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_13844961": {
"type": "attachments",
"id": "arts_13844961",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13844961",
"found": true
},
"parent": 13842424,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/Pamela_BTL_Thumbnail-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/Pamela_BTL_Thumbnail-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/Pamela_BTL_Thumbnail-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/Pamela_BTL_Thumbnail-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/Pamela_BTL_Thumbnail-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/Pamela_BTL_Thumbnail-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/Pamela_BTL_Thumbnail.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/Pamela_BTL_Thumbnail-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/Pamela_BTL_Thumbnail-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/Pamela_BTL_Thumbnail-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/Pamela_BTL_Thumbnail-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/Pamela_BTL_Thumbnail-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/Pamela_BTL_Thumbnail-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/Pamela_BTL_Thumbnail-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/Pamela_BTL_Thumbnail-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/Pamela_BTL_Thumbnail-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/Pamela_BTL_Thumbnail-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/Pamela_BTL_Thumbnail-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/Pamela_BTL_Thumbnail-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/Pamela_BTL_Thumbnail-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/Pamela_BTL_Thumbnail-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/Pamela_BTL_Thumbnail-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1542245196,
"modified": 1542245196,
"caption": null,
"description": null,
"title": "Pamela_BTL_Thumbnail",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13842268": {
"type": "attachments",
"id": "arts_13842268",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13842268",
"found": true
},
"parent": 13842267,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/elaine_bed_COVER-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/elaine_bed_COVER-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/elaine_bed_COVER-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/elaine_bed_COVER-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/elaine_bed_COVER-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/elaine_bed_COVER-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/elaine_bed_COVER.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/elaine_bed_COVER-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/elaine_bed_COVER-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/elaine_bed_COVER-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/elaine_bed_COVER-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/elaine_bed_COVER-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/elaine_bed_COVER-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/elaine_bed_COVER-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/elaine_bed_COVER-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/elaine_bed_COVER-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/elaine_bed_COVER-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/elaine_bed_COVER-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/elaine_bed_COVER-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/elaine_bed_COVER-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/elaine_bed_COVER-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/elaine_bed_COVER-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1539036910,
"modified": 1539036977,
"caption": "Elaine (Samantha Robinson) bewitches in 'The Love Witch,' 2016.",
"description": "Elaine (Samantha Robinson) bewitches in 'The Love Witch,' 2016.",
"title": "elaine_bed_COVER",
"credit": "Courtesy of Anna Biller Productions",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13842244": {
"type": "attachments",
"id": "arts_13842244",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13842244",
"found": true
},
"parent": 13842237,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/the-reports-on-sarah-and-saleem-2-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/the-reports-on-sarah-and-saleem-2-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/the-reports-on-sarah-and-saleem-2-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/the-reports-on-sarah-and-saleem-2-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/the-reports-on-sarah-and-saleem-2-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/the-reports-on-sarah-and-saleem-2.jpg",
"width": 1000,
"height": 563
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/the-reports-on-sarah-and-saleem-2-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/the-reports-on-sarah-and-saleem-2-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/the-reports-on-sarah-and-saleem-2-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/the-reports-on-sarah-and-saleem-2-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/the-reports-on-sarah-and-saleem-2-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/the-reports-on-sarah-and-saleem-2-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/the-reports-on-sarah-and-saleem-2-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/the-reports-on-sarah-and-saleem-2-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/the-reports-on-sarah-and-saleem-2-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1539025757,
"modified": 1539025802,
"caption": "Still from 'The Reports on Sarah and Saleem.'",
"description": "Still from 'The Reports on Sarah and Saleem.'",
"title": "the-reports-on-sarah-and-saleem-2",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13842148": {
"type": "attachments",
"id": "arts_13842148",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13842148",
"found": true
},
"parent": 13842147,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/mam_00926_wide-a722c48173dd5ca94bcaea826ab832ee8ba16873-520x292.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 292
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/mam_00926_wide-a722c48173dd5ca94bcaea826ab832ee8ba16873-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/mam_00926_wide-a722c48173dd5ca94bcaea826ab832ee8ba16873-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/mam_00926_wide-a722c48173dd5ca94bcaea826ab832ee8ba16873-960x539.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 539
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/mam_00926_wide-a722c48173dd5ca94bcaea826ab832ee8ba16873-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/mam_00926_wide-a722c48173dd5ca94bcaea826ab832ee8ba16873-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/mam_00926_wide-a722c48173dd5ca94bcaea826ab832ee8ba16873.jpg",
"width": 2048,
"height": 1150
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/mam_00926_wide-a722c48173dd5ca94bcaea826ab832ee8ba16873-1020x573.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 573
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/mam_00926_wide-a722c48173dd5ca94bcaea826ab832ee8ba16873-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/mam_00926_wide-a722c48173dd5ca94bcaea826ab832ee8ba16873-1200x674.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 674
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/mam_00926_wide-a722c48173dd5ca94bcaea826ab832ee8ba16873-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/mam_00926_wide-a722c48173dd5ca94bcaea826ab832ee8ba16873-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/mam_00926_wide-a722c48173dd5ca94bcaea826ab832ee8ba16873-800x449.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 449
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/mam_00926_wide-a722c48173dd5ca94bcaea826ab832ee8ba16873-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/mam_00926_wide-a722c48173dd5ca94bcaea826ab832ee8ba16873-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/mam_00926_wide-a722c48173dd5ca94bcaea826ab832ee8ba16873-1920x1079.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1079
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/mam_00926_wide-a722c48173dd5ca94bcaea826ab832ee8ba16873-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/mam_00926_wide-a722c48173dd5ca94bcaea826ab832ee8ba16873-1920x1079.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1079
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/mam_00926_wide-a722c48173dd5ca94bcaea826ab832ee8ba16873-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/mam_00926_wide-a722c48173dd5ca94bcaea826ab832ee8ba16873-768x431.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 431
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/mam_00926_wide-a722c48173dd5ca94bcaea826ab832ee8ba16873-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/mam_00926_wide-a722c48173dd5ca94bcaea826ab832ee8ba16873-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1538699200,
"modified": 1538699200,
"caption": null,
"description": "Through The Looking-Glass: Manny (Anthony Ramos) and Dennis (John David Washington) in \u003cem>Monsters and Men\u003c/em>.",
"title": "Through The Looking-Glass: Manny (Anthony Ramos) and Dennis (John David Washington) in Monsters and Men.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13844963": {
"type": "attachments",
"id": "arts_13844963",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13844963",
"found": true
},
"parent": 13842100,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/BTL_Series_Thumbnail-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/BTL_Series_Thumbnail-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/BTL_Series_Thumbnail-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/BTL_Series_Thumbnail-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/BTL_Series_Thumbnail-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/BTL_Series_Thumbnail-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/BTL_Series_Thumbnail.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/BTL_Series_Thumbnail-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/BTL_Series_Thumbnail-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/BTL_Series_Thumbnail-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/BTL_Series_Thumbnail-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/BTL_Series_Thumbnail-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/BTL_Series_Thumbnail-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/BTL_Series_Thumbnail-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/BTL_Series_Thumbnail-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/BTL_Series_Thumbnail-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/BTL_Series_Thumbnail-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/BTL_Series_Thumbnail-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/BTL_Series_Thumbnail-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/BTL_Series_Thumbnail-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/BTL_Series_Thumbnail-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/BTL_Series_Thumbnail-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1542247198,
"modified": 1542247225,
"caption": "Nijla Mu'min on a set",
"description": null,
"title": "BTL_Series_Thumbnail",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13841949": {
"type": "attachments",
"id": "arts_13841949",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13841949",
"found": true
},
"parent": 13841924,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/Photo2_Gravity-Hero-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/Photo2_Gravity-Hero-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/Photo2_Gravity-Hero-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/Photo2_Gravity-Hero-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/Photo2_Gravity-Hero-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/Photo2_Gravity-Hero-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/Photo2_Gravity-Hero.jpg",
"width": 1600,
"height": 900
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/Photo2_Gravity-Hero-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/Photo2_Gravity-Hero-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/Photo2_Gravity-Hero-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/Photo2_Gravity-Hero-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/Photo2_Gravity-Hero-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/Photo2_Gravity-Hero-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/Photo2_Gravity-Hero-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/Photo2_Gravity-Hero-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/Photo2_Gravity-Hero-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/Photo2_Gravity-Hero-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/Photo2_Gravity-Hero-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/Photo2_Gravity-Hero-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/Photo2_Gravity-Hero-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1538417864,
"modified": 1538417895,
"caption": "Still from 'Gravity Hero.'",
"description": "Still from 'Gravity Hero.'",
"title": "Photo2_Gravity-Hero",
"credit": "Courtesy of San Francisco Dance Film Festival",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13841814": {
"type": "attachments",
"id": "arts_13841814",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13841814",
"found": true
},
"parent": 13841813,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/stelmos2_wide-06a52a6b70295e73d8877ef0309467012ba8571e-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/stelmos2_wide-06a52a6b70295e73d8877ef0309467012ba8571e-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/stelmos2_wide-06a52a6b70295e73d8877ef0309467012ba8571e-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/stelmos2_wide-06a52a6b70295e73d8877ef0309467012ba8571e-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/stelmos2_wide-06a52a6b70295e73d8877ef0309467012ba8571e-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/stelmos2_wide-06a52a6b70295e73d8877ef0309467012ba8571e-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/stelmos2_wide-06a52a6b70295e73d8877ef0309467012ba8571e.jpg",
"width": 2048,
"height": 1152
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/stelmos2_wide-06a52a6b70295e73d8877ef0309467012ba8571e-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/stelmos2_wide-06a52a6b70295e73d8877ef0309467012ba8571e-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/stelmos2_wide-06a52a6b70295e73d8877ef0309467012ba8571e-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/stelmos2_wide-06a52a6b70295e73d8877ef0309467012ba8571e-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/stelmos2_wide-06a52a6b70295e73d8877ef0309467012ba8571e-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/stelmos2_wide-06a52a6b70295e73d8877ef0309467012ba8571e-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/stelmos2_wide-06a52a6b70295e73d8877ef0309467012ba8571e-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/stelmos2_wide-06a52a6b70295e73d8877ef0309467012ba8571e-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/stelmos2_wide-06a52a6b70295e73d8877ef0309467012ba8571e-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/stelmos2_wide-06a52a6b70295e73d8877ef0309467012ba8571e-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/stelmos2_wide-06a52a6b70295e73d8877ef0309467012ba8571e-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/stelmos2_wide-06a52a6b70295e73d8877ef0309467012ba8571e-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/stelmos2_wide-06a52a6b70295e73d8877ef0309467012ba8571e-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/stelmos2_wide-06a52a6b70295e73d8877ef0309467012ba8571e-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/stelmos2_wide-06a52a6b70295e73d8877ef0309467012ba8571e-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1538096721,
"modified": 1538097514,
"caption": "A still from Robert Greene's Bisbee '17, which combines re-enactment with interviews (and songs!) to relate a dark chapter in American labor history.",
"description": "A still from Robert Greene's 'Bisbee '17,' which combines re-enactment with interviews (and songs!) to relate a dark chapter in American labor history.",
"title": "A still from Robert Greene's Bisbee '17, which combines re-enactment with interviews (and songs!) to relate a dark chapter in American labor history.",
"credit": "Jarred Alterman/4th Row Films",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13841542": {
"type": "attachments",
"id": "arts_13841542",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13841542",
"found": true
},
"parent": 13841478,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/House_of_the_Rising_Sons_COVER-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/House_of_the_Rising_Sons_COVER-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/House_of_the_Rising_Sons_COVER-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/House_of_the_Rising_Sons_COVER-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/House_of_the_Rising_Sons_COVER-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/House_of_the_Rising_Sons_COVER-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/House_of_the_Rising_Sons_COVER.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/House_of_the_Rising_Sons_COVER-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/House_of_the_Rising_Sons_COVER-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/House_of_the_Rising_Sons_COVER-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/House_of_the_Rising_Sons_COVER-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/House_of_the_Rising_Sons_COVER-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/House_of_the_Rising_Sons_COVER-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/House_of_the_Rising_Sons_COVER-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/House_of_the_Rising_Sons_COVER-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/House_of_the_Rising_Sons_COVER-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/House_of_the_Rising_Sons_COVER-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/House_of_the_Rising_Sons_COVER-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/House_of_the_Rising_Sons_COVER-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/House_of_the_Rising_Sons_COVER-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/House_of_the_Rising_Sons_COVER-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/House_of_the_Rising_Sons_COVER-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1537815079,
"modified": 1537815156,
"caption": "Still from 'House of the Rising Sons.'",
"description": "Still from 'House of the Rising Sons.'",
"title": "House_of_the_Rising_Sons_COVER",
"credit": "Courtesy of SFFILM",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13841341": {
"type": "attachments",
"id": "arts_13841341",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13841341",
"found": true
},
"parent": 13841340,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/searching-dom-srch_d12_set82_john-cho_photocred-elizabeth-kitchens_clean_clip_7_rv3_wide-c94cc2585b6e604a1ead7a8ee36bab39c98a82df-520x292.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 292
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/searching-dom-srch_d12_set82_john-cho_photocred-elizabeth-kitchens_clean_clip_7_rv3_wide-c94cc2585b6e604a1ead7a8ee36bab39c98a82df-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/searching-dom-srch_d12_set82_john-cho_photocred-elizabeth-kitchens_clean_clip_7_rv3_wide-c94cc2585b6e604a1ead7a8ee36bab39c98a82df-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/searching-dom-srch_d12_set82_john-cho_photocred-elizabeth-kitchens_clean_clip_7_rv3_wide-c94cc2585b6e604a1ead7a8ee36bab39c98a82df-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/searching-dom-srch_d12_set82_john-cho_photocred-elizabeth-kitchens_clean_clip_7_rv3_wide-c94cc2585b6e604a1ead7a8ee36bab39c98a82df-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/searching-dom-srch_d12_set82_john-cho_photocred-elizabeth-kitchens_clean_clip_7_rv3_wide-c94cc2585b6e604a1ead7a8ee36bab39c98a82df-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/searching-dom-srch_d12_set82_john-cho_photocred-elizabeth-kitchens_clean_clip_7_rv3_wide-c94cc2585b6e604a1ead7a8ee36bab39c98a82df.jpg",
"width": 1579,
"height": 888
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/searching-dom-srch_d12_set82_john-cho_photocred-elizabeth-kitchens_clean_clip_7_rv3_wide-c94cc2585b6e604a1ead7a8ee36bab39c98a82df-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/searching-dom-srch_d12_set82_john-cho_photocred-elizabeth-kitchens_clean_clip_7_rv3_wide-c94cc2585b6e604a1ead7a8ee36bab39c98a82df-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/searching-dom-srch_d12_set82_john-cho_photocred-elizabeth-kitchens_clean_clip_7_rv3_wide-c94cc2585b6e604a1ead7a8ee36bab39c98a82df-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/searching-dom-srch_d12_set82_john-cho_photocred-elizabeth-kitchens_clean_clip_7_rv3_wide-c94cc2585b6e604a1ead7a8ee36bab39c98a82df-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/searching-dom-srch_d12_set82_john-cho_photocred-elizabeth-kitchens_clean_clip_7_rv3_wide-c94cc2585b6e604a1ead7a8ee36bab39c98a82df-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/searching-dom-srch_d12_set82_john-cho_photocred-elizabeth-kitchens_clean_clip_7_rv3_wide-c94cc2585b6e604a1ead7a8ee36bab39c98a82df-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/searching-dom-srch_d12_set82_john-cho_photocred-elizabeth-kitchens_clean_clip_7_rv3_wide-c94cc2585b6e604a1ead7a8ee36bab39c98a82df-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/searching-dom-srch_d12_set82_john-cho_photocred-elizabeth-kitchens_clean_clip_7_rv3_wide-c94cc2585b6e604a1ead7a8ee36bab39c98a82df-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/searching-dom-srch_d12_set82_john-cho_photocred-elizabeth-kitchens_clean_clip_7_rv3_wide-c94cc2585b6e604a1ead7a8ee36bab39c98a82df-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/searching-dom-srch_d12_set82_john-cho_photocred-elizabeth-kitchens_clean_clip_7_rv3_wide-c94cc2585b6e604a1ead7a8ee36bab39c98a82df-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/searching-dom-srch_d12_set82_john-cho_photocred-elizabeth-kitchens_clean_clip_7_rv3_wide-c94cc2585b6e604a1ead7a8ee36bab39c98a82df-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/searching-dom-srch_d12_set82_john-cho_photocred-elizabeth-kitchens_clean_clip_7_rv3_wide-c94cc2585b6e604a1ead7a8ee36bab39c98a82df-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/searching-dom-srch_d12_set82_john-cho_photocred-elizabeth-kitchens_clean_clip_7_rv3_wide-c94cc2585b6e604a1ead7a8ee36bab39c98a82df-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1537506072,
"modified": 1537506419,
"caption": "John Cho stars as a Silicon Valley widower whose 16-year-old daughter has disappeared in 'Searching.'",
"description": "John Cho stars as a Silicon Valley widower whose 16-year-old daughter has disappeared in 'Searching.'",
"title": "John Cho stars as a Silicon Valley widower whose 16-year-old daughter has disappeared in Searching.",
"credit": "Elizabeth Kitchens/Sony",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13841263": {
"type": "attachments",
"id": "arts_13841263",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13841263",
"found": true
},
"parent": 0,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Katie.main_.2-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Katie.main_.2-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Katie.main_.2-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Katie.main_.2-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Katie.main_.2-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Katie.main_.2-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Katie.main_.2.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Katie.main_.2-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Katie.main_.2-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Katie.main_.2-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Katie.main_.2-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Katie.main_.2-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Katie.main_.2-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Katie.main_.2-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Katie.main_.2-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Katie.main_.2-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Katie.main_.2-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Katie.main_.2-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Katie.main_.2-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Katie.main_.2-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Katie.main_.2-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Katie.main_.2-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1537428764,
"modified": 1537464837,
"caption": "Katie Hood Morgan is one of a handful of curators recently laid off at Bay Area arts institutions, causing concern for audiences and artists alike.",
"description": "Katie Hood Morgan is one of a handful of curators recently laid off at Bay Area arts institutions, causing concern for audiences and artists alike.",
"title": "Katie.main.2",
"credit": "Gabe Meline/KQED",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13841027": {
"type": "attachments",
"id": "arts_13841027",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13841027",
"found": true
},
"parent": 13841011,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/italia4_COVER-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/italia4_COVER-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/italia4_COVER-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/italia4_COVER-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/italia4_COVER-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/italia4_COVER-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/italia4_COVER.jpg",
"width": 1594,
"height": 897
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/italia4_COVER-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/italia4_COVER-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/italia4_COVER-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/italia4_COVER-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/italia4_COVER-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/italia4_COVER-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/italia4_COVER-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/italia4_COVER-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/italia4_COVER-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/italia4_COVER-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/italia4_COVER-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/italia4_COVER-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/italia4_COVER-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1537227608,
"modified": 1537227652,
"caption": "Marcello Mastroianni in Federico Fellini's 'La Dolce Vita,' 1960.",
"description": "Marcello Mastroianni in Federico Fellini's 'La Dolce Vita,' 1960.",
"title": "italia4_COVER",
"credit": "Courtesy Cinema Italia SF",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13840741": {
"type": "attachments",
"id": "arts_13840741",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13840741",
"found": true
},
"parent": 13840702,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/GildaMAINrevcouch-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/GildaMAINrevcouch-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/GildaMAINrevcouch-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/GildaMAINrevcouch-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/GildaMAINrevcouch-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/GildaMAINrevcouch-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/GildaMAINrevcouch.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/GildaMAINrevcouch-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/GildaMAINrevcouch-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/GildaMAINrevcouch-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/GildaMAINrevcouch-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/GildaMAINrevcouch-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/GildaMAINrevcouch-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/GildaMAINrevcouch-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/GildaMAINrevcouch-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/GildaMAINrevcouch-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/GildaMAINrevcouch-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/GildaMAINrevcouch-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/GildaMAINrevcouch-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/GildaMAINrevcouch-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/GildaMAINrevcouch-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/GildaMAINrevcouch-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1536788524,
"modified": 1536788669,
"caption": "Gilda Radner in 'Love, Gilda.' The comedian who died at age 42 is remembered in a new documentary.",
"description": "Gilda Radner in 'Love, Gilda.' The comedian who died at age 42 is remembered in a new documentary.",
"title": "GildaMAINrevcouch",
"credit": "Courtesy Magnolia Pictures",
"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_13842147": {
"type": "authors",
"id": "byline_arts_13842147",
"meta": {
"override": true
},
"slug": "byline_arts_13842147",
"name": "Mark Jenkins",
"isLoading": false
},
"byline_arts_13842100": {
"type": "authors",
"id": "byline_arts_13842100",
"meta": {
"override": true
},
"slug": "byline_arts_13842100",
"name": "Kelly Whalen, Rachel Boyoung Kim",
"isLoading": false
},
"byline_arts_13841813": {
"type": "authors",
"id": "byline_arts_13841813",
"meta": {
"override": true
},
"slug": "byline_arts_13841813",
"name": "Mark Jenkins",
"isLoading": false
},
"byline_arts_13841340": {
"type": "authors",
"id": "byline_arts_13841340",
"meta": {
"override": true
},
"slug": "byline_arts_13841340",
"name": "Justin Chang",
"isLoading": false
},
"mfox": {
"type": "authors",
"id": "22",
"meta": {
"index": "authors_1716337520",
"id": "22",
"found": true
},
"name": "Michael Fox",
"firstName": "Michael",
"lastName": "Fox",
"slug": "mfox",
"email": "foxonfilm@yahoo.com",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "Michael Fox has written about film for dozens of publications since 1987. He is a founding member of the San Francisco Bay Area Film Critics Circle.",
"avatar": "https://secure.gravatar.com/avatar/d9849d6c659c41414795c471d907bb97b396e2a32b88e20e6ff66f65fbdd6dcd?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"contributor"
]
}
],
"headData": {
"title": "Michael Fox | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/d9849d6c659c41414795c471d907bb97b396e2a32b88e20e6ff66f65fbdd6dcd?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/d9849d6c659c41414795c471d907bb97b396e2a32b88e20e6ff66f65fbdd6dcd?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/mfox"
},
"shotchkiss": {
"type": "authors",
"id": "61",
"meta": {
"index": "authors_1716337520",
"id": "61",
"found": true
},
"name": "Sarah Hotchkiss",
"firstName": "Sarah",
"lastName": "Hotchkiss",
"slug": "shotchkiss",
"email": "shotchkiss@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Senior Editor",
"bio": "Sarah Hotchkiss is a San Francisco \u003ca href=\"http://www.sarahhotchkiss.com\">artist\u003c/a> and arts writer. In 2019, she received the Dorothea & Leo Rabkin Foundation grant for visual art journalism and in 2020 she received a Society of Professional Journalists, Northern California award for excellence in arts and culture reporting.",
"avatar": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"Contributor",
"administrator"
]
},
{
"site": "artschool",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"administrator"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "spark",
"roles": [
"editor"
]
},
{
"site": "checkplease",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Sarah Hotchkiss | KQED",
"description": "Senior Editor",
"ogImgSrc": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/shotchkiss"
},
"esilvers": {
"type": "authors",
"id": "7237",
"meta": {
"index": "authors_1716337520",
"id": "7237",
"found": true
},
"name": "Emma Silvers",
"firstName": "Emma",
"lastName": "Silvers",
"slug": "esilvers",
"email": "esilvers@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "Emma Silvers is an editor at KQED Arts and a former digital producer at KQED News. Born and raised in the Bay Area, she has previously been an arts and entertainment editor at the \u003cem>San Francisco Chronicle\u003c/em>, \u003cem>SF Weekly\u003c/em> and the \u003cem>San Francisco Bay Guardian.\u003c/em> \u003ca href=\"https://www.emmasilvers.com\">Her work\u003c/a> has also appeared in \u003cem>Rolling Stone\u003c/em>, Pitchfork and \u003cem>Mother Jones\u003c/em>. In 2017 she was the recipient of the Society of Professional Journalists-Northern California's award for arts and culture reporting. In 1993 she \u003ca href=\"https://www.kqed.org/pop/16759/wait-what-my-coworker-was-a-voice-over-hyperventilator-for-jurassic-park\">hyperventilated in \u003cem>Jurassic Park\u003c/em>\u003c/a>.",
"avatar": "https://secure.gravatar.com/avatar/247beada39b88ea5759db1f51dba05cf?s=600&d=blank&r=g",
"twitter": "emmaruthless",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"contributor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "food",
"roles": [
"contributor"
]
},
{
"site": "liveblog",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Emma Silvers | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/247beada39b88ea5759db1f51dba05cf?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/247beada39b88ea5759db1f51dba05cf?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/esilvers"
},
"cescobar": {
"type": "authors",
"id": "11241",
"meta": {
"index": "authors_1716337520",
"id": "11241",
"found": true
},
"name": "Claudia Escobar",
"firstName": "Claudia",
"lastName": "Escobar",
"slug": "cescobar",
"email": "cescobar@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "Tropical latin visual story teller extraordinaire! bread maker apprentice.",
"avatar": "https://secure.gravatar.com/avatar/88fd5f70de3d9e639900002806a7a708?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"author"
]
},
{
"site": "news",
"roles": [
"author"
]
}
],
"headData": {
"title": "Claudia Escobar | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/88fd5f70de3d9e639900002806a7a708?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/88fd5f70de3d9e639900002806a7a708?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/cescobar"
}
},
"pagesReducer": {
"arts_category_movies": {
"type": "terms",
"id": "arts_74",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "74",
"score": 12.557542
},
"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": 126
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=movies",
"seeMore": false,
"paginated": true,
"page": 126
}
},
{
"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_13842424": {
"type": "posts",
"id": "arts_13842424",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13842424",
"score": null,
"sort": [
1539122423000
]
},
"guestAuthors": [],
"slug": "behind-the-lens-pamela-chavez",
"title": "Pamela Chavez Translates Her Own Immigration Story into a Magical Animation",
"publishDate": 1539122423,
"format": "video",
"headTitle": "Pamela Chavez Translates Her Own Immigration Story into a Magical Animation | KQED",
"labelTerm": {
"term": 3500,
"site": "arts"
},
"content": "\u003cp>\u003cem>Editor’s Note: \u003ca href=\"https://www.kqed.org/arts/series/behind-the-lens\" target=\"_blank\" rel=\"noopener noreferrer\">Behind the Lens\u003c/a> is a digital video series featuring bold California indie filmmakers pushing the boundaries of their craft. Each episode captures the personal experiences that inform a filmmaker’s work and the risks they take to bring stories to the screen.\u003c/em>\u003c/p>\n\u003cp>Pamela Chavez was very comfortable in the role of “illustrator and animator.” And as she worked on her first animated film, \u003cem>Caracol Cruzando,\u003c/em> a 16-minute short about a young Costa Rican girl emigrating to the United States, she grew into the role of writer as well.\u003c/p>\n\u003cp>But directing, she remembers, that part was hard. “I hadn’t done anything of this magnitude before,” she says of the four-year-long project. The evolution from illustrator to director, Chavez says, “has been the biggest, with the biggest reward.”\u003c/p>\n\u003cp>\u003cem>Caracol Cruzando\u003c/em> translates memories of her own childhood into a magical story of migration and resilience. As Chavez assembled a team of talented animators, sound designers and story editors, it was important to her to have diverse, often marginalized perspectives represented behind the scenes—not just in the story she wanted to tell.\u003c/p>\n\u003cp>Chavez sat down with KQED Arts to talk about her inspirations, lessons she’s learned through filmmaking and what she hopes to see more of in the future.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>How did you get your start in film?\u003c/strong>\u003c/p>\n\u003cp>This is my first major film project. I studied at the Rhode Island School of Design and I wrote \u003cem> Caracol Cruzando\u003c/em> while I was in school. Right around when I graduated in 2015, I received the grant [from Latino Public Broadcasting] to make this film.\u003c/p>\n\u003cp>\u003cstrong>How do you define success for yourself?\u003c/strong>\u003c/p>\n\u003cp>Success is being personally challenged to rise to the occasion to believe in myself to be a leader, to trust that I’m a good person to work with and that I have a lot of creative ideas to add to the world. And I think that’s my personal goal, to believe in the power of my creative voice and to trust and to continue trusting my process.\u003c/p>\n\u003cfigure id=\"attachment_13842431\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842431\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/Screen-Shot-2018-10-09-at-2.24.48-PM-800x449.png\" alt=\"Still from Caracol Cruzando, courtesy of Pamela Chavez\" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Screen-Shot-2018-10-09-at-2.24.48-PM-800x449.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Screen-Shot-2018-10-09-at-2.24.48-PM-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Screen-Shot-2018-10-09-at-2.24.48-PM-768x431.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Screen-Shot-2018-10-09-at-2.24.48-PM-1020x573.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Screen-Shot-2018-10-09-at-2.24.48-PM-1200x674.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Screen-Shot-2018-10-09-at-2.24.48-PM-1920x1078.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Screen-Shot-2018-10-09-at-2.24.48-PM-1180x663.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Screen-Shot-2018-10-09-at-2.24.48-PM-960x539.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Screen-Shot-2018-10-09-at-2.24.48-PM-240x135.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Screen-Shot-2018-10-09-at-2.24.48-PM-375x211.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Screen-Shot-2018-10-09-at-2.24.48-PM-520x292.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Screen-Shot-2018-10-09-at-2.24.48-PM.png 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from Caracol Cruzando, courtesy of Pamela Chavez\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What it something you wish you could say to your younger yourself?\u003c/strong>\u003c/p>\n\u003cp>As a queer woman of color, it’s difficult to find confidence sometimes in the work that we do. I think telling myself I’m doing the most that I can, putting my whole heart into the process, my creative heart, my intellectual heart, all those parts to me, and not to put pressure on myself to create something that’s totally perfect.\u003c/p>\n\u003cp>\u003cstrong>What is a source of inspiration to you that might be surprising other people?\u003c/strong>\u003c/p>\n\u003cp>Marjane Satrapi, the Iranian-born French writer and director of animation. She wrote the animated film \u003cem>Persepolis\u003c/em>. People are always surprised to hear that, because it’s not directly linked to the stories I tell. But I think that finding yourself in other voices is really important in finding your intersection between community struggles. This is really what solidarity and intersectionality is about.\u003c/p>\n\u003cp>\u003cstrong>What does future of filmmaking look like in your ideal world?\u003c/strong>\u003c/p>\n\u003cp>In my ideal world, I would see—and I’m speaking primarily to the animation community—stories and films from indigenous, Asian-American and Latino populations given equal voice in funding, perspective, leadership and teams, in a way that hasn’t been seen before. It’s not just about having diversity to check a box for a studio or a company, but telling stories in legitimate, honest ways, spearheaded and written by communities of color, queer folks and folks who’ve been marginalized. So it is beyond just having representation, but about the stories and who is given creative input. — \u003cem>Interview by Rachel Boyoung Kim\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.pbs.org/filmfestival/2018-festival/caracol-cruzando/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Caracol Cruzando \u003c/em>\u003c/a>is streaming as part of the 2018 PBS Online Film Festival.\u003c/p>\n\n",
"blocks": [],
"excerpt": "Step behind the lens with the director of 'Caracol Cruzando.'",
"status": "publish",
"parent": 0,
"modified": 1729111998,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 18,
"wordCount": 666
},
"headData": {
"title": "Pamela Chavez Translates Her Own Immigration Story into a Magical Animation | KQED",
"description": "Step behind the lens with the director of 'Caracol Cruzando.'",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Pamela Chavez Translates Her Own Immigration Story into a Magical Animation",
"datePublished": "2018-10-09T15:00:23-07:00",
"dateModified": "2024-10-16T13:53:18-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"videoEmbed": "https://vimeo.com/293205110",
"pbsMediaId": "3018293970",
"sticky": false,
"excludeFromSiteSearch": "Include",
"path": "/arts/13842424/behind-the-lens-pamela-chavez",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Editor’s Note: \u003ca href=\"https://www.kqed.org/arts/series/behind-the-lens\" target=\"_blank\" rel=\"noopener noreferrer\">Behind the Lens\u003c/a> is a digital video series featuring bold California indie filmmakers pushing the boundaries of their craft. Each episode captures the personal experiences that inform a filmmaker’s work and the risks they take to bring stories to the screen.\u003c/em>\u003c/p>\n\u003cp>Pamela Chavez was very comfortable in the role of “illustrator and animator.” And as she worked on her first animated film, \u003cem>Caracol Cruzando,\u003c/em> a 16-minute short about a young Costa Rican girl emigrating to the United States, she grew into the role of writer as well.\u003c/p>\n\u003cp>But directing, she remembers, that part was hard. “I hadn’t done anything of this magnitude before,” she says of the four-year-long project. The evolution from illustrator to director, Chavez says, “has been the biggest, with the biggest reward.”\u003c/p>\n\u003cp>\u003cem>Caracol Cruzando\u003c/em> translates memories of her own childhood into a magical story of migration and resilience. As Chavez assembled a team of talented animators, sound designers and story editors, it was important to her to have diverse, often marginalized perspectives represented behind the scenes—not just in the story she wanted to tell.\u003c/p>\n\u003cp>Chavez sat down with KQED Arts to talk about her inspirations, lessons she’s learned through filmmaking and what she hopes to see more of in the future.\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>How did you get your start in film?\u003c/strong>\u003c/p>\n\u003cp>This is my first major film project. I studied at the Rhode Island School of Design and I wrote \u003cem> Caracol Cruzando\u003c/em> while I was in school. Right around when I graduated in 2015, I received the grant [from Latino Public Broadcasting] to make this film.\u003c/p>\n\u003cp>\u003cstrong>How do you define success for yourself?\u003c/strong>\u003c/p>\n\u003cp>Success is being personally challenged to rise to the occasion to believe in myself to be a leader, to trust that I’m a good person to work with and that I have a lot of creative ideas to add to the world. And I think that’s my personal goal, to believe in the power of my creative voice and to trust and to continue trusting my process.\u003c/p>\n\u003cfigure id=\"attachment_13842431\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842431\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/Screen-Shot-2018-10-09-at-2.24.48-PM-800x449.png\" alt=\"Still from Caracol Cruzando, courtesy of Pamela Chavez\" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Screen-Shot-2018-10-09-at-2.24.48-PM-800x449.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Screen-Shot-2018-10-09-at-2.24.48-PM-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Screen-Shot-2018-10-09-at-2.24.48-PM-768x431.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Screen-Shot-2018-10-09-at-2.24.48-PM-1020x573.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Screen-Shot-2018-10-09-at-2.24.48-PM-1200x674.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Screen-Shot-2018-10-09-at-2.24.48-PM-1920x1078.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Screen-Shot-2018-10-09-at-2.24.48-PM-1180x663.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Screen-Shot-2018-10-09-at-2.24.48-PM-960x539.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Screen-Shot-2018-10-09-at-2.24.48-PM-240x135.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Screen-Shot-2018-10-09-at-2.24.48-PM-375x211.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Screen-Shot-2018-10-09-at-2.24.48-PM-520x292.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Screen-Shot-2018-10-09-at-2.24.48-PM.png 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from Caracol Cruzando, courtesy of Pamela Chavez\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What it something you wish you could say to your younger yourself?\u003c/strong>\u003c/p>\n\u003cp>As a queer woman of color, it’s difficult to find confidence sometimes in the work that we do. I think telling myself I’m doing the most that I can, putting my whole heart into the process, my creative heart, my intellectual heart, all those parts to me, and not to put pressure on myself to create something that’s totally perfect.\u003c/p>\n\u003cp>\u003cstrong>What is a source of inspiration to you that might be surprising other people?\u003c/strong>\u003c/p>\n\u003cp>Marjane Satrapi, the Iranian-born French writer and director of animation. She wrote the animated film \u003cem>Persepolis\u003c/em>. People are always surprised to hear that, because it’s not directly linked to the stories I tell. But I think that finding yourself in other voices is really important in finding your intersection between community struggles. This is really what solidarity and intersectionality is about.\u003c/p>\n\u003cp>\u003cstrong>What does future of filmmaking look like in your ideal world?\u003c/strong>\u003c/p>\n\u003cp>In my ideal world, I would see—and I’m speaking primarily to the animation community—stories and films from indigenous, Asian-American and Latino populations given equal voice in funding, perspective, leadership and teams, in a way that hasn’t been seen before. It’s not just about having diversity to check a box for a studio or a company, but telling stories in legitimate, honest ways, spearheaded and written by communities of color, queer folks and folks who’ve been marginalized. So it is beyond just having representation, but about the stories and who is given creative input. — \u003cem>Interview by Rachel Boyoung Kim\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.pbs.org/filmfestival/2018-festival/caracol-cruzando/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Caracol Cruzando \u003c/em>\u003c/a>is streaming as part of the 2018 PBS Online Film Festival.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13842424/behind-the-lens-pamela-chavez",
"authors": [
"11241"
],
"series": [
"arts_3500"
],
"categories": [
"arts_22352",
"arts_74"
],
"tags": [
"arts_2771",
"arts_1118",
"arts_977",
"arts_3852",
"arts_1773",
"arts_5747",
"arts_596",
"arts_1007"
],
"featImg": "arts_13844961",
"label": "arts_3500"
},
"arts_13842267": {
"type": "posts",
"id": "arts_13842267",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13842267",
"score": null,
"sort": [
1539097228000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1539097228,
"format": "standard",
"title": "Sorceress Film Fest Serves Up a Witch's Brew of Occult Films",
"headTitle": "Sorceress Film Fest Serves Up a Witch’s Brew of Occult Films | KQED",
"content": "\u003cp>Powerful women (a.k.a. threats to powerful men) have long been cast as witches. But these days, the word “witch” sounds like less of an insult and more of an aspirational moniker. Witches’ supernatural and intellectual powers trump physical strength. They’re assertive, unruly, transgressive and sexually free. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/Poster_640.jpg\" alt=\"\" width=\"640\" height=\"792\" class=\"alignright size-full wp-image-13842269\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Poster_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Poster_640-160x198.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Poster_640-240x297.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Poster_640-375x464.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Poster_640-520x644.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/p>\n\u003cp>Faced with adversity, witches lean in and stir that cauldron even harder. \u003c/p>\n\u003cp>Magically, helpfully, on Oct. 13 the Balboa Theatre offers a day-long dose of witchy empowerment and inspiration with \u003ca href=\"https://www.cinemasf.com/balboa/sorceress-sabbath-film-festival/\" rel=\"noopener\" target=\"_blank\">The Sorceress Sabbath Witchcraft Film Festival\u003c/a>. The lineup includes 1960s and 70s cult classics, documentaries, two recent spellbinding films, a talk from an alchemy and occult lore scholar, a burlesque performance and “supernatural face painting.”\u003c/p>\n\u003cp>Included on the day’s schedule is filmmaker Anna Biller’s much-lauded 2016 feature \u003ci>\u003ca href=\"https://www.nytimes.com/2016/11/18/movies/review-the-love-witch.html\" rel=\"noopener\" target=\"_blank\">The Love Witch\u003c/a>\u003c/i>, a lush tribute to 1960s Technicolor thrillers that centers on a modern-day sorceress channeling her rage and frustration into powerful, destructive spells. \u003c/p>\n\u003cp>B.Y.O. broom.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" 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>The Sorceress Sabbath Witchcraft Film Festival takes place at San Francisco’s Balboa Theatre Saturday, Oct. 13, with an all-day program beginning at 10am. \u003ca href=\"https://www.cinemasf.com/balboa/sorceress-sabbath-film-festival/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 198,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 10
},
"modified": 1705027166,
"excerpt": "A day-long film festival at the Balboa Theatre includes cult classics and modern takes on those nasty women known as witches.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "A day-long film festival at the Balboa Theatre includes cult classics and modern takes on those nasty women known as witches.",
"title": "Sorceress Film Fest Serves Up a Witch's Brew of Occult Films | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Sorceress Film Fest Serves Up a Witch's Brew of Occult Films",
"datePublished": "2018-10-09T08:00:28-07:00",
"dateModified": "2024-01-11T18:39:26-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "sorceress-film-fest-serves-up-a-witchs-brew-of-occult-films",
"status": "publish",
"sticky": false,
"path": "/arts/13842267/sorceress-film-fest-serves-up-a-witchs-brew-of-occult-films",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Powerful women (a.k.a. threats to powerful men) have long been cast as witches. But these days, the word “witch” sounds like less of an insult and more of an aspirational moniker. Witches’ supernatural and intellectual powers trump physical strength. They’re assertive, unruly, transgressive and sexually free. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/Poster_640.jpg\" alt=\"\" width=\"640\" height=\"792\" class=\"alignright size-full wp-image-13842269\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Poster_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Poster_640-160x198.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Poster_640-240x297.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Poster_640-375x464.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Poster_640-520x644.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/p>\n\u003cp>Faced with adversity, witches lean in and stir that cauldron even harder. \u003c/p>\n\u003cp>Magically, helpfully, on Oct. 13 the Balboa Theatre offers a day-long dose of witchy empowerment and inspiration with \u003ca href=\"https://www.cinemasf.com/balboa/sorceress-sabbath-film-festival/\" rel=\"noopener\" target=\"_blank\">The Sorceress Sabbath Witchcraft Film Festival\u003c/a>. The lineup includes 1960s and 70s cult classics, documentaries, two recent spellbinding films, a talk from an alchemy and occult lore scholar, a burlesque performance and “supernatural face painting.”\u003c/p>\n\u003cp>Included on the day’s schedule is filmmaker Anna Biller’s much-lauded 2016 feature \u003ci>\u003ca href=\"https://www.nytimes.com/2016/11/18/movies/review-the-love-witch.html\" rel=\"noopener\" target=\"_blank\">The Love Witch\u003c/a>\u003c/i>, a lush tribute to 1960s Technicolor thrillers that centers on a modern-day sorceress channeling her rage and frustration into powerful, destructive spells. \u003c/p>\n\u003cp>B.Y.O. broom.\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>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" 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>The Sorceress Sabbath Witchcraft Film Festival takes place at San Francisco’s Balboa Theatre Saturday, Oct. 13, with an all-day program beginning at 10am. \u003ca href=\"https://www.cinemasf.com/balboa/sorceress-sabbath-film-festival/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13842267/sorceress-film-fest-serves-up-a-witchs-brew-of-occult-films",
"authors": [
"61"
],
"programs": [
"arts_140"
],
"categories": [
"arts_74"
],
"tags": [
"arts_977",
"arts_596",
"arts_1334"
],
"featImg": "arts_13842268",
"label": "arts_140"
},
"arts_13842237": {
"type": "posts",
"id": "arts_13842237",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13842237",
"score": null,
"sort": [
1539026040000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1539026040,
"format": "standard",
"title": "Now Playing! Arab Film Festival Raises the Blinds on a Multifaceted World",
"headTitle": "Now Playing! Arab Film Festival Raises the Blinds on a Multifaceted World | KQED",
"content": "\u003cp>Gregarious and multilingual, Ghazwan Alsharif enjoyed a comfortable yet somewhat constrained life until the U.S. invaded Iraq in 2003. His torturous journey from ordinary Iraqi to U.S. Army translator to suspected informant to Bay Area chef is the stuff that nightmares—and dreams—are made of. Local documentary filmmaker Erin Palmquist’s loose-limbed, free-flowing and endlessly unpredictable character portrait, \u003cem>From Baghdad to the Bay\u003c/em>, screening Oct. 17 in San Francisco and Oct. 19 in Oakland in the \u003ca href=\"https://aff2018.eventive.org/welcome\" rel=\"noopener\" target=\"_blank\">Arab Film Festival\u003c/a> (as well as Oct. 13-14 in Marin County at the Mill Valley Film Festival and Oct. 21 in Palo Alto in the United Nations Association Film Festival), movingly mirrors its subject’s persistence and generosity.\u003c/p>\n\u003cp>https://vimeo.com/155901926\u003c/p>\n\u003cp>The Arab Film Festival raises the blinds on a multifaceted Arab world that’s largely invisible to Americans. Everyday life is complicated everywhere, but consider the Jerusalem couple in \u003cem>The Reports on Sarah and Saleem\u003c/em> (Oct. 13) whose clandestine affair (he’s Palestinian, she’s Israeli, they’re both married) unexpectedly commands the unfriendly attention of the authorities. Muayad Alayan, who studied filmmaking here in the aughts, returns to present his award-winning dramatic thriller.\u003c/p>\n\u003cp>The opening night film, Lucien Bourjeily’s \u003cem>Heaven Without People\u003c/em>, imagines a warm Lebanese family reunion over Easter lunch. The cheerfully benign setting is inevitably complicated by long-held grudges, political differences, a generation gap and the disappearance of the matriarch’s stash of cash. When trust disappears, suspicion moves in—in life as well as the movies.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 270,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 5
},
"modified": 1705027169,
"excerpt": "Narrative features, foreign and locally made docs present dramatic, engaging depictions of a world largely invisible to Americans. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Narrative features, foreign and locally made docs present dramatic, engaging depictions of a world largely invisible to Americans. ",
"title": "Now Playing! Arab Film Festival Raises the Blinds on a Multifaceted World | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Now Playing! Arab Film Festival Raises the Blinds on a Multifaceted World",
"datePublished": "2018-10-08T12:14:00-07:00",
"dateModified": "2024-01-11T18:39:29-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "now-playing-arab-film-festival-raises-the-blinds-on-a-multifaceted-world",
"status": "publish",
"sticky": false,
"path": "/arts/13842237/now-playing-arab-film-festival-raises-the-blinds-on-a-multifaceted-world",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Gregarious and multilingual, Ghazwan Alsharif enjoyed a comfortable yet somewhat constrained life until the U.S. invaded Iraq in 2003. His torturous journey from ordinary Iraqi to U.S. Army translator to suspected informant to Bay Area chef is the stuff that nightmares—and dreams—are made of. Local documentary filmmaker Erin Palmquist’s loose-limbed, free-flowing and endlessly unpredictable character portrait, \u003cem>From Baghdad to the Bay\u003c/em>, screening Oct. 17 in San Francisco and Oct. 19 in Oakland in the \u003ca href=\"https://aff2018.eventive.org/welcome\" rel=\"noopener\" target=\"_blank\">Arab Film Festival\u003c/a> (as well as Oct. 13-14 in Marin County at the Mill Valley Film Festival and Oct. 21 in Palo Alto in the United Nations Association Film Festival), movingly mirrors its subject’s persistence and generosity.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "vimeoLink",
"attributes": {
"named": {
"vimeoId": "155901926"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Arab Film Festival raises the blinds on a multifaceted Arab world that’s largely invisible to Americans. Everyday life is complicated everywhere, but consider the Jerusalem couple in \u003cem>The Reports on Sarah and Saleem\u003c/em> (Oct. 13) whose clandestine affair (he’s Palestinian, she’s Israeli, they’re both married) unexpectedly commands the unfriendly attention of the authorities. Muayad Alayan, who studied filmmaking here in the aughts, returns to present his award-winning dramatic thriller.\u003c/p>\n\u003cp>The opening night film, Lucien Bourjeily’s \u003cem>Heaven Without People\u003c/em>, imagines a warm Lebanese family reunion over Easter lunch. The cheerfully benign setting is inevitably complicated by long-held grudges, political differences, a generation gap and the disappearance of the matriarch’s stash of cash. When trust disappears, suspicion moves in—in life as well as the movies.\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/13842237/now-playing-arab-film-festival-raises-the-blinds-on-a-multifaceted-world",
"authors": [
"22"
],
"programs": [
"arts_140"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_977",
"arts_1006",
"arts_1690",
"arts_596"
],
"featImg": "arts_13842244",
"label": "arts_140"
},
"arts_13842147": {
"type": "posts",
"id": "arts_13842147",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13842147",
"score": null,
"sort": [
1538744401000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1538744401,
"format": "standard",
"title": "3 Ways Of Looking At A Police Shooting In The Powerful 'Monsters And Men'",
"headTitle": "3 Ways Of Looking At A Police Shooting In The Powerful ‘Monsters And Men’ | KQED",
"content": "\u003cp>The central event of \u003cem>Monsters and Men\u003c/em> is clearly based on the 2014 slaying of Eric Garner by NYPD officers on Staten Island, although writer-director Reinaldo Marcus Green has altered both the location and the cause of death. Yet the killing of loose-cigarette peddler Big D (Samel Edwards) takes place literally in the background. This evocative drama is most concerned about the aftermath, viewed from three different angles.\u003c/p>\n\u003cp>Green is clearly fascinated by vantage points, as he demonstrates with a prologue that introduces an African-American man, Dennis (John David Washington), as a face in his car’s rear-view mirror. It’s a face whose expression turns from blithe to anxious with the warning bleat of a police cruiser’s siren.\u003c/p>\n\u003cp>\u003cem>Monsters and Men\u003c/em> was filmed exquisitely by Pat Scola, who follows the characters through Brooklyn and Manhattan with a handheld camera, conveying intimacy and distance simultaneously. The camerawork captures the feeling of being at home in the crowd, but with the nagging awareness that trouble could lurk around the next corner, and is as likely to come from cops as criminals.\u003c/p>\n\u003cp>https://youtu.be/4AnpybNQ-hU\u003c/p>\n\u003cp>This is not simply the story of a black and Latino community oppressed by white police officers. Dennis, it turns out, is a cop. It’s a job he’s proud to have, even after Big D’s death sparks protests and reprisals. In one of the movie’s most emotionally complex scenes, Dennis defends the NYPD from the anger of a friend who’s come to his house for dinner.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Before circling back to Dennis, though, Green introduces Manny (Anthony Ramos), a buddy of Big D and a guy with a few hustles of his own. Manny is there when the neighborhood fixture is shot, and records the action on his mobile phone.\u003c/p>\n\u003cp>Manny has reasons to be cautious: He shares a young daughter and a promising future with his pregnant girlfriend (Jasmine Cephas Jones, who like Ramos was in the original cast of \u003cem>Hamilton\u003c/em>). Disseminating the video of Big D’s killing is likely to threaten all that, since the footage appears to contradict the police’s official story of what happened. But how can Manny suppress this evidence when the cops are falsely claiming they shot Big D in self-defense?\u003c/p>\n\u003cp>The third chapter shifts to Zyrick (Kelvin Harrison Jr.), a high-schooler whose baseball skills may clear a path out of the neighborhood. The kid’s father (Rob Morgan), who just happens to also be a cop, encourages Zyrick to concentrate on his potential sports career and ignore the local controversy. But baseball seems less consequential than protest, especially when the latter is being organized by an alluring young woman played by Chante Adams. (This development echoes one in \u003cem>BlacKKKlansman\u003c/em>, which starred John David Washington as a similarly conflicted, albeit more impulsive, cop.)\u003c/p>\n\u003cp>Despite the cinematic visual style, \u003cem>Monsters and Men\u003c/em> is stagey in places. It also includes a few clunky motifs, notably a recurring bit with paper airplanes.\u003c/p>\n\u003cp>The thing that’s most likely to divide audiences, though, is the movie’s lack of a tidy resolution. The three stories are left hanging, as is the Internal Affairs investigation of Big D’s death. Onscreen, at least, justice is not done, and the truth is not revealed. Even what the audience sees of Manny’s video is inconclusive.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But that’s the point. \u003cem>Monsters and Men\u003c/em> offers neither unalloyed despair nor implausible hope. It’s about the way people of color live now, moving through the streets with passion, purpose and one eye on the rear-view mirror.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 622,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 12
},
"modified": 1705027171,
"excerpt": "Reinaldo Marcus Green's exquisite drama examines, from three perspectives, the aftermath of the slaying of an unarmed black man; the film offers \"neither unalloyed despair nor implausible hope.\"",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Reinaldo Marcus Green's exquisite drama examines, from three perspectives, the aftermath of the slaying of an unarmed black man; the film offers "neither unalloyed despair nor implausible hope."",
"title": "3 Ways Of Looking At A Police Shooting In The Powerful 'Monsters And Men' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "3 Ways Of Looking At A Police Shooting In The Powerful 'Monsters And Men'",
"datePublished": "2018-10-05T06:00:01-07:00",
"dateModified": "2024-01-11T18:39:31-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "3-ways-of-looking-at-a-police-shooting-in-the-powerful-monsters-and-men",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=651509443&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Mark Jenkins",
"nprStoryDate": "Thu, 27 Sep 2018 17:00:29 -0400",
"nprLastModifiedDate": "Thu, 27 Sep 2018 17:00:29 -0400",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/2018/09/27/651509443/3-ways-of-looking-at-a-police-shooting-in-the-powerful-monsters-and-men?ft=nprml&f=651509443",
"nprImageAgency": "NEON",
"nprImageCredit": "Christina Zisa",
"nprStoryId": "651509443",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 27 Sep 2018 17:00:00 -0400",
"path": "/arts/13842147/3-ways-of-looking-at-a-police-shooting-in-the-powerful-monsters-and-men",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The central event of \u003cem>Monsters and Men\u003c/em> is clearly based on the 2014 slaying of Eric Garner by NYPD officers on Staten Island, although writer-director Reinaldo Marcus Green has altered both the location and the cause of death. Yet the killing of loose-cigarette peddler Big D (Samel Edwards) takes place literally in the background. This evocative drama is most concerned about the aftermath, viewed from three different angles.\u003c/p>\n\u003cp>Green is clearly fascinated by vantage points, as he demonstrates with a prologue that introduces an African-American man, Dennis (John David Washington), as a face in his car’s rear-view mirror. It’s a face whose expression turns from blithe to anxious with the warning bleat of a police cruiser’s siren.\u003c/p>\n\u003cp>\u003cem>Monsters and Men\u003c/em> was filmed exquisitely by Pat Scola, who follows the characters through Brooklyn and Manhattan with a handheld camera, conveying intimacy and distance simultaneously. The camerawork captures the feeling of being at home in the crowd, but with the nagging awareness that trouble could lurk around the next corner, and is as likely to come from cops as criminals.\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/4AnpybNQ-hU'\n title='//www.youtube.com/embed/4AnpybNQ-hU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This is not simply the story of a black and Latino community oppressed by white police officers. Dennis, it turns out, is a cop. It’s a job he’s proud to have, even after Big D’s death sparks protests and reprisals. In one of the movie’s most emotionally complex scenes, Dennis defends the NYPD from the anger of a friend who’s come to his house for dinner.\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>Before circling back to Dennis, though, Green introduces Manny (Anthony Ramos), a buddy of Big D and a guy with a few hustles of his own. Manny is there when the neighborhood fixture is shot, and records the action on his mobile phone.\u003c/p>\n\u003cp>Manny has reasons to be cautious: He shares a young daughter and a promising future with his pregnant girlfriend (Jasmine Cephas Jones, who like Ramos was in the original cast of \u003cem>Hamilton\u003c/em>). Disseminating the video of Big D’s killing is likely to threaten all that, since the footage appears to contradict the police’s official story of what happened. But how can Manny suppress this evidence when the cops are falsely claiming they shot Big D in self-defense?\u003c/p>\n\u003cp>The third chapter shifts to Zyrick (Kelvin Harrison Jr.), a high-schooler whose baseball skills may clear a path out of the neighborhood. The kid’s father (Rob Morgan), who just happens to also be a cop, encourages Zyrick to concentrate on his potential sports career and ignore the local controversy. But baseball seems less consequential than protest, especially when the latter is being organized by an alluring young woman played by Chante Adams. (This development echoes one in \u003cem>BlacKKKlansman\u003c/em>, which starred John David Washington as a similarly conflicted, albeit more impulsive, cop.)\u003c/p>\n\u003cp>Despite the cinematic visual style, \u003cem>Monsters and Men\u003c/em> is stagey in places. It also includes a few clunky motifs, notably a recurring bit with paper airplanes.\u003c/p>\n\u003cp>The thing that’s most likely to divide audiences, though, is the movie’s lack of a tidy resolution. The three stories are left hanging, as is the Internal Affairs investigation of Big D’s death. Onscreen, at least, justice is not done, and the truth is not revealed. Even what the audience sees of Manny’s video is inconclusive.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But that’s the point. \u003cem>Monsters and Men\u003c/em> offers neither unalloyed despair nor implausible hope. It’s about the way people of color live now, moving through the streets with passion, purpose and one eye on the rear-view mirror.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13842147/3-ways-of-looking-at-a-police-shooting-in-the-powerful-monsters-and-men",
"authors": [
"byline_arts_13842147"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_977",
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13842148",
"label": "arts_137"
},
"arts_13842100": {
"type": "posts",
"id": "arts_13842100",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13842100",
"score": null,
"sort": [
1538690565000
]
},
"guestAuthors": [],
"slug": "watch-behind-the-lens",
"title": "Watch California Indie Filmmakers in New Video Series 'Behind The Lens'",
"publishDate": 1538690565,
"format": "video",
"headTitle": "Watch California Indie Filmmakers in New Video Series ‘Behind The Lens’ | KQED",
"labelTerm": {
"term": 3500,
"site": "arts"
},
"content": "\u003cp>Films are magic. Over two hours or even just three minutes, they have the ability to momentarily transport audiences into different worlds, different lives and different experiences. And it’s the filmmaker who guides viewers on that journey, making decisions behind the scenes based on their own experiences and dreams.\u003c/p>\n\u003cp>[contextly_sidebar id=”WT5lxoEQp7lrBQYpJ7lqFWwMM9sGkRrV”]\u003c/p>\n\u003cp>This fall, KQED Arts helps you dive deeper into the stories behind the stories with filmmakers \u003ca href=\"https://www.kqed.org/arts/13811487/moses-documentary-changes-lead-character-and-filmmakers-lives\" target=\"_blank\" rel=\"noopener noreferrer\">Fran Guijarro and Diya Guha\u003c/a>; \u003ca href=\"https://www.kqed.org/arts/13820054/filmmaker-peter-nicks-embraces-complexity-in-oakland-pd-doc-the-force\" target=\"_blank\" rel=\"noopener noreferrer\">Peter Nicks\u003c/a>; \u003ca href=\"https://www.kqed.org/arts/13825213/filmmaker-leo-herrera-imagines-an-alternate-world-without-aids\" target=\"_blank\" rel=\"noopener noreferrer\">Leo Herrera\u003c/a>; \u003ca href=\"https://www.kqed.org/arts/13842424/behind-the-lens-pamela-chavez\">Pamela Chavez\u003c/a>; \u003ca href=\"https://www.kqed.org/arts/13843368/behind-the-lens-rodents-of-unusual-size\" target=\"_blank\" rel=\"noopener noreferrer\">Chris Metzler, Quinn Costello and Jeff Springer\u003c/a>; \u003ca href=\"https://www.kqed.org/arts/13844441/behind-the-lens-nijla-mumin\" target=\"_blank\" rel=\"noopener noreferrer\">Nijla Mu’min\u003c/a>; \u003ca href=\"https://www.kqed.org/arts/13844798/loners-rappers-and-bankrobbers-pete-lee-brings-the-bays-scrappiness-to-life\" target=\"_blank\" rel=\"noopener noreferrer\">Pete Lee\u003c/a>; \u003ca href=\"https://www.kqed.org/arts/13846310/behind-the-lens-talibah-newman\" target=\"_blank\" rel=\"noopener noreferrer\">Talibah Newman\u003c/a>; and \u003ca href=\"https://www.kqed.org/arts/13846936/behind-the-lens-eugene-kim\" target=\"_blank\" rel=\"noopener noreferrer\">Eugene Kim\u003c/a>.\u003c/p>\n\u003cp>Whether they’re making a film about a young black woman coming of age in a strict Muslim household, about a middle-aged woman robbing banks on her lunch hour, or about nutria hunters in the Louisiana wetlands, each of filmmakers in \u003cem>Behind the Lens\u003c/em> is dedicated to doing it their own way: with energy, honesty and sincere curiosity about the world around them.\u003c/p>\n\u003cp>\u003cem>Behind the Lens\u003c/em> is a digital video series about bold California indie filmmakers pushing the boundaries of their craft. Each episode focuses on a documentary, narrative or animated film director, capturing the personal experiences that inform their films, and the risks they take to bring stories to the screen. Step behind the lens and follow the journeys of a new generation of storytellers. \u003cem>— Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Watch exclusively online or find full episodes on social media @KQEDArts.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Behind the Lens is a digital video series about bold California indie filmmakers pushing the boundaries of their craft.",
"status": "publish",
"parent": 0,
"modified": 1726770949,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 8,
"wordCount": 251
},
"headData": {
"title": "Watch California Indie Filmmakers in New Video Series 'Behind The Lens' | KQED",
"description": "Behind the Lens is a digital video series about bold California indie filmmakers pushing the boundaries of their craft.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Watch California Indie Filmmakers in New Video Series 'Behind The Lens'",
"datePublished": "2018-10-04T15:02:45-07:00",
"dateModified": "2024-09-19T11:35:49-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"videoEmbed": "https://vimeo.com/293411389",
"sticky": false,
"nprByline": "Kelly Whalen, Rachel Boyoung Kim",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"path": "/arts/13842100/watch-behind-the-lens",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Films are magic. Over two hours or even just three minutes, they have the ability to momentarily transport audiences into different worlds, different lives and different experiences. And it’s the filmmaker who guides viewers on that journey, making decisions behind the scenes based on their own experiences and dreams.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>This fall, KQED Arts helps you dive deeper into the stories behind the stories with filmmakers \u003ca href=\"https://www.kqed.org/arts/13811487/moses-documentary-changes-lead-character-and-filmmakers-lives\" target=\"_blank\" rel=\"noopener noreferrer\">Fran Guijarro and Diya Guha\u003c/a>; \u003ca href=\"https://www.kqed.org/arts/13820054/filmmaker-peter-nicks-embraces-complexity-in-oakland-pd-doc-the-force\" target=\"_blank\" rel=\"noopener noreferrer\">Peter Nicks\u003c/a>; \u003ca href=\"https://www.kqed.org/arts/13825213/filmmaker-leo-herrera-imagines-an-alternate-world-without-aids\" target=\"_blank\" rel=\"noopener noreferrer\">Leo Herrera\u003c/a>; \u003ca href=\"https://www.kqed.org/arts/13842424/behind-the-lens-pamela-chavez\">Pamela Chavez\u003c/a>; \u003ca href=\"https://www.kqed.org/arts/13843368/behind-the-lens-rodents-of-unusual-size\" target=\"_blank\" rel=\"noopener noreferrer\">Chris Metzler, Quinn Costello and Jeff Springer\u003c/a>; \u003ca href=\"https://www.kqed.org/arts/13844441/behind-the-lens-nijla-mumin\" target=\"_blank\" rel=\"noopener noreferrer\">Nijla Mu’min\u003c/a>; \u003ca href=\"https://www.kqed.org/arts/13844798/loners-rappers-and-bankrobbers-pete-lee-brings-the-bays-scrappiness-to-life\" target=\"_blank\" rel=\"noopener noreferrer\">Pete Lee\u003c/a>; \u003ca href=\"https://www.kqed.org/arts/13846310/behind-the-lens-talibah-newman\" target=\"_blank\" rel=\"noopener noreferrer\">Talibah Newman\u003c/a>; and \u003ca href=\"https://www.kqed.org/arts/13846936/behind-the-lens-eugene-kim\" target=\"_blank\" rel=\"noopener noreferrer\">Eugene Kim\u003c/a>.\u003c/p>\n\u003cp>Whether they’re making a film about a young black woman coming of age in a strict Muslim household, about a middle-aged woman robbing banks on her lunch hour, or about nutria hunters in the Louisiana wetlands, each of filmmakers in \u003cem>Behind the Lens\u003c/em> is dedicated to doing it their own way: with energy, honesty and sincere curiosity about the world around them.\u003c/p>\n\u003cp>\u003cem>Behind the Lens\u003c/em> is a digital video series about bold California indie filmmakers pushing the boundaries of their craft. Each episode focuses on a documentary, narrative or animated film director, capturing the personal experiences that inform their films, and the risks they take to bring stories to the screen. Step behind the lens and follow the journeys of a new generation of storytellers. \u003cem>— Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Watch exclusively online or find full episodes on social media @KQEDArts.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13842100/watch-behind-the-lens",
"authors": [
"byline_arts_13842100"
],
"series": [
"arts_3500"
],
"categories": [
"arts_74"
],
"tags": [
"arts_4262",
"arts_1118",
"arts_977",
"arts_3852",
"arts_596",
"arts_1007"
],
"featImg": "arts_13844963",
"label": "arts_3500"
},
"arts_13841924": {
"type": "posts",
"id": "arts_13841924",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13841924",
"score": null,
"sort": [
1538420404000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1538420404,
"format": "standard",
"title": "Now Playing! Stepping Out With the S.F. Dance Film Festival",
"headTitle": "Now Playing! Stepping Out With the S.F. Dance Film Festival | KQED",
"content": "\u003cp>When Lumiere and Edison independently invented the motion picture camera in the 1890s, did they have specific subjects (or purposes) in mind? Louis filmed people and trains in real-life action, while Tom brought jugglers, wrestlers and other physical performers into his black-box studio. However, both were inspired by Eadweard Muybridge’s photographs of galloping horses for California magnate Leland Stanford, suggesting that they primarily valued the camera as a medium for recording movement.\u003c/p>\n\u003cp>In short order, narrative filmmakers discovered the power of the human face, and then the human voice. A century on, we crave close-ups and demand dialogue. The \u003ca href=\"http://www.sfdancefilmfest.org\" rel=\"noopener\" target=\"_blank\">San Francisco Dance Film Festival\u003c/a> (Oct. 4–14 at the Brava Theater and other venues) is a kind of oasis that returns us to the happy realization that the movies were made for movement. At the same time, the lineup defies the imperative of Hollywood musicals (think Astaire and Rogers, Fosse and Verdon, Stone and Gosling), that every picture and every dance has to tell a story.\u003c/p>\n\u003cfigure id=\"attachment_13841950\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/baseballet1.jpeg\" alt=\"Still from 'BaseBallet: Into the Game.'\" width=\"1920\" height=\"809\" class=\"size-full wp-image-13841950\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/baseballet1.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/baseballet1-160x67.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/baseballet1-800x337.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/baseballet1-768x324.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/baseballet1-1020x430.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/baseballet1-1200x506.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/baseballet1-1180x497.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/baseballet1-960x405.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/baseballet1-240x101.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/baseballet1-375x158.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/baseballet1-520x219.jpeg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘BaseBallet: Into the Game.’ \u003ccite>(Courtesy of San Francisco Dance Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Free your mind and your feet will follow. (Or is it the other way around?) Taking that bit of wisdom as our guide, the most liberating program in this year’s S.F. Dance Film Festival may well be “Shorts 1: Concentric Circles” (Thursday, Oct. 11 at 5pm), a compilation of short works from here and yon that were each conceived as a collaboration between choreography and cinematography. \u003c/p>\n\u003cp>Sure, the lineup includes more accessible options, including histories (\u003cem>American Tap\u003c/em>), explorations of the creative process (\u003cem>Play Serious\u003c/em>) and filmed performance (\u003cem>BaseBallet: Into the Game\u003c/em>). But filmmaking, and dance for that matter, is about taking a leap.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 297,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 6
},
"modified": 1705027183,
"excerpt": "The festival is a kind of oasis that returns us to the happy realization that the movies were made for movement.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The festival is a kind of oasis that returns us to the happy realization that the movies were made for movement.",
"title": "Now Playing! Stepping Out With the S.F. Dance Film Festival | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Now Playing! Stepping Out With the S.F. Dance Film Festival",
"datePublished": "2018-10-01T12:00:04-07:00",
"dateModified": "2024-01-11T18:39:43-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "now-playing-stepping-out-with-the-s-f-dance-film-festival",
"status": "publish",
"sticky": false,
"path": "/arts/13841924/now-playing-stepping-out-with-the-s-f-dance-film-festival",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Lumiere and Edison independently invented the motion picture camera in the 1890s, did they have specific subjects (or purposes) in mind? Louis filmed people and trains in real-life action, while Tom brought jugglers, wrestlers and other physical performers into his black-box studio. However, both were inspired by Eadweard Muybridge’s photographs of galloping horses for California magnate Leland Stanford, suggesting that they primarily valued the camera as a medium for recording movement.\u003c/p>\n\u003cp>In short order, narrative filmmakers discovered the power of the human face, and then the human voice. A century on, we crave close-ups and demand dialogue. The \u003ca href=\"http://www.sfdancefilmfest.org\" rel=\"noopener\" target=\"_blank\">San Francisco Dance Film Festival\u003c/a> (Oct. 4–14 at the Brava Theater and other venues) is a kind of oasis that returns us to the happy realization that the movies were made for movement. At the same time, the lineup defies the imperative of Hollywood musicals (think Astaire and Rogers, Fosse and Verdon, Stone and Gosling), that every picture and every dance has to tell a story.\u003c/p>\n\u003cfigure id=\"attachment_13841950\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/baseballet1.jpeg\" alt=\"Still from 'BaseBallet: Into the Game.'\" width=\"1920\" height=\"809\" class=\"size-full wp-image-13841950\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/baseballet1.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/baseballet1-160x67.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/baseballet1-800x337.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/baseballet1-768x324.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/baseballet1-1020x430.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/baseballet1-1200x506.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/baseballet1-1180x497.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/baseballet1-960x405.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/baseballet1-240x101.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/baseballet1-375x158.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/baseballet1-520x219.jpeg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘BaseBallet: Into the Game.’ \u003ccite>(Courtesy of San Francisco Dance Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Free your mind and your feet will follow. (Or is it the other way around?) Taking that bit of wisdom as our guide, the most liberating program in this year’s S.F. Dance Film Festival may well be “Shorts 1: Concentric Circles” (Thursday, Oct. 11 at 5pm), a compilation of short works from here and yon that were each conceived as a collaboration between choreography and cinematography. \u003c/p>\n\u003cp>Sure, the lineup includes more accessible options, including histories (\u003cem>American Tap\u003c/em>), explorations of the creative process (\u003cem>Play Serious\u003c/em>) and filmed performance (\u003cem>BaseBallet: Into the Game\u003c/em>). But filmmaking, and dance for that matter, is about taking a leap.\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/13841924/now-playing-stepping-out-with-the-s-f-dance-film-festival",
"authors": [
"22"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1252",
"arts_1118",
"arts_1006",
"arts_5710"
],
"featImg": "arts_13841949",
"label": "arts"
},
"arts_13841813": {
"type": "posts",
"id": "arts_13841813",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13841813",
"score": null,
"sort": [
1538139639000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1538139639,
"format": "standard",
"title": "'Bisbee '17' Documentary Evokes The Brutal Past Of An Arizona Town",
"headTitle": "‘Bisbee ’17’ Documentary Evokes The Brutal Past Of An Arizona Town | KQED",
"content": "\u003cp>“This town could keep a secret,” says one of the small-town Arizonans who appears in \u003cem>Bisbee ’17\u003c/em>. But the people who most wanted Bisbee’s secret kept — the executives of a copper-mining company — are long-gone. And a centennial is a fine opportunity to discuss events of the past, however unspeakable they once were. \u003c/p>\n\u003cp>The not-quite-secret history told in Robert Greene’s thematically rich, narratively canny film involves the 1917 roundup and banishment of some 1,300 striking miners. A century ago, brother literally turned against brother when Bisbee’s copper baron mobilized a compliant sheriff and more than 2,000 deputized vigilantes against men organized by the Industrial Workers of the World (a union then considered the country’s most radical). \u003c/p>\n\u003cp>The primary issues were, as usual, money and control. But there was something else, Bisbee’s civic chroniclers reveal. About 90 percent of the workers who were expelled (to New Mexico, not from the country) were foreign-born. Most were Mexican and Eastern European in origin, and doubts about their allegiance to their new country were intensified by World War I fervor. \u003c/p>\n\u003cp>https://youtu.be/etwjMcdvxx8\u003c/p>\n\u003cp>The episode is pertinent today, since the town is just seven miles from the still-contested U.S. southern border. “The word ‘deportation’ is alive with meaning” in Bisbee, a local commentator explains. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Like many arty contemporary documentaries, \u003cem>Bisbee ’17\u003c/em> is rather theatrical. But that’s reasonable in this case, since Greene organized a 2017 reenactment of the 1917 incident in collaboration with residents of the town (where his mother-in-law lives). The resulting film recalls both \u003cem>Spettacolo\u003c/em>, in which Italian villagers prepare an annual play about their own lives, and \u003cem>The Act of Killing\u003c/em>, in which participants in Indonesia’s 1965 massacres are encouraged to simulate their crimes. \u003c/p>\n\u003cp>Another example of historical pageantry is much closer to Bisbee. To mount the centennial production, the town imports actors from nearby Tombstone, which 100 years ago provided deputies for the roundup. Tombstone is well-supplied with performers, since today one of its principal businesses is entertaining tourists with restagings of the gunfight at the OK Corral. Both Tombstone and \u003cem>Bisbee ’17\u003c/em>, which was shot in widescreen format to emulate Hollywood epics, trade in Wild West imagery. \u003c/p>\n\u003cp>Now that most of the copper has been extracted, history is among the scarce remaining natural resources of southern Arizona. Bisbee itself doesn’t market cowboy lore, but it does offer hardhat tours of an abandoned mine. \u003c/p>\n\u003cp>Bisbee’s version of its past is less of a crowd-pleaser than Tombstone’s, but it does culminate in a sweeping crowd scene, complete with guns, banners, and a mock-up of one of the cattle-cars in which strikers were sent away. Yet the movie’s overall vibe is subdued and the principal song — there are a couple — turns “Solidarity Forever” into a mournful lament. \u003c/p>\n\u003cp>Several of the on-screen players have personal links to the proceedings. Two siblings play their ancestors, a striker and the brother who helped arrest and eject him from Bisbee. An even more evocative figure is a young man of Mexican descent, Fernando Serrano, whose life story is scarred by his mother’s deportation. Less successfully, Greene attempts to connect Bisbee’s past with the sort of ghost stories people like to tell about vintage buildings and venerable personages. These predictable yarns aren’t nearly so compelling as the movie’s essential story. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Yet the filmmakers do make effective use of Serrano’s ethereal presence, holding the camera on him as he walks through local sites both deserted and lively. If \u003cem>Bisbee ’17\u003c/em> is a ghost story, it’s haunted less by the events of 1917 than the way century-old conflicts play out today.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 662,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 12
},
"modified": 1705027196,
"excerpt": "Filmmaker Robert Greene combines documentary and theatrical performance to tell the tale of a deadly mass deportation of copper miners in 1917. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Filmmaker Robert Greene combines documentary and theatrical performance to tell the tale of a deadly mass deportation of copper miners in 1917. ",
"title": "'Bisbee '17' Documentary Evokes The Brutal Past Of An Arizona Town | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Bisbee '17' Documentary Evokes The Brutal Past Of An Arizona Town",
"datePublished": "2018-09-28T06:00:39-07:00",
"dateModified": "2024-01-11T18:39:56-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "bisbee-17-rich-compelling-documentary-evokes-the-brutal-past-of-an-arizona-town",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=645052663&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Mark Jenkins",
"nprStoryDate": "Thu, 06 Sep 2018 17:00:50 -0400",
"nprLastModifiedDate": "Sat, 08 Sep 2018 16:26:39 -0400",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/2018/09/06/645052663/bisbee-17-a-rich-compelling-documentary-evokes-the-brutal-past-of-an-arizona-tow?ft=nprml&f=645052663",
"nprImageAgency": "4th Row Films",
"nprImageCredit": "Jarred Alterman",
"nprStoryId": "645052663",
"nprRetrievedStory": "1",
"nprPubDate": "Sat, 08 Sep 2018 16:26:00 -0400",
"path": "/arts/13841813/bisbee-17-rich-compelling-documentary-evokes-the-brutal-past-of-an-arizona-town",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“This town could keep a secret,” says one of the small-town Arizonans who appears in \u003cem>Bisbee ’17\u003c/em>. But the people who most wanted Bisbee’s secret kept — the executives of a copper-mining company — are long-gone. And a centennial is a fine opportunity to discuss events of the past, however unspeakable they once were. \u003c/p>\n\u003cp>The not-quite-secret history told in Robert Greene’s thematically rich, narratively canny film involves the 1917 roundup and banishment of some 1,300 striking miners. A century ago, brother literally turned against brother when Bisbee’s copper baron mobilized a compliant sheriff and more than 2,000 deputized vigilantes against men organized by the Industrial Workers of the World (a union then considered the country’s most radical). \u003c/p>\n\u003cp>The primary issues were, as usual, money and control. But there was something else, Bisbee’s civic chroniclers reveal. About 90 percent of the workers who were expelled (to New Mexico, not from the country) were foreign-born. Most were Mexican and Eastern European in origin, and doubts about their allegiance to their new country were intensified by World War I fervor. \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/etwjMcdvxx8'\n title='//www.youtube.com/embed/etwjMcdvxx8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The episode is pertinent today, since the town is just seven miles from the still-contested U.S. southern border. “The word ‘deportation’ is alive with meaning” in Bisbee, a local commentator explains. \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>Like many arty contemporary documentaries, \u003cem>Bisbee ’17\u003c/em> is rather theatrical. But that’s reasonable in this case, since Greene organized a 2017 reenactment of the 1917 incident in collaboration with residents of the town (where his mother-in-law lives). The resulting film recalls both \u003cem>Spettacolo\u003c/em>, in which Italian villagers prepare an annual play about their own lives, and \u003cem>The Act of Killing\u003c/em>, in which participants in Indonesia’s 1965 massacres are encouraged to simulate their crimes. \u003c/p>\n\u003cp>Another example of historical pageantry is much closer to Bisbee. To mount the centennial production, the town imports actors from nearby Tombstone, which 100 years ago provided deputies for the roundup. Tombstone is well-supplied with performers, since today one of its principal businesses is entertaining tourists with restagings of the gunfight at the OK Corral. Both Tombstone and \u003cem>Bisbee ’17\u003c/em>, which was shot in widescreen format to emulate Hollywood epics, trade in Wild West imagery. \u003c/p>\n\u003cp>Now that most of the copper has been extracted, history is among the scarce remaining natural resources of southern Arizona. Bisbee itself doesn’t market cowboy lore, but it does offer hardhat tours of an abandoned mine. \u003c/p>\n\u003cp>Bisbee’s version of its past is less of a crowd-pleaser than Tombstone’s, but it does culminate in a sweeping crowd scene, complete with guns, banners, and a mock-up of one of the cattle-cars in which strikers were sent away. Yet the movie’s overall vibe is subdued and the principal song — there are a couple — turns “Solidarity Forever” into a mournful lament. \u003c/p>\n\u003cp>Several of the on-screen players have personal links to the proceedings. Two siblings play their ancestors, a striker and the brother who helped arrest and eject him from Bisbee. An even more evocative figure is a young man of Mexican descent, Fernando Serrano, whose life story is scarred by his mother’s deportation. Less successfully, Greene attempts to connect Bisbee’s past with the sort of ghost stories people like to tell about vintage buildings and venerable personages. These predictable yarns aren’t nearly so compelling as the movie’s essential story. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Yet the filmmakers do make effective use of Serrano’s ethereal presence, holding the camera on him as he walks through local sites both deserted and lively. If \u003cem>Bisbee ’17\u003c/em> is a ghost story, it’s haunted less by the events of 1917 than the way century-old conflicts play out today.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13841813/bisbee-17-rich-compelling-documentary-evokes-the-brutal-past-of-an-arizona-town",
"authors": [
"byline_arts_13841813"
],
"categories": [
"arts_74"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13841814",
"label": "arts_137"
},
"arts_13841478": {
"type": "posts",
"id": "arts_13841478",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13841478",
"score": null,
"sort": [
1537815623000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1537815623,
"format": "standard",
"title": "Now Playing! SFFILM's Hong Kong Cinema Rocks the Vogue",
"headTitle": "Now Playing! SFFILM’s Hong Kong Cinema Rocks the Vogue | KQED",
"content": "\u003cp>More than 20 years after the handover, Hong Kong is still working out its identity issues. Or so one concludes from its movie industry, which has one eye on the enormous Chinese market and the other on tried-and-true Hollywood storytelling. The result, more often than not, is a well-made piece of escapist entertainment that, if you peer beneath the veneer, has a sharp political point.\u003c/p>\n\u003cp>Take \u003cem>Distinction\u003c/em> (showing 4pm on Sept. 29 at the Vogue), one of seven new and recent titles that comprise the eighth edition of SFFILM’s annual \u003ca href=\"https://www.sffilm.org/screenings-and-events/hong-kong-cinema-2018\" target=\"_blank\" rel=\"noopener\">Hong Kong Cinema\u003c/a> series. Up-and-coming director Jevons Au (who will be in the house) turns our hearts to putty with his story of a special needs school staging a musical while simultaneously critiquing the higher-ups’ ghettoization and marginalization of differently abled youngsters.\u003c/p>\n\u003cfigure id=\"attachment_13841548\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Distinction_1200.jpg\" alt=\"Still from 'Distinction.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13841548\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Distinction_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Distinction_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Distinction_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Distinction_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Distinction_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Distinction_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Distinction_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Distinction_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Distinction_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Distinction_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Distinction.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Stick around for the boy-band saga \u003cem>House of the Rising Sons\u003c/em> (Sept. 29 at 6:30pm), which tracks the formative years of The Wynners. Set in the early 1970s, and directed by its drummer-turned-actor and director Anthony Chan, the movie conjures the intoxicating brew of youthful ambition, idealism, friendship and freedom. Ah, those innocent days of pre-internet celebrity and fame.\u003c/p>\n\u003cp>\u003cem>The Brink\u003c/em> (Sept. 30 at 7pm) caps the weekend with an incendiary dose of what made Hong Kong films popular ‘round the world back in the ’80s: state of the art suspense and killer action sequences. Jonathan Li’s directorial debut follows a detective in the great tradition of loose cannons on the trail of a gang of gold smugglers. The waterlogged fight scenes set a new standard (and demand to be seen on the big screen), but Li’s main concern is blasting the failed promise of capitalism and the corruption that undergirds contemporary Hong Kong. You’re not buying that, are you? \u003cem>The Brink\u003c/em> is primal, adrenalized moviemaking. Movies are fun, too, you know.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 336,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 6
},
"modified": 1705027215,
"excerpt": "The annual showcase provides well-made escapist entertainment that, if you peer beneath the veneer, has a sharp political point.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The annual showcase provides well-made escapist entertainment that, if you peer beneath the veneer, has a sharp political point.",
"title": "Now Playing! SFFILM's Hong Kong Cinema Rocks the Vogue | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Now Playing! SFFILM's Hong Kong Cinema Rocks the Vogue",
"datePublished": "2018-09-24T12:00:23-07:00",
"dateModified": "2024-01-11T18:40:15-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "now-playing-sffilms-hong-kong-cinema-rocks-the-vogue",
"status": "publish",
"sticky": false,
"path": "/arts/13841478/now-playing-sffilms-hong-kong-cinema-rocks-the-vogue",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>More than 20 years after the handover, Hong Kong is still working out its identity issues. Or so one concludes from its movie industry, which has one eye on the enormous Chinese market and the other on tried-and-true Hollywood storytelling. The result, more often than not, is a well-made piece of escapist entertainment that, if you peer beneath the veneer, has a sharp political point.\u003c/p>\n\u003cp>Take \u003cem>Distinction\u003c/em> (showing 4pm on Sept. 29 at the Vogue), one of seven new and recent titles that comprise the eighth edition of SFFILM’s annual \u003ca href=\"https://www.sffilm.org/screenings-and-events/hong-kong-cinema-2018\" target=\"_blank\" rel=\"noopener\">Hong Kong Cinema\u003c/a> series. Up-and-coming director Jevons Au (who will be in the house) turns our hearts to putty with his story of a special needs school staging a musical while simultaneously critiquing the higher-ups’ ghettoization and marginalization of differently abled youngsters.\u003c/p>\n\u003cfigure id=\"attachment_13841548\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Distinction_1200.jpg\" alt=\"Still from 'Distinction.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13841548\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Distinction_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Distinction_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Distinction_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Distinction_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Distinction_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Distinction_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Distinction_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Distinction_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Distinction_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Distinction_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Distinction.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Stick around for the boy-band saga \u003cem>House of the Rising Sons\u003c/em> (Sept. 29 at 6:30pm), which tracks the formative years of The Wynners. Set in the early 1970s, and directed by its drummer-turned-actor and director Anthony Chan, the movie conjures the intoxicating brew of youthful ambition, idealism, friendship and freedom. Ah, those innocent days of pre-internet celebrity and fame.\u003c/p>\n\u003cp>\u003cem>The Brink\u003c/em> (Sept. 30 at 7pm) caps the weekend with an incendiary dose of what made Hong Kong films popular ‘round the world back in the ’80s: state of the art suspense and killer action sequences. Jonathan Li’s directorial debut follows a detective in the great tradition of loose cannons on the trail of a gang of gold smugglers. The waterlogged fight scenes set a new standard (and demand to be seen on the big screen), but Li’s main concern is blasting the failed promise of capitalism and the corruption that undergirds contemporary Hong Kong. You’re not buying that, are you? \u003cem>The Brink\u003c/em> is primal, adrenalized moviemaking. Movies are fun, too, you know.\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/13841478/now-playing-sffilms-hong-kong-cinema-rocks-the-vogue",
"authors": [
"22"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_977",
"arts_1006",
"arts_596",
"arts_3772"
],
"featImg": "arts_13841542",
"label": "arts"
},
"arts_13841340": {
"type": "posts",
"id": "arts_13841340",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13841340",
"score": null,
"sort": [
1537534825000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1537534825,
"format": "standard",
"title": "A Desperate Father Goes 'Searching' For His Missing Daughter In A Taut New Film",
"headTitle": "A Desperate Father Goes ‘Searching’ For His Missing Daughter In A Taut New Film | KQED",
"content": "\u003cp>The ingeniously high-concept whodunit \u003cem>Searching\u003c/em> isn’t the first movie to turn the big screen into a computer screen, to make you feel as if you’re eavesdropping on online conversations and surfing the Internet alongside its characters. You might have seen the 2014 horror movie \u003cem>Unfriended\u003c/em>, where a group chat suddenly turns deadly — basically the Skype version of Agatha Christie’s \u003cem>And Then There Were None.\u003c/em>\u003c/p>\n\u003cp>As a thriller, \u003cem>Searching\u003c/em> is less violent, more compassionate and equally gripping. As a sustained technical exercise, it’s remarkable: It takes the mundane details of your average computer session — from video chats to browser windows — and spins them into a taut, surprising, sometimes uncomfortably voyeuristic crime drama.\u003c/p>\n\u003cp>https://youtu.be/3Ro9ebQxEOY\u003c/p>\n\u003cp>This may be the first feature written and directed by Aneesh Chaganty, a 27-year-old Bay Area native and former Google employee, but the intricacy of his visual design is matched by a talent for old-fashioned suspense filmmaking. Anyone who can wring tension simply from the pulsing colors of a screensaver clearly knows what he’s doing.\u003c/p>\n\u003cp>Everything we see unfolds through the eyes of David Kim, a Silicon Valley widower played by John Cho. Because we’re almost always looking at David’s screen, we see his face only when it shows up on his webcam, like when he’s FaceTiming with his 16-year-old daughter, Margot, played by Michelle La.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The actors have a lovely rapport, and Cho’s concerned-dad routine is at once funny, moving and completely dead-on. When David sends Margot a text message playfully chiding her for not taking out the trash, he makes sure to include a photo of the overflowing garbage can. Margot replies that she’ll empty it when she gets home that night. Except that she never comes home, and David finds himself living every parent’s worst nightmare.\u003c/p>\n\u003cp>The only clues to Margot’s whereabouts can be found on her laptop, and not long after reporting her missing to the police, David begins scouring his daughter’s hard drive for clues. At the advice of Detective Rosemary Vick, played by Debra Messing, he starts calling Margot’s Facebook contacts and asking when they last saw her. He pores over Margot’s calendar and Venmo account, and even raids her personal video diaries. As he watches them he realizes, to his shame, that he didn’t know his daughter as well as he thought. Nor did he see how profoundly lonely a person she had become.\u003c/p>\n\u003cp>Eventually, David has to confront the possibility that Margot ran away from home, though the fact that she called him three times the night of her disappearance would seem to contradict that theory. But much more will soon come to light — some of it involving Margot’s online contacts, and some of it involving David’s younger brother, played by Joseph Lee.\u003c/p>\n\u003cp>Most of the other computer-screen thrillers we’ve seen, like \u003cem>Unfriended\u003c/em> and the Elijah Wood shocker \u003cem>Open Windows\u003c/em>, played out in real time, with no cuts or breaks. Watching them could be exhausting, but they also left you feeling hard-wired into the user’s experience.\u003c/p>\n\u003cp>Because \u003cem>Searching\u003c/em> unfolds over the course of a week, Chaganty and his co-writer, Sev Ohanian, have to compress David’s investigation into byte-sized chunks. The result may breathe and flow a little better as storytelling, but without the real-time element, it’s also a less tense, less immersive experience. At key moments the movie cuts to online news footage of the ongoing police investigation, and the summary feels like a bit of a cop-out — a lazy way to maintain the movie’s gimmick.\u003c/p>\n\u003cp>The story’s second half is packed with all manner of fiendishly clever surprises and red herrings, and I’m not sure if the twists are rendered more or less convincing by the movie’s online-all-the-time interface.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>What does linger in the end, all too plausibly, is Chaganty’s vision of an era in which every facet of life is increasingly mediated by technology, our relationships very much included. He leaves you with the possibility that in a world where everyone is connected, maybe no one is.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 740,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 13
},
"modified": 1705027224,
"excerpt": "'Searching' takes the mundane details of a typical computer session—from video chats to browser windows—and spins them into a surprising, sometimes uncomfortably voyeuristic crime thriller.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "'Searching' takes the mundane details of a typical computer session—from video chats to browser windows—and spins them into a surprising, sometimes uncomfortably voyeuristic crime thriller.",
"title": "A Desperate Father Goes 'Searching' For His Missing Daughter In A Taut New Film | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "A Desperate Father Goes 'Searching' For His Missing Daughter In A Taut New Film",
"datePublished": "2018-09-21T06:00:25-07:00",
"dateModified": "2024-01-11T18:40:24-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "a-desperate-father-goes-searching-for-his-missing-daughter-in-a-taut-new-film",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=641085499&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprStoryDate": "Thu, 23 Aug 2018 13:22:00 -0400",
"nprLastModifiedDate": "Thu, 23 Aug 2018 13:22:51 -0400",
"nprHtmlLink": "https://www.npr.org/2018/08/23/641085499/a-desperate-father-goes-searching-for-his-missing-daughter-in-a-taut-new-film?ft=nprml&f=641085499",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/fa/2018/08/20180823_fa_02.mp3?orgId=427869011&topicId=4467349&d=315&p=13&story=641085499&ft=nprml&f=641085499",
"nprImageAgency": "Sony",
"nprAudioM3u": "http://api.npr.org/m3u/1641287600-de8754.m3u?orgId=427869011&topicId=4467349&d=315&p=13&story=641085499&ft=nprml&f=641085499",
"nprStoryId": "641085499",
"nprByline": "Justin Chang",
"sticky": false,
"audioTrackLength": 316,
"nprImageCredit": "Elizabeth Kitchens",
"nprRetrievedStory": "1",
"nprPubDate": "Fri, 24 Aug 2018 10:53:00 -0400",
"path": "/arts/13841340/a-desperate-father-goes-searching-for-his-missing-daughter-in-a-taut-new-film",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/fa/2018/08/20180823_fa_02.mp3?orgId=427869011&topicId=4467349&d=315&p=13&story=641085499&ft=nprml&f=641085499",
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The ingeniously high-concept whodunit \u003cem>Searching\u003c/em> isn’t the first movie to turn the big screen into a computer screen, to make you feel as if you’re eavesdropping on online conversations and surfing the Internet alongside its characters. You might have seen the 2014 horror movie \u003cem>Unfriended\u003c/em>, where a group chat suddenly turns deadly — basically the Skype version of Agatha Christie’s \u003cem>And Then There Were None.\u003c/em>\u003c/p>\n\u003cp>As a thriller, \u003cem>Searching\u003c/em> is less violent, more compassionate and equally gripping. As a sustained technical exercise, it’s remarkable: It takes the mundane details of your average computer session — from video chats to browser windows — and spins them into a taut, surprising, sometimes uncomfortably voyeuristic crime drama.\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/3Ro9ebQxEOY'\n title='//www.youtube.com/embed/3Ro9ebQxEOY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This may be the first feature written and directed by Aneesh Chaganty, a 27-year-old Bay Area native and former Google employee, but the intricacy of his visual design is matched by a talent for old-fashioned suspense filmmaking. Anyone who can wring tension simply from the pulsing colors of a screensaver clearly knows what he’s doing.\u003c/p>\n\u003cp>Everything we see unfolds through the eyes of David Kim, a Silicon Valley widower played by John Cho. Because we’re almost always looking at David’s screen, we see his face only when it shows up on his webcam, like when he’s FaceTiming with his 16-year-old daughter, Margot, played by Michelle La.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The actors have a lovely rapport, and Cho’s concerned-dad routine is at once funny, moving and completely dead-on. When David sends Margot a text message playfully chiding her for not taking out the trash, he makes sure to include a photo of the overflowing garbage can. Margot replies that she’ll empty it when she gets home that night. Except that she never comes home, and David finds himself living every parent’s worst nightmare.\u003c/p>\n\u003cp>The only clues to Margot’s whereabouts can be found on her laptop, and not long after reporting her missing to the police, David begins scouring his daughter’s hard drive for clues. At the advice of Detective Rosemary Vick, played by Debra Messing, he starts calling Margot’s Facebook contacts and asking when they last saw her. He pores over Margot’s calendar and Venmo account, and even raids her personal video diaries. As he watches them he realizes, to his shame, that he didn’t know his daughter as well as he thought. Nor did he see how profoundly lonely a person she had become.\u003c/p>\n\u003cp>Eventually, David has to confront the possibility that Margot ran away from home, though the fact that she called him three times the night of her disappearance would seem to contradict that theory. But much more will soon come to light — some of it involving Margot’s online contacts, and some of it involving David’s younger brother, played by Joseph Lee.\u003c/p>\n\u003cp>Most of the other computer-screen thrillers we’ve seen, like \u003cem>Unfriended\u003c/em> and the Elijah Wood shocker \u003cem>Open Windows\u003c/em>, played out in real time, with no cuts or breaks. Watching them could be exhausting, but they also left you feeling hard-wired into the user’s experience.\u003c/p>\n\u003cp>Because \u003cem>Searching\u003c/em> unfolds over the course of a week, Chaganty and his co-writer, Sev Ohanian, have to compress David’s investigation into byte-sized chunks. The result may breathe and flow a little better as storytelling, but without the real-time element, it’s also a less tense, less immersive experience. At key moments the movie cuts to online news footage of the ongoing police investigation, and the summary feels like a bit of a cop-out — a lazy way to maintain the movie’s gimmick.\u003c/p>\n\u003cp>The story’s second half is packed with all manner of fiendishly clever surprises and red herrings, and I’m not sure if the twists are rendered more or less convincing by the movie’s online-all-the-time interface.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>What does linger in the end, all too plausibly, is Chaganty’s vision of an era in which every facet of life is increasingly mediated by technology, our relationships very much included. He leaves you with the possibility that in a world where everyone is connected, maybe no one is.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13841340/a-desperate-father-goes-searching-for-his-missing-daughter-in-a-taut-new-film",
"authors": [
"byline_arts_13841340"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_977",
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13841341",
"label": "arts_137"
},
"arts_13841205": {
"type": "posts",
"id": "arts_13841205",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13841205",
"score": null,
"sort": [
1537470039000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1537470039,
"format": "image",
"title": "What Happens When All the Curators Are Gone?",
"headTitle": "What Happens When All the Curators Are Gone? | KQED",
"content": "\u003cp>Two months before she lost her job, Katie Hood Morgan sat in a board meeting, watching her department’s budget get cut in half.\u003c/p>\n\u003cp>“It was a little weird to be sitting there,” she remembers of her final months as San Francisco Art Institute’s curator of exhibitions and public programs, “looking at the budget like, ‘There’s my line. And there’s last year, and there’s me somewhere floating away.’”\u003c/p>\n\u003cp>With that board vote, the 147-year-old art school fundamentally altered its exhibition program, removing the in-house curatorial staff responsible for filling not only its Walter & McBean Galleries, but the new Fort Mason campus’ gallery space, which opened in August 2017. Morgan was also responsible for overseeing student exhibitions in the Diego Rivera Gallery and organizing SFAI’s well-respected visiting artist lecture series.\u003c/p>\n\u003cfigure id=\"attachment_13841228\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841228\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600.jpg\" alt=\"An exhibition opening on SFAI's Fort Mason campus.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">An exhibition opening on SFAI’s Fort Mason campus. \u003ccite>(Marco David)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the relatively small Bay Area arts scene, Morgan’s layoff followed the April 24 dismissal of Joel Shepard, Yerba Buena Center for the Arts’ curator of film and video (and the beginning of the film program’s “hiatus”), and preceded the Aug. 1 elimination of Kara Q. Smith’s assistant curator position at the di Rosa Center for Contemporary Art.\u003c/p>\n\u003cp>These three positions, the people who held them and the institutions that eliminated them are vastly different. Yet all three are curatorial positions; local job openings in the field are already few and far between. And each year, newly minted graduates from California College of the Arts’ \u003ca href=\"https://www.cca.edu/academics/graduate/curatorial-practice\" target=\"_blank\" rel=\"noopener\">curatorial practice program\u003c/a>, and SFAI’s \u003ca href=\"https://www.sfai.edu/degree-programs/graduate/ma/exhibition-and-museum-studies-ma\" target=\"_blank\" rel=\"noopener\">exhibitions and museum studies program\u003c/a> enter the market, while the full-time long-term positions they might once have aspired to disappear one by one.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The quiet elimination of curatorial jobs is a troubling manifestation of a Bay Area arts ecosystem that struggles to find stability despite a booming local economy. Institutions “restructure,” “return to their core missions” and “redefine their priorities” in attempts to both clarify their role within a competitive field of development dollars and audience attention and pare down budgets.\u003c/p>\n\u003cfigure id=\"attachment_13841262\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13841262\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Katie.inline-800x533.jpg\" alt=\"Katie Hood Morgan.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Katie Hood Morgan. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But with each dismissal, years of institutional knowledge, community relationships and public goodwill are lost. Most importantly, the cutting of curatorial positions is a loss for the audience.\u003c/p>\n\u003cp>“A curator lobbies on the behalf [of artists] and makes cases not only to the institution, but to the public on why something matters,” says CCA’s curatorial practice program chair, James Voorhies. “They’re a mediator. They might take very complex ideas that an artist or a filmmaker is working with and they bring those ideas into the public realm responsibly so that audiences understand why a work is relevant in a contemporary context.”\u003c/p>\n\u003cfigure id=\"attachment_13841229\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841229\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200.jpg\" alt=\"Curatorial practice students with artist Shahryar Nashat on Sept. 11, 2018 in CCA's new Curatorial Research Bureau at Yerba Buena Center for the Arts.\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Curatorial practice students with artist Shahryar Nashat on Sept. 11, 2018 in CCA’s new Curatorial Research Bureau at Yerba Buena Center for the Arts. \u003ccite>(Courtesy of Curatorial Research Bureau)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Constantly Refreshed’ Curatorial Thinking at SFAI\u003c/h2>\n\u003cp>Gordon Knox, president of SFAI, explains changes to the exhibition program as a return to the school’s core mission: teaching and learning. “We are absolutely a school,” he says. “We are embracing our exhibitions program in a way that’s deeply integrated into our curriculum and pedagogy.”\u003c/p>\n\u003cp>Knox envisions a future in which SFAI will rely on visiting artists and curators to teach classes that result in exhibitions, public programs and publications. Students will get hands-on experience mounting an exhibition from start to finish, he says, including possibly working on research and grant applications.\u003c/p>\n\u003cp>Of the Bay Area’s many art schools, SFAI has perhaps the scrappiest legacy, having weathered multiple instances of financial instability over its long history. But this is the first time, to Morgan’s knowledge, that those financial straits have resulted in such severe cuts to the exhibition program.\u003c/p>\n\u003cfigure id=\"attachment_13841224\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841224\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova.jpg\" alt=\"Lights in the Walter and McBean Galleries fluctuate in response to trade data from Will Brown's Ethereum investment during the 'Ether' opening, Sept. 13, 2018.\" width=\"2048\" height=\"1365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-520x347.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Lights in the Walter and McBean Galleries fluctuate in response to trade data from Will Brown’s Ethereum investment during the ‘Ether’ opening, Sept. 13, 2018. \u003ccite>(Lucas Terranova)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Coincidentally, the last show Morgan worked on for SFAI is both an indictment of the school’s cuts to the exhibition program and a cynical look to technology for arts funding answers. \u003ci>\u003ca href=\"https://sfai.edu/exhibitions-public-events/detail/will-brown-ether\" target=\"_blank\" rel=\"noopener\">Ether\u003c/a>\u003c/i>, which opened Sept. 13, is a conceptual cryptocurrency investment scheme by the collaborative trio known as \u003ca href=\"http://www.wearewillbrown.com/\" target=\"_blank\" rel=\"noopener\">Will Brown\u003c/a> (David Kasprzak, Jordan Stein and Lindsey White).\u003c/p>\n\u003cp>The exhibition draws comparisons between SFAI’s current financial challenges (Knox named enrollment as a factor) with a moment in history when the school sold its collection of Eadweard Muybridge photographs to finance the creation of what is now the school’s New Genres department.\u003c/p>\n\u003cp>“In a similarly speculative action,” the collaborative’s press announcement reads, “Will Brown has invested our exhibition budget in Ether, the underlying token powering the Ethereum blockchain.” At irregular intervals, any profits from this investment will be available to fund SFAI student, staff or faculty projects, supplementing the school’s official budget via an application process open to all.\u003c/p>\n\u003cfigure id=\"attachment_13841231\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841231\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Courtyard3.jpg\" alt=\"SFAI's North Beach campus courtyard.\" width=\"2048\" height=\"1365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-520x347.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">SFAI’s North Beach campus courtyard. \u003ccite>(Courtesy of SFAI)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the opening date drew near, Morgan remained involved as a contract employee, even though her last day on staff after five years at SFAI was July 5. Up to then, she’d been attending cabinet meetings for nearly a year, where she represented the exhibition program and advocated for it as best she could without any actual executive power. It was in these meetings that she was first confronted with pressure to justify her department’s existence.\u003c/p>\n\u003cp>“I gave them examples of exhibitions that got a lot of great press for the school, and I gave them examples on the other side, of students who had worked in the galleries and told us it was the biggest educational experience they had at the school, alongside their practice,” Morgan says. “But of course that’s anecdotal. How do you quantify that kind of story, and that kind of experience and that impact?”\u003c/p>\n\u003cp>“It made me feel really uncomfortable, honestly,” she says of being the lone advocate for the exhibition department. “I don’t see it as my role to fight that fight within my own institution. It’s hard enough considering the political moment and attitude towards the arts and intellectualism in general, but to have to do that within the institution just felt terrible.”\u003c/p>\n\u003cp>[contextly_sidebar id=”1VqRTdOK9TxLY8gluVQGiZVaOgTScoiQ”]\u003c/p>\n\u003cp>During Morgan’s time at SFAI, the exhibition program organized numerous projects that seemed to directly fit the description of Knox’s plans for the future: world class artists doing high-end serious projects and multiplying their capacity through student participation.\u003c/p>\n\u003cp>Knox admits this is true: “The elimination of a steady curatorial stand-alone department is really a reflection of something that that department was already doing, which was trying very much to involve itself with the school.” In other words, the exhibition department’s good work proved there was no need for an exhibition department.\u003c/p>\n\u003cp>To hear Knox tell it, these cuts actually mean opportunities for more curators to work at the school. “I think that what I’d really like to do is have SFAI be a location where curatorial thinking is constantly refreshed, constantly coming in, constantly being applied in the actual social world of education,” Knox says. He’s thinking in terms of one- or two-year-long positions, “a wonderful springboard for young curators” to “work with this dynamic terrain.”\u003c/p>\n\u003cp>What won’t return to SFAI, Knox says, is the role of a long-term senior curator position.\u003c/p>\n\u003cfigure id=\"attachment_13841236\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841236\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200.jpg\" alt=\"Yerba Buena Center for the Arts viewed from Mission Street.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Yerba Buena Center for the Arts viewed from Mission Street. \u003ccite>(Courtesy Yerba Buena Center for the Arts; photo by Tommy Lau)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Reimagining’ a Film Program at YBCA\u003c/h2>\n\u003cp>Unlike Morgan, Joel Shepard didn’t see it coming.\u003c/p>\n\u003cp>YBCA hired Shepard in 1997 to start the then-four-year-old institution’s film and video program. “It was a big thing,” he remembers. “You’re really lucky to be able to start something from scratch and not have much of a legacy to deal with.”\u003c/p>\n\u003cp>Over the next two decades, Shepard organized a regular schedule of about 150 film screenings a year, created partnerships with former and existing Bay Area organizations (Film Arts Foundation, Cine Accion, CAAM before it was CAAM), launched the New Filipino Cinema film festival, received the \u003ca href=\"http://sffcc.org/2014/12/2014-san-francisco-film-critics-circle-awards/\" target=\"_blank\" rel=\"noopener\">Marlon Riggs Award\u003c/a> from the San Francisco Film Critics Circle and was named one of SFFILM’s “\u003ca href=\"https://www.sffilm.org/press/releases/112116-essential-sf-2016\" target=\"_blank\" rel=\"noopener\">Essential SF\u003c/a>.”\u003c/p>\n\u003cp>Though YBCA announced there would be restructuring several months prior, hinting at some level of staff reduction, Shepard never expected both he and his part-time curatorial assistant David Robson to be laid off. Or for the film program to fundamentally change.\u003c/p>\n\u003cfigure id=\"attachment_13841234\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841234\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2.jpg\" alt=\"Former YBCA film/video curator Joel Shepard.\" width=\"960\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-150x150.jpg 150w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Former YBCA film/video curator Joel Shepard.\u003c/figcaption>\u003c/figure>\n\u003cp>On April 26, YBCA sent an email to film patrons and select members of the press stating, “We have made the decision to reimagine YBCA’s film program, so that it is more fully integrated into our public engagement efforts and working in service of YBCA’s mission. As a result we will be putting our film program \u003ca href=\"https://www.ybca.org/whats-on?page=1&category=Film&when=days30&view=event&start=&end=\" target=\"_blank\" rel=\"noopener\">on hiatus\u003c/a> while we work to achieve these goals.”\u003c/p>\n\u003cp>For Deborah Cullinan, YBCA’s CEO, the hiatus and reimagining process is an opportunity to better support the local arts ecosystem, break down silos within the 25-year-old organization, bring film and video out of the center’s 92-seat theater and “make it bigger.”\u003c/p>\n\u003cfigure id=\"attachment_13841237\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841237\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Cullinan640.jpg\" alt=\"YBCA CEO Deborah Cullinan during the opening of 'Bay Area Now 9,' Sept. 7, 2018. \" width=\"640\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cullinan640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cullinan640-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cullinan640-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cullinan640-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cullinan640-520x780.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">YBCA CEO Deborah Cullinan during the opening of ‘Bay Area Now 9,’ Sept. 7, 2018. \u003ccite>(Courtesy Yerba Buena Center for the Arts; photo by Brittney Valdez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We are really trying to pioneer a new model for a contemporary arts center, and it requires that we have to question all of it,” she says. But YBCA only appears to be questioning some of it; since Shepard and Robson’s departure on April 24, other curatorial staff members have not been laid off and other programs, like visual arts and performance, remain intact. The film and video curatorial position might return, Cullinan says, but she’s also open to ideas that could support local filmmakers or integrate film and video into institution-wide programs.\u003c/p>\n\u003cp>It’s hard to know what the future will look like for film and video at YBCA, or even when this hiatus will conclude. (Cullinan wishes the “reimagining” was moving faster.) The last film program on YBCA’s calendar was the June 9–July 1 \u003ca href=\"https://ybca.org/whats-on/2018-architecture-and-design-films?utm_source=sf-station&utm_medium=REFERRAL&utm_campaign=2018-architecture-and-design-films&utm_content=CALENDAR-LISTING\" target=\"_blank\" rel=\"noopener\">Architecture & Design Films Showcase\u003c/a>, co-presented by AIGA and SF Design Week.\u003c/p>\n\u003cp>Of the various possible futures that Cullinan describes, some seem to involve leaving film and video programming up to the remaining curatorial staff. (Cullinan claims it’s increasingly difficult to recruit full-time staff, “In part because of the affordability issues we have in the Bay, but it’s also because people want to live their lives differently, and they are actually interested in having multiple gigs.”) Some sound like partnerships with local film organizations and festivals. And others are too nebulous to speculate upon.\u003c/p>\n\u003cp>What’s missing, in the interim, is a venue that long showcased a rare mix of global and local cinema. “There’s already fewer and fewer foreign language films showing in San Francisco,” Shepard says. “The number drops every year.” Films that don’t have a readymade audience or pre-existing buzz don’t show in San Francisco anymore, he says. YBCA was the city’s only arts institution with a regular film program. He points to the Pacific Film Archive’s schedule at the Berkeley Art Museum as a rare example of a visual arts institution and film program existing, seemingly successfully, side-by-side.\u003c/p>\n\u003cp>And it’s not a vacuum that can be filled by the \u003ca href=\"https://www.kqed.org/arts/13836539/the-eradication-of-memory-on-netflix-amazon-and-other-streaming-video-sites\" target=\"_blank\" rel=\"noopener\">options of streaming movies\u003c/a>, either. Curatorial guidance, by a trained and informed film historian, enriches the viewing experience and exposes audiences to material they wouldn’t necessarily choose for themselves. “My whole career is based on \u003ci>not\u003c/i> doing that,” Shepard says. “It’s going to the unfamiliar, going to places you don’t know about that might be uncomfortable at first. It’s kind of the opposite of Netflix.”\u003c/p>\n\u003cp>“There’s a million things on there and everything has exactly the same weight. It’s just pages after pages of little rectangles.”\u003c/p>\n\u003cfigure id=\"attachment_13841238\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841238\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/AmyKara.jpg\" alt=\"di Rosa curator Amy Owen and former assistant curator Kara Q. Smith.\" width=\"900\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/AmyKara.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/AmyKara-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/AmyKara-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/AmyKara-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/AmyKara-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/AmyKara-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/AmyKara-520x347.jpg 520w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">di Rosa curator Amy Owen and former assistant curator Kara Q. Smith. \u003ccite>(Courtesy Kara Q. Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Shifting Institutional Priorities’ at di Rosa\u003c/h2>\n\u003cp>While the changes at YBCA were at least nominally announced, the elimination of Kara Q. Smith’s assistant curator position at Napa’s di Rosa Center for Contemporary Art took place quietly, without public remark. An email did go out to artists Smith had been working with for a 2019 show letting them know that due to her “unfortunate departure,” the di Rosa would “not be moving forward with the show as originally planned.”\u003c/p>\n\u003cp>Smith was the second full-time curator hired at di Rosa (Amy Owen, the organization’s lead curator, was the first). Smith says her role was unique; she worked interdepartmentally across the organization on multiple collaborative initiatives. Some of the many projects she took on included co-organizing and launching di Rosa’s yearlong artist-centered initiative \u003ci>\u003ca href=\"https://www.kqed.org/arts/13823502/di-rosa-hands-programming-over-to-artists-in-uncertain-times\" target=\"_blank\" rel=\"noopener\">Be Not Still: Living in Uncertain Times\u003c/a>\u003c/i> and appearing on behalf of the organization at city council meetings and local community events.\u003c/p>\n\u003cp>“I \u003ci>left\u003c/i> San Francisco. I made Napa my home,” she says. It was a major commitment for someone whose life and community previously centered on San Francisco. During her nearly four-year tenure at di Rosa, Smith says she worked hard to build a relationship between the arts center and an often ambivalent local population.\u003c/p>\n\u003cp>When asked about the reasoning behind the position’s elimination, di Rosa offered up a statement so short it’s easily reproduced in full: “As di Rosa completes its transition from a private collection to a public facing institution, shifting institutional priorities have prompted strategic restructuring to better serve the organization’s evolving needs.”\u003c/p>\n\u003cp>A di Rosa spokesperson confirmed no other positions have been eliminated since; they have actually grown the staff “in other critical areas.”\u003c/p>\n\u003cp>For Smith, the post-di Rosa job search has been as depressing as di Rosa’s official statement is ambiguous. She’ll likely have to leave the Bay Area to find a similar curatorial position; she’s casting a wide net with limited expectations.\u003c/p>\n\u003cp>“I’m not even looking for a 20-year position per se, but where do I find the stability?” she asks.\u003c/p>\n\u003cfigure id=\"attachment_13841240\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841240\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Kara_diRosa.jpg\" alt=\"Kara Q. Smith leading a tour on the di Rosa grounds.\" width=\"1600\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-520x390.jpg 520w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Kara Q. Smith leading a tour on the di Rosa grounds. \u003ccite>(Courtesy of Kara Q. Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>What Gets Lost\u003c/h2>\n\u003cp>In Renny Pritikin’s oft-cited “\u003ca href=\"https://s3-us-west-2.amazonaws.com/sfmomaopenspace/wp-content/uploads/2010/06/pritikin-prescription-for-a-healthy-art-scene2-600x746.gif\" target=\"_blank\" rel=\"noopener\">Prescription for a Healthy Art Scene\u003c/a>,” committed curators are one of nearly two dozen factors that must be present to create a thriving arts ecosystem. The institutions discussed here occupy other, equally important roles (point 3: “active art schools”; point 12: “accessible museums”).\u003c/p>\n\u003cp>Pritikin’s healthy art scene also requires an engaged viewership (point 13)—interested audiences who will attend exhibitions, performances and screenings, and read the writing that’s produced about those events. When YBCA announced Shepard’s dismissal and the film and video program’s hiatus, they listed an email address for the public to respond with feedback.\u003c/p>\n\u003cp>“There was not an overwhelming response,” Cullinan says. “The questions and concerns either had to do specifically with Joel and his undeniable value, or just with YBCA’s commitment to film.”\u003c/p>\n\u003cp>But Shepard heard from hundreds of people—on Facebook and via private messages—expressing their goodwill and anger, demonstrating to him he’d reached an audience (and accomplished what he’d been trying to do in his programming).\u003c/p>\n\u003cp>And there’s the rub. Internal decisions at arts organizations will never be completely transparent, but participating—voicing enjoyment or displeasure in response to an organization’s public programming—is a right that should be employed constantly, not just in reaction to a major change. And to be effective, those messages should be relayed not within closed networks, like a personal Facebook thread, but to the organizations themselves.\u003c/p>\n\u003cp>Fundamentally, the arts ecosystem is a litmus test for the health of the region as a whole, and if audiences aren’t more vocal in their support for the arts and their desire for ambitious curatorial programming, the elimination of these positions could be a harbinger of things to come.\u003c/p>\n\u003cp>“You need a really thriving arts scene for a good city,” Shepard points out. “It’s not just about me or these individuals who have also lost their jobs, there’s a bigger problem here. I don’t think we want to turn into Dallas.”\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>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Correction: An earlier version of this article incorrectly stated that the 2018 Architecture & Design Films Showcase at YBCA was not curated in-house. Joel Shepard selected the films prior to his departure.\u003c/i> \u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 3000,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 52
},
"modified": 1710870215,
"excerpt": "Recent eliminations of curatorial positions at SFAI, YBCA and di Rosa raise concern for the Bay Area arts scene.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Recent eliminations of curatorial positions at SFAI, YBCA and di Rosa raise concern for the Bay Area arts scene.",
"title": "What Happens When All the Curators Are Gone? | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "What Happens When All the Curators Are Gone?",
"datePublished": "2018-09-20T12:00:39-07:00",
"dateModified": "2024-03-19T10:43:35-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "curatorial-crisis-bay-area-art-institutions",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"articleAge": "0",
"path": "/arts/13841205/curatorial-crisis-bay-area-art-institutions",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Two months before she lost her job, Katie Hood Morgan sat in a board meeting, watching her department’s budget get cut in half.\u003c/p>\n\u003cp>“It was a little weird to be sitting there,” she remembers of her final months as San Francisco Art Institute’s curator of exhibitions and public programs, “looking at the budget like, ‘There’s my line. And there’s last year, and there’s me somewhere floating away.’”\u003c/p>\n\u003cp>With that board vote, the 147-year-old art school fundamentally altered its exhibition program, removing the in-house curatorial staff responsible for filling not only its Walter & McBean Galleries, but the new Fort Mason campus’ gallery space, which opened in August 2017. Morgan was also responsible for overseeing student exhibitions in the Diego Rivera Gallery and organizing SFAI’s well-respected visiting artist lecture series.\u003c/p>\n\u003cfigure id=\"attachment_13841228\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841228\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600.jpg\" alt=\"An exhibition opening on SFAI's Fort Mason campus.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">An exhibition opening on SFAI’s Fort Mason campus. \u003ccite>(Marco David)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the relatively small Bay Area arts scene, Morgan’s layoff followed the April 24 dismissal of Joel Shepard, Yerba Buena Center for the Arts’ curator of film and video (and the beginning of the film program’s “hiatus”), and preceded the Aug. 1 elimination of Kara Q. Smith’s assistant curator position at the di Rosa Center for Contemporary Art.\u003c/p>\n\u003cp>These three positions, the people who held them and the institutions that eliminated them are vastly different. Yet all three are curatorial positions; local job openings in the field are already few and far between. And each year, newly minted graduates from California College of the Arts’ \u003ca href=\"https://www.cca.edu/academics/graduate/curatorial-practice\" target=\"_blank\" rel=\"noopener\">curatorial practice program\u003c/a>, and SFAI’s \u003ca href=\"https://www.sfai.edu/degree-programs/graduate/ma/exhibition-and-museum-studies-ma\" target=\"_blank\" rel=\"noopener\">exhibitions and museum studies program\u003c/a> enter the market, while the full-time long-term positions they might once have aspired to disappear one by one.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The quiet elimination of curatorial jobs is a troubling manifestation of a Bay Area arts ecosystem that struggles to find stability despite a booming local economy. Institutions “restructure,” “return to their core missions” and “redefine their priorities” in attempts to both clarify their role within a competitive field of development dollars and audience attention and pare down budgets.\u003c/p>\n\u003cfigure id=\"attachment_13841262\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13841262\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Katie.inline-800x533.jpg\" alt=\"Katie Hood Morgan.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Katie Hood Morgan. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But with each dismissal, years of institutional knowledge, community relationships and public goodwill are lost. Most importantly, the cutting of curatorial positions is a loss for the audience.\u003c/p>\n\u003cp>“A curator lobbies on the behalf [of artists] and makes cases not only to the institution, but to the public on why something matters,” says CCA’s curatorial practice program chair, James Voorhies. “They’re a mediator. They might take very complex ideas that an artist or a filmmaker is working with and they bring those ideas into the public realm responsibly so that audiences understand why a work is relevant in a contemporary context.”\u003c/p>\n\u003cfigure id=\"attachment_13841229\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841229\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200.jpg\" alt=\"Curatorial practice students with artist Shahryar Nashat on Sept. 11, 2018 in CCA's new Curatorial Research Bureau at Yerba Buena Center for the Arts.\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Curatorial practice students with artist Shahryar Nashat on Sept. 11, 2018 in CCA’s new Curatorial Research Bureau at Yerba Buena Center for the Arts. \u003ccite>(Courtesy of Curatorial Research Bureau)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Constantly Refreshed’ Curatorial Thinking at SFAI\u003c/h2>\n\u003cp>Gordon Knox, president of SFAI, explains changes to the exhibition program as a return to the school’s core mission: teaching and learning. “We are absolutely a school,” he says. “We are embracing our exhibitions program in a way that’s deeply integrated into our curriculum and pedagogy.”\u003c/p>\n\u003cp>Knox envisions a future in which SFAI will rely on visiting artists and curators to teach classes that result in exhibitions, public programs and publications. Students will get hands-on experience mounting an exhibition from start to finish, he says, including possibly working on research and grant applications.\u003c/p>\n\u003cp>Of the Bay Area’s many art schools, SFAI has perhaps the scrappiest legacy, having weathered multiple instances of financial instability over its long history. But this is the first time, to Morgan’s knowledge, that those financial straits have resulted in such severe cuts to the exhibition program.\u003c/p>\n\u003cfigure id=\"attachment_13841224\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841224\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova.jpg\" alt=\"Lights in the Walter and McBean Galleries fluctuate in response to trade data from Will Brown's Ethereum investment during the 'Ether' opening, Sept. 13, 2018.\" width=\"2048\" height=\"1365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-520x347.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Lights in the Walter and McBean Galleries fluctuate in response to trade data from Will Brown’s Ethereum investment during the ‘Ether’ opening, Sept. 13, 2018. \u003ccite>(Lucas Terranova)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Coincidentally, the last show Morgan worked on for SFAI is both an indictment of the school’s cuts to the exhibition program and a cynical look to technology for arts funding answers. \u003ci>\u003ca href=\"https://sfai.edu/exhibitions-public-events/detail/will-brown-ether\" target=\"_blank\" rel=\"noopener\">Ether\u003c/a>\u003c/i>, which opened Sept. 13, is a conceptual cryptocurrency investment scheme by the collaborative trio known as \u003ca href=\"http://www.wearewillbrown.com/\" target=\"_blank\" rel=\"noopener\">Will Brown\u003c/a> (David Kasprzak, Jordan Stein and Lindsey White).\u003c/p>\n\u003cp>The exhibition draws comparisons between SFAI’s current financial challenges (Knox named enrollment as a factor) with a moment in history when the school sold its collection of Eadweard Muybridge photographs to finance the creation of what is now the school’s New Genres department.\u003c/p>\n\u003cp>“In a similarly speculative action,” the collaborative’s press announcement reads, “Will Brown has invested our exhibition budget in Ether, the underlying token powering the Ethereum blockchain.” At irregular intervals, any profits from this investment will be available to fund SFAI student, staff or faculty projects, supplementing the school’s official budget via an application process open to all.\u003c/p>\n\u003cfigure id=\"attachment_13841231\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841231\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Courtyard3.jpg\" alt=\"SFAI's North Beach campus courtyard.\" width=\"2048\" height=\"1365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-520x347.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">SFAI’s North Beach campus courtyard. \u003ccite>(Courtesy of SFAI)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the opening date drew near, Morgan remained involved as a contract employee, even though her last day on staff after five years at SFAI was July 5. Up to then, she’d been attending cabinet meetings for nearly a year, where she represented the exhibition program and advocated for it as best she could without any actual executive power. It was in these meetings that she was first confronted with pressure to justify her department’s existence.\u003c/p>\n\u003cp>“I gave them examples of exhibitions that got a lot of great press for the school, and I gave them examples on the other side, of students who had worked in the galleries and told us it was the biggest educational experience they had at the school, alongside their practice,” Morgan says. “But of course that’s anecdotal. How do you quantify that kind of story, and that kind of experience and that impact?”\u003c/p>\n\u003cp>“It made me feel really uncomfortable, honestly,” she says of being the lone advocate for the exhibition department. “I don’t see it as my role to fight that fight within my own institution. It’s hard enough considering the political moment and attitude towards the arts and intellectualism in general, but to have to do that within the institution just felt terrible.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>During Morgan’s time at SFAI, the exhibition program organized numerous projects that seemed to directly fit the description of Knox’s plans for the future: world class artists doing high-end serious projects and multiplying their capacity through student participation.\u003c/p>\n\u003cp>Knox admits this is true: “The elimination of a steady curatorial stand-alone department is really a reflection of something that that department was already doing, which was trying very much to involve itself with the school.” In other words, the exhibition department’s good work proved there was no need for an exhibition department.\u003c/p>\n\u003cp>To hear Knox tell it, these cuts actually mean opportunities for more curators to work at the school. “I think that what I’d really like to do is have SFAI be a location where curatorial thinking is constantly refreshed, constantly coming in, constantly being applied in the actual social world of education,” Knox says. He’s thinking in terms of one- or two-year-long positions, “a wonderful springboard for young curators” to “work with this dynamic terrain.”\u003c/p>\n\u003cp>What won’t return to SFAI, Knox says, is the role of a long-term senior curator position.\u003c/p>\n\u003cfigure id=\"attachment_13841236\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841236\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200.jpg\" alt=\"Yerba Buena Center for the Arts viewed from Mission Street.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Yerba Buena Center for the Arts viewed from Mission Street. \u003ccite>(Courtesy Yerba Buena Center for the Arts; photo by Tommy Lau)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Reimagining’ a Film Program at YBCA\u003c/h2>\n\u003cp>Unlike Morgan, Joel Shepard didn’t see it coming.\u003c/p>\n\u003cp>YBCA hired Shepard in 1997 to start the then-four-year-old institution’s film and video program. “It was a big thing,” he remembers. “You’re really lucky to be able to start something from scratch and not have much of a legacy to deal with.”\u003c/p>\n\u003cp>Over the next two decades, Shepard organized a regular schedule of about 150 film screenings a year, created partnerships with former and existing Bay Area organizations (Film Arts Foundation, Cine Accion, CAAM before it was CAAM), launched the New Filipino Cinema film festival, received the \u003ca href=\"http://sffcc.org/2014/12/2014-san-francisco-film-critics-circle-awards/\" target=\"_blank\" rel=\"noopener\">Marlon Riggs Award\u003c/a> from the San Francisco Film Critics Circle and was named one of SFFILM’s “\u003ca href=\"https://www.sffilm.org/press/releases/112116-essential-sf-2016\" target=\"_blank\" rel=\"noopener\">Essential SF\u003c/a>.”\u003c/p>\n\u003cp>Though YBCA announced there would be restructuring several months prior, hinting at some level of staff reduction, Shepard never expected both he and his part-time curatorial assistant David Robson to be laid off. Or for the film program to fundamentally change.\u003c/p>\n\u003cfigure id=\"attachment_13841234\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841234\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2.jpg\" alt=\"Former YBCA film/video curator Joel Shepard.\" width=\"960\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-150x150.jpg 150w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Former YBCA film/video curator Joel Shepard.\u003c/figcaption>\u003c/figure>\n\u003cp>On April 26, YBCA sent an email to film patrons and select members of the press stating, “We have made the decision to reimagine YBCA’s film program, so that it is more fully integrated into our public engagement efforts and working in service of YBCA’s mission. As a result we will be putting our film program \u003ca href=\"https://www.ybca.org/whats-on?page=1&category=Film&when=days30&view=event&start=&end=\" target=\"_blank\" rel=\"noopener\">on hiatus\u003c/a> while we work to achieve these goals.”\u003c/p>\n\u003cp>For Deborah Cullinan, YBCA’s CEO, the hiatus and reimagining process is an opportunity to better support the local arts ecosystem, break down silos within the 25-year-old organization, bring film and video out of the center’s 92-seat theater and “make it bigger.”\u003c/p>\n\u003cfigure id=\"attachment_13841237\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841237\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Cullinan640.jpg\" alt=\"YBCA CEO Deborah Cullinan during the opening of 'Bay Area Now 9,' Sept. 7, 2018. \" width=\"640\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cullinan640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cullinan640-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cullinan640-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cullinan640-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cullinan640-520x780.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">YBCA CEO Deborah Cullinan during the opening of ‘Bay Area Now 9,’ Sept. 7, 2018. \u003ccite>(Courtesy Yerba Buena Center for the Arts; photo by Brittney Valdez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We are really trying to pioneer a new model for a contemporary arts center, and it requires that we have to question all of it,” she says. But YBCA only appears to be questioning some of it; since Shepard and Robson’s departure on April 24, other curatorial staff members have not been laid off and other programs, like visual arts and performance, remain intact. The film and video curatorial position might return, Cullinan says, but she’s also open to ideas that could support local filmmakers or integrate film and video into institution-wide programs.\u003c/p>\n\u003cp>It’s hard to know what the future will look like for film and video at YBCA, or even when this hiatus will conclude. (Cullinan wishes the “reimagining” was moving faster.) The last film program on YBCA’s calendar was the June 9–July 1 \u003ca href=\"https://ybca.org/whats-on/2018-architecture-and-design-films?utm_source=sf-station&utm_medium=REFERRAL&utm_campaign=2018-architecture-and-design-films&utm_content=CALENDAR-LISTING\" target=\"_blank\" rel=\"noopener\">Architecture & Design Films Showcase\u003c/a>, co-presented by AIGA and SF Design Week.\u003c/p>\n\u003cp>Of the various possible futures that Cullinan describes, some seem to involve leaving film and video programming up to the remaining curatorial staff. (Cullinan claims it’s increasingly difficult to recruit full-time staff, “In part because of the affordability issues we have in the Bay, but it’s also because people want to live their lives differently, and they are actually interested in having multiple gigs.”) Some sound like partnerships with local film organizations and festivals. And others are too nebulous to speculate upon.\u003c/p>\n\u003cp>What’s missing, in the interim, is a venue that long showcased a rare mix of global and local cinema. “There’s already fewer and fewer foreign language films showing in San Francisco,” Shepard says. “The number drops every year.” Films that don’t have a readymade audience or pre-existing buzz don’t show in San Francisco anymore, he says. YBCA was the city’s only arts institution with a regular film program. He points to the Pacific Film Archive’s schedule at the Berkeley Art Museum as a rare example of a visual arts institution and film program existing, seemingly successfully, side-by-side.\u003c/p>\n\u003cp>And it’s not a vacuum that can be filled by the \u003ca href=\"https://www.kqed.org/arts/13836539/the-eradication-of-memory-on-netflix-amazon-and-other-streaming-video-sites\" target=\"_blank\" rel=\"noopener\">options of streaming movies\u003c/a>, either. Curatorial guidance, by a trained and informed film historian, enriches the viewing experience and exposes audiences to material they wouldn’t necessarily choose for themselves. “My whole career is based on \u003ci>not\u003c/i> doing that,” Shepard says. “It’s going to the unfamiliar, going to places you don’t know about that might be uncomfortable at first. It’s kind of the opposite of Netflix.”\u003c/p>\n\u003cp>“There’s a million things on there and everything has exactly the same weight. It’s just pages after pages of little rectangles.”\u003c/p>\n\u003cfigure id=\"attachment_13841238\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841238\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/AmyKara.jpg\" alt=\"di Rosa curator Amy Owen and former assistant curator Kara Q. Smith.\" width=\"900\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/AmyKara.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/AmyKara-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/AmyKara-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/AmyKara-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/AmyKara-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/AmyKara-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/AmyKara-520x347.jpg 520w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">di Rosa curator Amy Owen and former assistant curator Kara Q. Smith. \u003ccite>(Courtesy Kara Q. Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Shifting Institutional Priorities’ at di Rosa\u003c/h2>\n\u003cp>While the changes at YBCA were at least nominally announced, the elimination of Kara Q. Smith’s assistant curator position at Napa’s di Rosa Center for Contemporary Art took place quietly, without public remark. An email did go out to artists Smith had been working with for a 2019 show letting them know that due to her “unfortunate departure,” the di Rosa would “not be moving forward with the show as originally planned.”\u003c/p>\n\u003cp>Smith was the second full-time curator hired at di Rosa (Amy Owen, the organization’s lead curator, was the first). Smith says her role was unique; she worked interdepartmentally across the organization on multiple collaborative initiatives. Some of the many projects she took on included co-organizing and launching di Rosa’s yearlong artist-centered initiative \u003ci>\u003ca href=\"https://www.kqed.org/arts/13823502/di-rosa-hands-programming-over-to-artists-in-uncertain-times\" target=\"_blank\" rel=\"noopener\">Be Not Still: Living in Uncertain Times\u003c/a>\u003c/i> and appearing on behalf of the organization at city council meetings and local community events.\u003c/p>\n\u003cp>“I \u003ci>left\u003c/i> San Francisco. I made Napa my home,” she says. It was a major commitment for someone whose life and community previously centered on San Francisco. During her nearly four-year tenure at di Rosa, Smith says she worked hard to build a relationship between the arts center and an often ambivalent local population.\u003c/p>\n\u003cp>When asked about the reasoning behind the position’s elimination, di Rosa offered up a statement so short it’s easily reproduced in full: “As di Rosa completes its transition from a private collection to a public facing institution, shifting institutional priorities have prompted strategic restructuring to better serve the organization’s evolving needs.”\u003c/p>\n\u003cp>A di Rosa spokesperson confirmed no other positions have been eliminated since; they have actually grown the staff “in other critical areas.”\u003c/p>\n\u003cp>For Smith, the post-di Rosa job search has been as depressing as di Rosa’s official statement is ambiguous. She’ll likely have to leave the Bay Area to find a similar curatorial position; she’s casting a wide net with limited expectations.\u003c/p>\n\u003cp>“I’m not even looking for a 20-year position per se, but where do I find the stability?” she asks.\u003c/p>\n\u003cfigure id=\"attachment_13841240\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841240\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Kara_diRosa.jpg\" alt=\"Kara Q. Smith leading a tour on the di Rosa grounds.\" width=\"1600\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-520x390.jpg 520w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Kara Q. Smith leading a tour on the di Rosa grounds. \u003ccite>(Courtesy of Kara Q. Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>What Gets Lost\u003c/h2>\n\u003cp>In Renny Pritikin’s oft-cited “\u003ca href=\"https://s3-us-west-2.amazonaws.com/sfmomaopenspace/wp-content/uploads/2010/06/pritikin-prescription-for-a-healthy-art-scene2-600x746.gif\" target=\"_blank\" rel=\"noopener\">Prescription for a Healthy Art Scene\u003c/a>,” committed curators are one of nearly two dozen factors that must be present to create a thriving arts ecosystem. The institutions discussed here occupy other, equally important roles (point 3: “active art schools”; point 12: “accessible museums”).\u003c/p>\n\u003cp>Pritikin’s healthy art scene also requires an engaged viewership (point 13)—interested audiences who will attend exhibitions, performances and screenings, and read the writing that’s produced about those events. When YBCA announced Shepard’s dismissal and the film and video program’s hiatus, they listed an email address for the public to respond with feedback.\u003c/p>\n\u003cp>“There was not an overwhelming response,” Cullinan says. “The questions and concerns either had to do specifically with Joel and his undeniable value, or just with YBCA’s commitment to film.”\u003c/p>\n\u003cp>But Shepard heard from hundreds of people—on Facebook and via private messages—expressing their goodwill and anger, demonstrating to him he’d reached an audience (and accomplished what he’d been trying to do in his programming).\u003c/p>\n\u003cp>And there’s the rub. Internal decisions at arts organizations will never be completely transparent, but participating—voicing enjoyment or displeasure in response to an organization’s public programming—is a right that should be employed constantly, not just in reaction to a major change. And to be effective, those messages should be relayed not within closed networks, like a personal Facebook thread, but to the organizations themselves.\u003c/p>\n\u003cp>Fundamentally, the arts ecosystem is a litmus test for the health of the region as a whole, and if audiences aren’t more vocal in their support for the arts and their desire for ambitious curatorial programming, the elimination of these positions could be a harbinger of things to come.\u003c/p>\n\u003cp>“You need a really thriving arts scene for a good city,” Shepard points out. “It’s not just about me or these individuals who have also lost their jobs, there’s a bigger problem here. I don’t think we want to turn into Dallas.”\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>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Correction: An earlier version of this article incorrectly stated that the 2018 Architecture & Design Films Showcase at YBCA was not curated in-house. Joel Shepard selected the films prior to his departure.\u003c/i> \u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13841205/curatorial-crisis-bay-area-art-institutions",
"authors": [
"61"
],
"categories": [
"arts_74",
"arts_235",
"arts_70"
],
"tags": [
"arts_2225",
"arts_1118",
"arts_5849",
"arts_596",
"arts_3992",
"arts_1040"
],
"featImg": "arts_13841263",
"label": "arts"
},
"arts_13841011": {
"type": "posts",
"id": "arts_13841011",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13841011",
"score": null,
"sort": [
1537228808000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1537228808,
"format": "standard",
"title": "Now Playing! The Great Mastroianni Pops Hearts at the Castro",
"headTitle": "Now Playing! The Great Mastroianni Pops Hearts at the Castro | KQED",
"content": "\u003cp>Even non-aficionados of screen acting appreciate the total immersion required to deliver the kind of anguished performances that distinguished, say, Robert De Niro and Daniel Day-Lewis. But the ones who make it look easy, who possess a casual nonchalance, who seem to be enjoying themselves like it’s the last day of kindergarten—they’re special. Robert Mitchum, of course, and Cary Grant; Jean Gabin and Alec Guinness. And arguably the greatest of them all, Marcello Mastroianni.\u003c/p>\n\u003cp>I’ve never seen a stiff or awkward Mastroianni performance, even in roles that were miles from his well-honed urban persona. He was the rare movie star who could play high and low, sophisticated and grungy, insider and outsider. If you want to find the key to any Mastroianni character, watch how he walks, or just moves. In two minutes you know what class the man occupies, his confidence level and what he wants—or wants to avoid.\u003c/p>\n\u003cfigure id=\"attachment_13841028\" class=\"wp-caption aligncenter\" style=\"max-width: 1348px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/italia2.jpg\" alt=\"Marcello Mastroianni in Federico Fellini's '8½,' 1963.\" width=\"1348\" height=\"1000\" class=\"size-full wp-image-13841028\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/italia2.jpg 1348w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/italia2-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/italia2-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/italia2-768x570.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/italia2-1020x757.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/italia2-1200x890.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/italia2-1180x875.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/italia2-960x712.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/italia2-240x178.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/italia2-375x278.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/italia2-520x386.jpg 520w\" sizes=\"(max-width: 1348px) 100vw, 1348px\">\u003cfigcaption class=\"wp-caption-text\">Marcello Mastroianni in Federico Fellini’s ‘8½,’ 1963. \u003ccite>(Courtesy Cinema Italia SF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Upon the actor’s death in 1996, Roger Ebert recalled the time he asked Mastroianni to name his all-time favorite love scene. After reflecting for a few minutes, Mastroianni said, “I like it when Minnie kisses Mickey, and little red hearts go pop-pop-pop in the air.” How can you resist a guy like that? \u003c/p>\n\u003cp>Dedicated local programmer Amelia Antonucci has assembled five—count ‘em, five—of Mastroianni’s finest performances this Saturday, Sept. 22 on a bill she calls, naturally, \u003ca href=\"http://www.cinemaitaliasf.com\" rel=\"noopener\" target=\"_blank\">Ciao, Marcello! An Homage to Marcello Mastroianni\u003c/a>. Vittorio De Sica’s smart, sexy \u003cem>Yesterday, Today and Tomorrow\u003c/em> (1963), co-starring a wonderful Sophia Loren, raises the Castro curtain, and Pietro Germi’s biting 1961 farce \u003cem>Divorce Italian Style\u003c/em> brings it down.\u003c/p>\n\u003cp>Fellini and Mastroianni’s ambitious masterworks, \u003cem>8½\u003c/em> (1963) and \u003cem>La Dolce Vita\u003c/em> (1960), get the big-screen treatment they demand and deserve. Sandwiched in between is Ettore Scola’s intimate and moving \u003cem>A Special Day\u003c/em> (1977), set in fascist Italy and featuring Mastroianni as a melancholy homosexual who bonds with a conservative housewife (Loren, in top form). Pure pleasure, start to finish.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 379,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 7
},
"modified": 1705027244,
"excerpt": "The late Italian actor was the rare movie star who could play high and low, sophisticated and grungy, insider and outsider.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The late Italian actor was the rare movie star who could play high and low, sophisticated and grungy, insider and outsider.",
"title": "Now Playing! The Great Mastroianni Pops Hearts at the Castro | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Now Playing! The Great Mastroianni Pops Hearts at the Castro",
"datePublished": "2018-09-17T17:00:08-07:00",
"dateModified": "2024-01-11T18:40:44-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "now-playing-the-great-mastroianni-pops-hearts-at-the-castro",
"status": "publish",
"sticky": false,
"path": "/arts/13841011/now-playing-the-great-mastroianni-pops-hearts-at-the-castro",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Even non-aficionados of screen acting appreciate the total immersion required to deliver the kind of anguished performances that distinguished, say, Robert De Niro and Daniel Day-Lewis. But the ones who make it look easy, who possess a casual nonchalance, who seem to be enjoying themselves like it’s the last day of kindergarten—they’re special. Robert Mitchum, of course, and Cary Grant; Jean Gabin and Alec Guinness. And arguably the greatest of them all, Marcello Mastroianni.\u003c/p>\n\u003cp>I’ve never seen a stiff or awkward Mastroianni performance, even in roles that were miles from his well-honed urban persona. He was the rare movie star who could play high and low, sophisticated and grungy, insider and outsider. If you want to find the key to any Mastroianni character, watch how he walks, or just moves. In two minutes you know what class the man occupies, his confidence level and what he wants—or wants to avoid.\u003c/p>\n\u003cfigure id=\"attachment_13841028\" class=\"wp-caption aligncenter\" style=\"max-width: 1348px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/italia2.jpg\" alt=\"Marcello Mastroianni in Federico Fellini's '8½,' 1963.\" width=\"1348\" height=\"1000\" class=\"size-full wp-image-13841028\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/italia2.jpg 1348w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/italia2-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/italia2-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/italia2-768x570.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/italia2-1020x757.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/italia2-1200x890.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/italia2-1180x875.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/italia2-960x712.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/italia2-240x178.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/italia2-375x278.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/italia2-520x386.jpg 520w\" sizes=\"(max-width: 1348px) 100vw, 1348px\">\u003cfigcaption class=\"wp-caption-text\">Marcello Mastroianni in Federico Fellini’s ‘8½,’ 1963. \u003ccite>(Courtesy Cinema Italia SF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Upon the actor’s death in 1996, Roger Ebert recalled the time he asked Mastroianni to name his all-time favorite love scene. After reflecting for a few minutes, Mastroianni said, “I like it when Minnie kisses Mickey, and little red hearts go pop-pop-pop in the air.” How can you resist a guy like that? \u003c/p>\n\u003cp>Dedicated local programmer Amelia Antonucci has assembled five—count ‘em, five—of Mastroianni’s finest performances this Saturday, Sept. 22 on a bill she calls, naturally, \u003ca href=\"http://www.cinemaitaliasf.com\" rel=\"noopener\" target=\"_blank\">Ciao, Marcello! An Homage to Marcello Mastroianni\u003c/a>. Vittorio De Sica’s smart, sexy \u003cem>Yesterday, Today and Tomorrow\u003c/em> (1963), co-starring a wonderful Sophia Loren, raises the Castro curtain, and Pietro Germi’s biting 1961 farce \u003cem>Divorce Italian Style\u003c/em> brings it down.\u003c/p>\n\u003cp>Fellini and Mastroianni’s ambitious masterworks, \u003cem>8½\u003c/em> (1963) and \u003cem>La Dolce Vita\u003c/em> (1960), get the big-screen treatment they demand and deserve. Sandwiched in between is Ettore Scola’s intimate and moving \u003cem>A Special Day\u003c/em> (1977), set in fascist Italy and featuring Mastroianni as a melancholy homosexual who bonds with a conservative housewife (Loren, in top form). Pure pleasure, start to finish.\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/13841011/now-playing-the-great-mastroianni-pops-hearts-at-the-castro",
"authors": [
"22"
],
"categories": [
"arts_74"
],
"tags": [
"arts_3670",
"arts_1118",
"arts_1006",
"arts_596"
],
"featImg": "arts_13841027",
"label": "arts"
},
"arts_13840702": {
"type": "posts",
"id": "arts_13840702",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13840702",
"score": null,
"sort": [
1536789602000
]
},
"guestAuthors": [],
"slug": "love-gilda-a-new-documentary-remembers-snls-not-so-secret-weapon",
"title": "'Love, Gilda': A New Documentary Remembers SNL's Not-So-Secret Weapon",
"publishDate": 1536789602,
"format": "image",
"headTitle": "‘Love, Gilda’: A New Documentary Remembers SNL’s Not-So-Secret Weapon | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">D\u003c/span>o you have a foolproof video that always makes you laugh? A TV or movie clip that, no matter what particular brand of despair filled your day—the fear and anxiety of daily headlines, work frustrations or relationship troubles—can at the very least get you to smile?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13839927\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/EmmaSilvers.HeadshotwCap-160x193.jpg\" alt=\"\" width=\"160\" height=\"193\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/EmmaSilvers.HeadshotwCap-160x193.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/EmmaSilvers.HeadshotwCap.jpg 180w\" sizes=\"auto, (max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>There’s a handful of media that I regularly employ in such a medicinal fashion, but my No. 1 has held steady for years now. It’s \u003ca href=\"https://www.nbc.com/saturday-night-live/video/extremely-stupid/n8642\" target=\"_blank\" rel=\"noopener noreferrer\">a skit that ran on \u003cem>Saturday Night Live\u003c/em> in December 1976\u003c/a>, during the 10th episode of the second season. Candice Bergen hosted; Frank Zappa was the musical guest.\u003c/p>\n\u003cp>The sketch is a fake commercial, a public service announcement for the stupidity-rights movement, featuring Bergen and Gilda Radner. The premise is, appropriately, extremely stupid, and would likely have only been moderately funny if things had gone according to script. But then magic happens: Bergen flubs a line, and Radner runs with it in such a simple yet hilarious way that the studio audience erupts with laughter and, simultaneously, Bergen breaks. Straight-up loses it. I’m talking slumber party, wipe-your-eyes, pee-your-pants style giggle fit, which the viewer gets to watch over Radner’s right shoulder for the duration of the sketch.\u003c/p>\n\u003cp>This sketch is \u003cem>so dumb\u003c/em>, but I love it. I love the face Radner makes as she’s deciding to deliver the ad-libbed line that sends the thing over the top; I love seeing a seasoned actress rendered helpless by laughter. But there’s also something that’s just perfectly-distilled \u003cem>Gilda\u003c/em> here: open, silly, contagious joy. It feels like an old friend making you laugh, finding your weak spot and doubling down on it, trying to make milk shoot out of your nose. I wish this skit lasted 10 minutes longer.\u003c/p>\n\u003cp>I wish we got even 10 more minutes of Gilda in general.\u003c/p>\n\u003cfigure id=\"attachment_13840709\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840709\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/5-800x803.jpg\" alt=\"Gilda Radner in 'Love, Gilda.'\" width=\"800\" height=\"803\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-800x803.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-160x161.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-768x771.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-1020x1024.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-1195x1200.jpg 1195w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-1180x1185.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-960x964.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-240x241.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-375x377.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-520x522.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-150x150.jpg 150w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gilda Radner in ‘Love, Gilda.’ \u003ccite>(Courtesy Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">“T\u003c/span>here’s truly a timeless, universal quality to what she did. Amy Poehler said she thinks of Gilda as a red-blue state: loved by all,” says Lisa D’Apolito, the director of \u003cem>Love, Gilda\u003c/em>, a new documentary about the late comedian that hits theaters Sept. 21. (It had its world premiere as the opening film at New York’s Tribeca Film Festival in April, with an emotional introduction from Tina Fey.)\u003c/p>\n\u003cp>“She just enjoyed performing \u003cem>so much\u003c/em>,” says D’Apolito of Radner. “And she obviously had an acute sense of character, but physical comedy was always part of it. The way she uses her body—even if you didn’t understand the language she was speaking, I think you could just watch Gilda and laugh.”\u003c/p>\n\u003cp>“Just watch Gilda and laugh” is, fittingly, what most \u003cem>Love, Gilda\u003c/em> viewers will leave the theater wanting to do, so prepare to lose at least an hour or two afterward in a YouTube rabbit hole, revisiting beloved characters like Emily Litella, Roseanne Roseannadanna and Lisa Loopner. But casual fans of the comedian—who died tragically at 42, of ovarian cancer—will also gain insight on lesser-known aspects of her life; the documentary isn’t shy about her demons.\u003c/p>\n\u003cfigure id=\"attachment_13840744\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840744\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-800x808.jpg\" alt=\"Tom Schiller, Gilda Radner, John Belushi, Dan Akroyd and Jane Curtin in 'Love, Gilda.'\" width=\"800\" height=\"808\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-800x808.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-160x162.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-768x776.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-1020x1031.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-1188x1200.jpg 1188w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-1180x1192.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-960x970.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-240x242.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-375x379.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-520x525.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup.jpg 1544w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tom Schiller, Gilda Radner, John Belushi, Dan Akroyd and Jane Curtin in ‘Love, Gilda.’ \u003ccite>(Courtesy Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Born into an upper-middle-class Jewish family in Detroit, Radner was a happy but chubby kid; her parents put her on diet pills while she was still in elementary school. Meanwhile, she honed a self-deprecating sense of humor as a way to debarb insults from other children, and grew to crave the feeling of love that came with making people laugh. Then Radner’s father, her most enthusiastic audience, died when she was 14. In context, her deep insecurities (even at the height of her fame) and her ongoing battle with bulimia as an adult (diary entries from her stay at an eating disorder clinic are particularly tough to hear) snap into painfully sharp focus.\u003c/p>\n\u003cp>D’Apolito earned the trust of Radner’s brother, as well as ex-husband Gene Wilder and other close friends over the course of the four-year filmmaking process, gaining access to previously unreleased material, and the film feels both intimate and protective of Radner’s legacy as a result. To be sure, it’s fun to see Amy Poehler, Melissa McCarthy, Bill Hader and other current comics voice their awe about Radner, while onetime colleagues like Lorne Michaels and Martin Short get the chance to reminisce. The doc touches on the comedian’s romantic relationships, including marriages to \u003cem>SNL\u003c/em> bandleader G.E. Smith and, of course, to Wilder. (Bill Murray, who had a two-year, deep but reportedly tumultuous relationship with Radner, didn’t respond to the filmmaker’s requests for an interview.)\u003c/p>\n\u003cp>But it’s the primary sources that make \u003cem>Love, Gilda\u003c/em> hit you in the chest. Using home movies, diaries, and a series of audiotapes the comedian recorded in the process of writing her memoir \u003cem>It’s Always Something\u003c/em>, the film smartly allows Radner to narrate her own story, in her own voice, wherever possible.\u003c/p>\n\u003cfigure id=\"attachment_13840708\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840708\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/3-800x254.jpg\" alt=\"Gilda Radner in 'Love, Gilda.'\" width=\"800\" height=\"254\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3-800x254.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3-160x51.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3-768x244.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3-1020x324.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3-1200x381.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3-1180x375.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3-960x305.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3-240x76.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3-375x119.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3-520x165.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gilda Radner in ‘Love, Gilda.’ \u003ccite>(Courtesy Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s in these journals that we get closest to understanding a central tension for Radner: that of a natural star who got blindsided by the realities of actual stardom. The first person cast in the “Not Ready For Primetime Players”—the freshman group of comedians on \u003cem>SNL\u003c/em> in 1975 that included Chevy Chase, John Belushi and Dan Aykroyd—Radner was in many ways an archetypal \u003ca href=\"https://www.buzzfeed.com/annehelenpetersen/jennifer-lawrence-and-the-history-of-cool-girls\" target=\"_blank\" rel=\"noopener noreferrer\">Cool Girl\u003c/a>. She could hold her own with literally the best of them; there was an innocence about her, but she also loved to get gross, tell fart jokes; she could play kids or old ladies and anything in between. She was always having fun—explosive, fully committed fun—and she didn’t mind \u003ca href=\"http://fuckyeahgildaradner.tumblr.com/post/67929609392/jagweedish-deactivated20140427-gilda-radner\" target=\"_blank\" rel=\"noopener noreferrer\">if it came with a few bruised ribs\u003c/a>.\u003c/p>\n\u003cp>By the end of the show’s first season, viewers across America had fallen in love with her. And just like that, she could barely leave the house without a disguise.\u003c/p>\n\u003cp>“I think she saw life as a playground, and she loved to go out and play,” says D’Apolito. “But once she started to become famous she couldn’t go out, and I think that’s when the eating disorder got worse … her friends told me she liked getting her makeup done for magazines, but she definitely wasn’t after fame.”\u003c/p>\n\u003cp>What does it mean, exactly, to love an audience but dislike being famous? What do you owe your fans, if anything? And how much heavier are those questions when you’re a young woman whom nearly everyone, myself included, has subconsciously come to think of as a friend?\u003c/p>\n\u003cfigure id=\"attachment_13840712\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840712\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/12-800x543.jpg\" alt=\"Gilda Radner with Gene Wilder and dog Sparkle in 'Love, Gilda.'\" width=\"800\" height=\"543\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12-800x543.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12-768x521.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12-1020x692.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12-1200x814.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12-1180x801.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12-960x652.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12-240x163.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12-375x254.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12-520x353.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gilda Radner with Gene Wilder and dog Sparkle in ‘Love, Gilda.’ \u003ccite>(Courtesy Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>t’d be ridiculous to attempt to list the performers, male and female, who owe Gilda Radner a debt in some way. Mike Myers has said she’s the reason he wanted to be on \u003cem>SNL\u003c/em>. Personally, I can’t watch Maya Rudolph, Kate McKinnon, \u003cem>Broad City\u003c/em>, Ali Wong, Jenny Slate—the list goes on—without seeing sparks of Gilda’s electricity.\u003c/p>\n\u003cp>With the whole doc clocking in at just 86 minutes, \u003cem>Love, Gilda\u003c/em> doesn’t have time to fully map that lineage either. The final half-hour feels a bit rushed, covering Radner’s life in Los Angeles, grief over a miscarriage, diagnosis with ovarian cancer, and discovery of the Wellness Community, a cancer support organization that later inspired Wilder to found Gilda’s Club in his wife’s honor. (The two organizations have since merged.)\u003c/p>\n\u003cp>But for those of us who are still in love with her, it might also be true that even a five-hour film wouldn’t feel sufficient.\u003c/p>\n\u003cp>“When I first started trying to drum up support for the film, I was hearing concern about whether there would be enough interest in her—I think especially among younger viewers, who might not know who she is,” says D’Apolito. But D’Apolito had worked with Gilda’s Club; she knew exactly how much Radner meant to clients there. And since the film first premiered she’s held screenings in select cities—when we talk, she’s just hosted San Diego’s the night before—and “every time, there are 20 or 25 people who wait to just tell me ‘thank you’ after. They’re \u003cem>grateful\u003c/em> for her.”\u003c/p>\n\u003cfigure id=\"attachment_13840742\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840742\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/GildaWriting-800x537.jpg\" alt=\"Gilda Radner in 'Love, Gilda.'\" width=\"800\" height=\"537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting-1020x684.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting-1200x805.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting-1180x792.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting-960x644.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting-375x252.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting-520x349.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gilda Radner in ‘Love, Gilda.’ \u003ccite>(Courtesy Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gilda Radner died on the afternoon of May 20, 1989, which also happened to be a Saturday, a few hours before the finale of \u003cem>SNL\u003c/em>’s 14th season. The news broke as host Steve Martin was rehearsing; the cast and crew were understandably devastated—apparently few of them were aware of how ill she’d been—and the decision was made to scrap the intro monologue.\u003c/p>\n\u003cp>Instead, visibly choked up, Martin introduces a \u003ca href=\"http://classicajays.tumblr.com/post/7734859743/so-here-it-is-everyone-the-steve-martin-monologue\" target=\"_blank\" rel=\"noopener noreferrer\">clip of a sketch he performed with her on the show in 1978\u003c/a>. It’s entirely wordless: a musical number in which the pair, dressed in white, both obviously masters of physical comedy, swerve between attempts at sensual ballroom dancing and goofy, hysterical, limb-swinging freakouts—all culminating in Radner climbing back into her chair at a dinner table in, and I don’t know how else to phrase this, the funniest way anyone has ever tried to segue from dancing into sitting back down at a dinner table in the history of time.\u003c/p>\n\u003cp>The sketch was apparently parodying a well-known routine from a Fred Astaire movie, but I didn’t know that the first few times I saw it. All I knew was that it made me laugh like crazy, and that it, too, was top-shelf, quadruple-distilled Gilda. Which is to say, joyful. Game for anything. Sweet beyond belief, but cut with the signs of an absolute maniac. And perfectly, imperfectly human.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Love, Gilda’ opens nationally Sept. 21.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Emma Silvers is a writer living in San Francisco. Find her on Twitter \u003ca href=\"https://twitter.com/emmaruthless\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
"blocks": [],
"excerpt": "Gilda Radner made us laugh like crazy—she was sweet beyond belief, but cut with the signs of an absolute maniac, and perfectly, imperfectly human.",
"status": "publish",
"parent": 0,
"modified": 1777306422,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 28,
"wordCount": 1786
},
"headData": {
"title": "'Love, Gilda': A New Documentary Remembers SNL's Not-So-Secret Weapon | KQED",
"description": "Gilda Radner made us laugh like crazy—she was sweet beyond belief, but cut with the signs of an absolute maniac, and perfectly, imperfectly human.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Love, Gilda': A New Documentary Remembers SNL's Not-So-Secret Weapon",
"datePublished": "2018-09-12T15:00:02-07:00",
"dateModified": "2026-04-27T09:13:42-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 968,
"slug": "comedy",
"name": "Comedy"
},
"sticky": false,
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13840702/love-gilda-a-new-documentary-remembers-snls-not-so-secret-weapon",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">D\u003c/span>o you have a foolproof video that always makes you laugh? A TV or movie clip that, no matter what particular brand of despair filled your day—the fear and anxiety of daily headlines, work frustrations or relationship troubles—can at the very least get you to smile?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13839927\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/EmmaSilvers.HeadshotwCap-160x193.jpg\" alt=\"\" width=\"160\" height=\"193\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/EmmaSilvers.HeadshotwCap-160x193.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/EmmaSilvers.HeadshotwCap.jpg 180w\" sizes=\"auto, (max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>There’s a handful of media that I regularly employ in such a medicinal fashion, but my No. 1 has held steady for years now. It’s \u003ca href=\"https://www.nbc.com/saturday-night-live/video/extremely-stupid/n8642\" target=\"_blank\" rel=\"noopener noreferrer\">a skit that ran on \u003cem>Saturday Night Live\u003c/em> in December 1976\u003c/a>, during the 10th episode of the second season. Candice Bergen hosted; Frank Zappa was the musical guest.\u003c/p>\n\u003cp>The sketch is a fake commercial, a public service announcement for the stupidity-rights movement, featuring Bergen and Gilda Radner. The premise is, appropriately, extremely stupid, and would likely have only been moderately funny if things had gone according to script. But then magic happens: Bergen flubs a line, and Radner runs with it in such a simple yet hilarious way that the studio audience erupts with laughter and, simultaneously, Bergen breaks. Straight-up loses it. I’m talking slumber party, wipe-your-eyes, pee-your-pants style giggle fit, which the viewer gets to watch over Radner’s right shoulder for the duration of the sketch.\u003c/p>\n\u003cp>This sketch is \u003cem>so dumb\u003c/em>, but I love it. I love the face Radner makes as she’s deciding to deliver the ad-libbed line that sends the thing over the top; I love seeing a seasoned actress rendered helpless by laughter. But there’s also something that’s just perfectly-distilled \u003cem>Gilda\u003c/em> here: open, silly, contagious joy. It feels like an old friend making you laugh, finding your weak spot and doubling down on it, trying to make milk shoot out of your nose. I wish this skit lasted 10 minutes longer.\u003c/p>\n\u003cp>I wish we got even 10 more minutes of Gilda in general.\u003c/p>\n\u003cfigure id=\"attachment_13840709\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840709\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/5-800x803.jpg\" alt=\"Gilda Radner in 'Love, Gilda.'\" width=\"800\" height=\"803\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-800x803.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-160x161.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-768x771.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-1020x1024.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-1195x1200.jpg 1195w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-1180x1185.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-960x964.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-240x241.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-375x377.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-520x522.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-150x150.jpg 150w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gilda Radner in ‘Love, Gilda.’ \u003ccite>(Courtesy Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">“T\u003c/span>here’s truly a timeless, universal quality to what she did. Amy Poehler said she thinks of Gilda as a red-blue state: loved by all,” says Lisa D’Apolito, the director of \u003cem>Love, Gilda\u003c/em>, a new documentary about the late comedian that hits theaters Sept. 21. (It had its world premiere as the opening film at New York’s Tribeca Film Festival in April, with an emotional introduction from Tina Fey.)\u003c/p>\n\u003cp>“She just enjoyed performing \u003cem>so much\u003c/em>,” says D’Apolito of Radner. “And she obviously had an acute sense of character, but physical comedy was always part of it. The way she uses her body—even if you didn’t understand the language she was speaking, I think you could just watch Gilda and laugh.”\u003c/p>\n\u003cp>“Just watch Gilda and laugh” is, fittingly, what most \u003cem>Love, Gilda\u003c/em> viewers will leave the theater wanting to do, so prepare to lose at least an hour or two afterward in a YouTube rabbit hole, revisiting beloved characters like Emily Litella, Roseanne Roseannadanna and Lisa Loopner. But casual fans of the comedian—who died tragically at 42, of ovarian cancer—will also gain insight on lesser-known aspects of her life; the documentary isn’t shy about her demons.\u003c/p>\n\u003cfigure id=\"attachment_13840744\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840744\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-800x808.jpg\" alt=\"Tom Schiller, Gilda Radner, John Belushi, Dan Akroyd and Jane Curtin in 'Love, Gilda.'\" width=\"800\" height=\"808\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-800x808.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-160x162.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-768x776.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-1020x1031.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-1188x1200.jpg 1188w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-1180x1192.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-960x970.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-240x242.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-375x379.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-520x525.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup.jpg 1544w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tom Schiller, Gilda Radner, John Belushi, Dan Akroyd and Jane Curtin in ‘Love, Gilda.’ \u003ccite>(Courtesy Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Born into an upper-middle-class Jewish family in Detroit, Radner was a happy but chubby kid; her parents put her on diet pills while she was still in elementary school. Meanwhile, she honed a self-deprecating sense of humor as a way to debarb insults from other children, and grew to crave the feeling of love that came with making people laugh. Then Radner’s father, her most enthusiastic audience, died when she was 14. In context, her deep insecurities (even at the height of her fame) and her ongoing battle with bulimia as an adult (diary entries from her stay at an eating disorder clinic are particularly tough to hear) snap into painfully sharp focus.\u003c/p>\n\u003cp>D’Apolito earned the trust of Radner’s brother, as well as ex-husband Gene Wilder and other close friends over the course of the four-year filmmaking process, gaining access to previously unreleased material, and the film feels both intimate and protective of Radner’s legacy as a result. To be sure, it’s fun to see Amy Poehler, Melissa McCarthy, Bill Hader and other current comics voice their awe about Radner, while onetime colleagues like Lorne Michaels and Martin Short get the chance to reminisce. The doc touches on the comedian’s romantic relationships, including marriages to \u003cem>SNL\u003c/em> bandleader G.E. Smith and, of course, to Wilder. (Bill Murray, who had a two-year, deep but reportedly tumultuous relationship with Radner, didn’t respond to the filmmaker’s requests for an interview.)\u003c/p>\n\u003cp>But it’s the primary sources that make \u003cem>Love, Gilda\u003c/em> hit you in the chest. Using home movies, diaries, and a series of audiotapes the comedian recorded in the process of writing her memoir \u003cem>It’s Always Something\u003c/em>, the film smartly allows Radner to narrate her own story, in her own voice, wherever possible.\u003c/p>\n\u003cfigure id=\"attachment_13840708\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840708\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/3-800x254.jpg\" alt=\"Gilda Radner in 'Love, Gilda.'\" width=\"800\" height=\"254\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3-800x254.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3-160x51.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3-768x244.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3-1020x324.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3-1200x381.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3-1180x375.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3-960x305.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3-240x76.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3-375x119.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3-520x165.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gilda Radner in ‘Love, Gilda.’ \u003ccite>(Courtesy Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s in these journals that we get closest to understanding a central tension for Radner: that of a natural star who got blindsided by the realities of actual stardom. The first person cast in the “Not Ready For Primetime Players”—the freshman group of comedians on \u003cem>SNL\u003c/em> in 1975 that included Chevy Chase, John Belushi and Dan Aykroyd—Radner was in many ways an archetypal \u003ca href=\"https://www.buzzfeed.com/annehelenpetersen/jennifer-lawrence-and-the-history-of-cool-girls\" target=\"_blank\" rel=\"noopener noreferrer\">Cool Girl\u003c/a>. She could hold her own with literally the best of them; there was an innocence about her, but she also loved to get gross, tell fart jokes; she could play kids or old ladies and anything in between. She was always having fun—explosive, fully committed fun—and she didn’t mind \u003ca href=\"http://fuckyeahgildaradner.tumblr.com/post/67929609392/jagweedish-deactivated20140427-gilda-radner\" target=\"_blank\" rel=\"noopener noreferrer\">if it came with a few bruised ribs\u003c/a>.\u003c/p>\n\u003cp>By the end of the show’s first season, viewers across America had fallen in love with her. And just like that, she could barely leave the house without a disguise.\u003c/p>\n\u003cp>“I think she saw life as a playground, and she loved to go out and play,” says D’Apolito. “But once she started to become famous she couldn’t go out, and I think that’s when the eating disorder got worse … her friends told me she liked getting her makeup done for magazines, but she definitely wasn’t after fame.”\u003c/p>\n\u003cp>What does it mean, exactly, to love an audience but dislike being famous? What do you owe your fans, if anything? And how much heavier are those questions when you’re a young woman whom nearly everyone, myself included, has subconsciously come to think of as a friend?\u003c/p>\n\u003cfigure id=\"attachment_13840712\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840712\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/12-800x543.jpg\" alt=\"Gilda Radner with Gene Wilder and dog Sparkle in 'Love, Gilda.'\" width=\"800\" height=\"543\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12-800x543.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12-768x521.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12-1020x692.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12-1200x814.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12-1180x801.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12-960x652.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12-240x163.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12-375x254.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12-520x353.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gilda Radner with Gene Wilder and dog Sparkle in ‘Love, Gilda.’ \u003ccite>(Courtesy Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>t’d be ridiculous to attempt to list the performers, male and female, who owe Gilda Radner a debt in some way. Mike Myers has said she’s the reason he wanted to be on \u003cem>SNL\u003c/em>. Personally, I can’t watch Maya Rudolph, Kate McKinnon, \u003cem>Broad City\u003c/em>, Ali Wong, Jenny Slate—the list goes on—without seeing sparks of Gilda’s electricity.\u003c/p>\n\u003cp>With the whole doc clocking in at just 86 minutes, \u003cem>Love, Gilda\u003c/em> doesn’t have time to fully map that lineage either. The final half-hour feels a bit rushed, covering Radner’s life in Los Angeles, grief over a miscarriage, diagnosis with ovarian cancer, and discovery of the Wellness Community, a cancer support organization that later inspired Wilder to found Gilda’s Club in his wife’s honor. (The two organizations have since merged.)\u003c/p>\n\u003cp>But for those of us who are still in love with her, it might also be true that even a five-hour film wouldn’t feel sufficient.\u003c/p>\n\u003cp>“When I first started trying to drum up support for the film, I was hearing concern about whether there would be enough interest in her—I think especially among younger viewers, who might not know who she is,” says D’Apolito. But D’Apolito had worked with Gilda’s Club; she knew exactly how much Radner meant to clients there. And since the film first premiered she’s held screenings in select cities—when we talk, she’s just hosted San Diego’s the night before—and “every time, there are 20 or 25 people who wait to just tell me ‘thank you’ after. They’re \u003cem>grateful\u003c/em> for her.”\u003c/p>\n\u003cfigure id=\"attachment_13840742\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840742\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/GildaWriting-800x537.jpg\" alt=\"Gilda Radner in 'Love, Gilda.'\" width=\"800\" height=\"537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting-1020x684.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting-1200x805.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting-1180x792.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting-960x644.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting-375x252.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting-520x349.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gilda Radner in ‘Love, Gilda.’ \u003ccite>(Courtesy Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gilda Radner died on the afternoon of May 20, 1989, which also happened to be a Saturday, a few hours before the finale of \u003cem>SNL\u003c/em>’s 14th season. The news broke as host Steve Martin was rehearsing; the cast and crew were understandably devastated—apparently few of them were aware of how ill she’d been—and the decision was made to scrap the intro monologue.\u003c/p>\n\u003cp>Instead, visibly choked up, Martin introduces a \u003ca href=\"http://classicajays.tumblr.com/post/7734859743/so-here-it-is-everyone-the-steve-martin-monologue\" target=\"_blank\" rel=\"noopener noreferrer\">clip of a sketch he performed with her on the show in 1978\u003c/a>. It’s entirely wordless: a musical number in which the pair, dressed in white, both obviously masters of physical comedy, swerve between attempts at sensual ballroom dancing and goofy, hysterical, limb-swinging freakouts—all culminating in Radner climbing back into her chair at a dinner table in, and I don’t know how else to phrase this, the funniest way anyone has ever tried to segue from dancing into sitting back down at a dinner table in the history of time.\u003c/p>\n\u003cp>The sketch was apparently parodying a well-known routine from a Fred Astaire movie, but I didn’t know that the first few times I saw it. All I knew was that it made me laugh like crazy, and that it, too, was top-shelf, quadruple-distilled Gilda. Which is to say, joyful. Game for anything. Sweet beyond belief, but cut with the signs of an absolute maniac. And perfectly, imperfectly human.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Love, Gilda’ opens nationally Sept. 21.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Emma Silvers is a writer living in San Francisco. Find her on Twitter \u003ca href=\"https://twitter.com/emmaruthless\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\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/13840702/love-gilda-a-new-documentary-remembers-snls-not-so-secret-weapon",
"authors": [
"7237"
],
"categories": [
"arts_968",
"arts_2303",
"arts_74",
"arts_990"
],
"tags": [
"arts_2767",
"arts_1118",
"arts_596",
"arts_9247"
],
"featImg": "arts_13840741",
"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": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?category=movies": {
"isFetching": false,
"latestQuery": {
"from": 1500,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 3243,
"relation": "eq"
},
"items": [
"arts_13842424",
"arts_13842267",
"arts_13842237",
"arts_13842147",
"arts_13842100",
"arts_13841924",
"arts_13841813",
"arts_13841478",
"arts_13841340",
"arts_13841205",
"arts_13841011",
"arts_13840702"
],
"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_3500": {
"type": "terms",
"id": "arts_3500",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3500",
"found": true
},
"relationships": {},
"featImg": "https://ww2.kqed.org/app/uploads/sites/2/2017/12/MosesFinal.jpg",
"name": "Behind the Lens",
"description": "\u003cstrong>\u003cem>Behind the Lens\u003c/em>\u003c/strong> is a KQED Arts web video series featuring up and coming Bay Area documentary and narrative filmmakers, committed to telling compelling stories about our communities and their aspirations.",
"taxonomy": "series",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": "Behind the Lens is a KQED Arts web video series featuring up and coming Bay Area documentary and narrative filmmakers, committed to telling compelling stories about our communities and their aspirations.",
"title": "Behind the Lens Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3512,
"slug": "behind-the-lens",
"isLoading": false,
"link": "/arts/series/behind-the-lens"
},
"arts_22352": {
"type": "terms",
"id": "arts_22352",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22352",
"found": true
},
"relationships": {},
"name": "Immigration",
"slug": "immigration",
"taxonomy": "category",
"description": null,
"featImg": null,
"headData": {
"title": "Immigration | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22364,
"isLoading": false,
"link": "/arts/category/immigration"
},
"arts_2771": {
"type": "terms",
"id": "arts_2771",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2771",
"found": true
},
"relationships": {},
"featImg": null,
"name": "behind the lens",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "behind the lens Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2783,
"slug": "behind-the-lens",
"isLoading": false,
"link": "/arts/tag/behind-the-lens"
},
"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_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_3852": {
"type": "terms",
"id": "arts_3852",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3852",
"found": true
},
"relationships": {},
"featImg": null,
"name": "filmmaking",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "filmmaking Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3864,
"slug": "filmmaking",
"isLoading": false,
"link": "/arts/tag/filmmaking"
},
"arts_1773": {
"type": "terms",
"id": "arts_1773",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1773",
"found": true
},
"relationships": {},
"featImg": null,
"name": "immigration",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "immigration Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1785,
"slug": "immigration",
"isLoading": false,
"link": "/arts/tag/immigration"
},
"arts_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_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_1007": {
"type": "terms",
"id": "arts_1007",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1007",
"found": true
},
"relationships": {},
"featImg": null,
"name": "video",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "video Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1024,
"slug": "video",
"isLoading": false,
"link": "/arts/tag/video"
},
"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_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_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_1690": {
"type": "terms",
"id": "arts_1690",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1690",
"found": true
},
"relationships": {},
"featImg": null,
"name": "now playing",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "now playing Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1702,
"slug": "now-playing",
"isLoading": false,
"link": "/arts/tag/now-playing"
},
"arts_769": {
"type": "terms",
"id": "arts_769",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "769",
"found": true
},
"relationships": {},
"featImg": null,
"name": "review",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "review Archives | KQED Arts",
"ogDescription": null
},
"ttid": 787,
"slug": "review",
"isLoading": false,
"link": "/arts/tag/review"
},
"arts_137": {
"type": "terms",
"id": "arts_137",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "137",
"found": true
},
"relationships": {},
"featImg": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/logo-npr-lg1.png",
"name": "NPR",
"description": null,
"taxonomy": "affiliate",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "NPR Archives | KQED Arts",
"ogDescription": null
},
"ttid": 138,
"slug": "npr",
"isLoading": false,
"link": "/arts/affiliate/npr"
},
"arts_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_1252": {
"type": "terms",
"id": "arts_1252",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1252",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Brava Theater",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Brava Theater Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1264,
"slug": "brava-theater",
"isLoading": false,
"link": "/arts/tag/brava-theater"
},
"arts_5710": {
"type": "terms",
"id": "arts_5710",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5710",
"found": true
},
"relationships": {},
"featImg": null,
"name": "sf dance film festival",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "sf dance film festival Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5722,
"slug": "sf-dance-film-festival",
"isLoading": false,
"link": "/arts/tag/sf-dance-film-festival"
},
"arts_3772": {
"type": "terms",
"id": "arts_3772",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3772",
"found": true
},
"relationships": {},
"name": "SFFILM",
"slug": "sffilm",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "SFFILM | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 3784,
"isLoading": false,
"link": "/arts/tag/sffilm"
},
"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_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_2225": {
"type": "terms",
"id": "arts_2225",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2225",
"found": true
},
"relationships": {},
"featImg": null,
"name": "di Rosa",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "di Rosa Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2237,
"slug": "di-rosa",
"isLoading": false,
"link": "/arts/tag/di-rosa"
},
"arts_5849": {
"type": "terms",
"id": "arts_5849",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5849",
"found": true
},
"relationships": {},
"featImg": null,
"name": "long",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "long Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5861,
"slug": "long",
"isLoading": false,
"link": "/arts/tag/long"
},
"arts_3992": {
"type": "terms",
"id": "arts_3992",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3992",
"found": true
},
"relationships": {},
"featImg": null,
"name": "SFAI",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "SFAI Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4004,
"slug": "sfai",
"isLoading": false,
"link": "/arts/tag/sfai"
},
"arts_1040": {
"type": "terms",
"id": "arts_1040",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1040",
"found": true
},
"relationships": {},
"featImg": null,
"name": "YBCA",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "YBCA Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1057,
"slug": "ybca",
"isLoading": false,
"link": "/arts/tag/ybca"
},
"arts_3670": {
"type": "terms",
"id": "arts_3670",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3670",
"found": true
},
"relationships": {},
"featImg": null,
"name": "castro theater",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "castro theater Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3682,
"slug": "castro-theater",
"isLoading": false,
"link": "/arts/tag/castro-theater"
},
"arts_968": {
"type": "terms",
"id": "arts_968",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "968",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Comedy",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Comedy Archives | KQED Arts",
"ogDescription": null
},
"ttid": 986,
"slug": "comedy",
"isLoading": false,
"link": "/arts/category/comedy"
},
"arts_2303": {
"type": "terms",
"id": "arts_2303",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2303",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Commentary",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Commentary Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2315,
"slug": "commentary",
"isLoading": false,
"link": "/arts/category/commentary"
},
"arts_990": {
"type": "terms",
"id": "arts_990",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "990",
"found": true
},
"relationships": {},
"featImg": null,
"name": "TV",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "TV Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1008,
"slug": "tv",
"isLoading": false,
"link": "/arts/category/tv"
},
"arts_2767": {
"type": "terms",
"id": "arts_2767",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2767",
"found": true
},
"relationships": {},
"featImg": null,
"name": "commentary",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "commentary Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2779,
"slug": "commentary",
"isLoading": false,
"link": "/arts/tag/commentary"
},
"arts_9247": {
"type": "terms",
"id": "arts_9247",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "9247",
"found": true
},
"relationships": {},
"featImg": null,
"name": "SNL",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "SNL Archives | KQED Arts",
"ogDescription": null
},
"ttid": 9259,
"slug": "snl",
"isLoading": false,
"link": "/arts/tag/snl"
}
},
"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
}
}
