer": {},
"fssReducer": {},
"tvDailyScheduleReducer": {},
"tvWeeklyScheduleReducer": {},
"tvPrimetimeScheduleReducer": {},
"tvMonthlyScheduleReducer": {},
"userAccountReducer": {
"user": {
"email": null,
"emailStatus": "EMAIL_UNVALIDATED",
"loggedStatus": "LOGGED_OUT",
"loggingChecked": false,
"articles": [],
"firstName": null,
"lastName": null,
"phoneNumber": null,
"fetchingMembership": false,
"membershipError": false,
"memberships": [
{
"id": null,
"startDate": null,
"firstName": null,
"lastName": null,
"familyNumber": null,
"memberNumber": null,
"memberSince": null,
"expirationDate": null,
"pfsEligible": false,
"isSustaining": false,
"membershipLevel": "Prospect",
"membershipStatus": "Non Member",
"lastGiftDate": null,
"renewalDate": null,
"lastDonationAmount": null
}
]
},
"authModal": {
"isOpen": false,
"view": "LANDING_VIEW"
},
"error": null
},
"youthMediaReducer": {},
"checkPleaseReducer": {
"filterData": {
"region": {
"key": "Restaurant Region",
"filters": [
"Any Region"
]
},
"cuisine": {
"key": "Restaurant Cuisine",
"filters": [
"Any Cuisine"
]
}
},
"restaurantDataById": {},
"restaurantIdsSorted": [],
"error": null
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
},
"requestOutcomesReducer": {
"notFound": []
},
"navPromosReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": true,
"promos": {
"news": {
"name": "2026 Voter Guide",
"link": "/voterguide",
"imageURL": "https://cdn.kqed.org/wp-content/uploads/2026/10/Nav-News-Nov2026ElectionCoverage@2x-7bd4aad4.png",
"description": "Get informed in minutes with our Voter Guide for California’s November 3 election."
},
"podcasts-radio": {},
"video-tv": {},
"events": {},
"support": {}
}
}
}