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_13843849": {
"type": "attachments",
"id": "arts_13843849",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13843849",
"found": true
},
"parent": 13843831,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/TheFilmmaker_PressPhoto1-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/TheFilmmaker_PressPhoto1-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/TheFilmmaker_PressPhoto1-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/TheFilmmaker_PressPhoto1-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/TheFilmmaker_PressPhoto1-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/TheFilmmaker_PressPhoto1-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/TheFilmmaker_PressPhoto1.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/TheFilmmaker_PressPhoto1-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/TheFilmmaker_PressPhoto1-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/TheFilmmaker_PressPhoto1-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/TheFilmmaker_PressPhoto1-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/TheFilmmaker_PressPhoto1-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/TheFilmmaker_PressPhoto1-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/TheFilmmaker_PressPhoto1-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/TheFilmmaker_PressPhoto1-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/TheFilmmaker_PressPhoto1-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/TheFilmmaker_PressPhoto1-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/TheFilmmaker_PressPhoto1-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/TheFilmmaker_PressPhoto1-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/TheFilmmaker_PressPhoto1-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/TheFilmmaker_PressPhoto1-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/TheFilmmaker_PressPhoto1-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1540842322,
"modified": 1540842440,
"caption": "'The Filmmaker' opens in San Francisco on Nov. 2.",
"description": "'The Filmmaker' opens in San Francisco on Nov. 2.",
"title": "TheFilmmaker_PressPhoto1",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13843562": {
"type": "attachments",
"id": "arts_13843562",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13843562",
"found": true
},
"parent": 13843512,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/Wildlife_185_Still02001420_COVER-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/Wildlife_185_Still02001420_COVER-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/Wildlife_185_Still02001420_COVER-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/Wildlife_185_Still02001420_COVER-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/Wildlife_185_Still02001420_COVER-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/Wildlife_185_Still02001420_COVER-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/Wildlife_185_Still02001420_COVER.jpg",
"width": 1153,
"height": 649
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/Wildlife_185_Still02001420_COVER-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/Wildlife_185_Still02001420_COVER-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/Wildlife_185_Still02001420_COVER-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/Wildlife_185_Still02001420_COVER-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/Wildlife_185_Still02001420_COVER-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/Wildlife_185_Still02001420_COVER-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/Wildlife_185_Still02001420_COVER-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/Wildlife_185_Still02001420_COVER-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/Wildlife_185_Still02001420_COVER-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/Wildlife_185_Still02001420_COVER-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1540512785,
"modified": 1540512819,
"caption": "Carey Mulligan as Jeanette Brinson in Paul Dano’s ‘Wildlife.'",
"description": "Carey Mulligan as Jeanette Brinson in Paul Dano’s ‘Wildlife.'",
"title": "Wildlife_185_Still02001420_COVER",
"credit": "IFC Films",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13844962": {
"type": "attachments",
"id": "arts_13844962",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13844962",
"found": true
},
"parent": 13843368,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/ROUS_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/ROUS_BTL_Thumbnail-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/ROUS_BTL_Thumbnail-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/ROUS_BTL_Thumbnail-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/ROUS_BTL_Thumbnail-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/ROUS_BTL_Thumbnail-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/ROUS_BTL_Thumbnail.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/ROUS_BTL_Thumbnail-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/ROUS_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/ROUS_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/ROUS_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/ROUS_BTL_Thumbnail-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/ROUS_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/ROUS_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/ROUS_BTL_Thumbnail-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/ROUS_BTL_Thumbnail-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/ROUS_BTL_Thumbnail-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/ROUS_BTL_Thumbnail-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/ROUS_BTL_Thumbnail-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/ROUS_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/ROUS_BTL_Thumbnail-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/ROUS_BTL_Thumbnail-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1542246742,
"modified": 1542246742,
"caption": null,
"description": null,
"title": "ROUS_BTL_Thumbnail",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13843340": {
"type": "attachments",
"id": "arts_13843340",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13843340",
"found": true
},
"parent": 13843339,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/dsc3393_custom-26d1bdce068c8444695e33b91156fa541b98f534-520x346.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 346
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/dsc3393_custom-26d1bdce068c8444695e33b91156fa541b98f534-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/dsc3393_custom-26d1bdce068c8444695e33b91156fa541b98f534-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/dsc3393_custom-26d1bdce068c8444695e33b91156fa541b98f534-960x639.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 639
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/dsc3393_custom-26d1bdce068c8444695e33b91156fa541b98f534-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/dsc3393_custom-26d1bdce068c8444695e33b91156fa541b98f534-375x250.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 250
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/dsc3393_custom-26d1bdce068c8444695e33b91156fa541b98f534-e1540318127806.jpg",
"width": 1920,
"height": 1279
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/dsc3393_custom-26d1bdce068c8444695e33b91156fa541b98f534-1020x679.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 679
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/dsc3393_custom-26d1bdce068c8444695e33b91156fa541b98f534-1180x786.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 786
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/dsc3393_custom-26d1bdce068c8444695e33b91156fa541b98f534-1200x799.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 799
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/dsc3393_custom-26d1bdce068c8444695e33b91156fa541b98f534-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/dsc3393_custom-26d1bdce068c8444695e33b91156fa541b98f534-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/dsc3393_custom-26d1bdce068c8444695e33b91156fa541b98f534-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/dsc3393_custom-26d1bdce068c8444695e33b91156fa541b98f534-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/dsc3393_custom-26d1bdce068c8444695e33b91156fa541b98f534-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/dsc3393_custom-26d1bdce068c8444695e33b91156fa541b98f534-1920x1279.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1279
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/dsc3393_custom-26d1bdce068c8444695e33b91156fa541b98f534-1180x786.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 786
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/dsc3393_custom-26d1bdce068c8444695e33b91156fa541b98f534-1920x1279.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1279
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/dsc3393_custom-26d1bdce068c8444695e33b91156fa541b98f534-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/dsc3393_custom-26d1bdce068c8444695e33b91156fa541b98f534-768x511.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 511
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/dsc3393_custom-26d1bdce068c8444695e33b91156fa541b98f534-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/dsc3393_custom-26d1bdce068c8444695e33b91156fa541b98f534-240x160.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 160
}
},
"publishDate": 1540316309,
"modified": 1540318197,
"caption": "Amandla Stenberg stars as Starr Carter in the film adaptation of Angie Thomas' young adult novel 'The Hate U Give.'",
"description": "Amandla Stenberg stars as Starr Carter in the film adaptation of Angie Thomas' young adult novel 'The Hate U Give.'",
"title": "Amandla Stenberg stars as Starr Carter in the film adaptation of Angie Thomas' young adult novel The Hate U Give.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13843312": {
"type": "attachments",
"id": "arts_13843312",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13843312",
"found": true
},
"parent": 13843306,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/lanm_13-1030x579-520x292.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 292
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/lanm_13-1030x579-1030x576.jpg",
"width": 1030,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/lanm_13-1030x579-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/lanm_13-1030x579-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/lanm_13-1030x579-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/lanm_13-1030x579-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/lanm_13-1030x579.jpg",
"width": 1030,
"height": 579
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/lanm_13-1030x579-1020x573.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 573
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/lanm_13-1030x579-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/lanm_13-1030x579-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/lanm_13-1030x579-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/lanm_13-1030x579-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/lanm_13-1030x579-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/lanm_13-1030x579-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/lanm_13-1030x579-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/lanm_13-1030x579-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/lanm_13-1030x579-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1540247470,
"modified": 1540247882,
"caption": "Regina Williams in 'Life & Nothing More.'",
"description": "Regina Williams in 'Life & Nothing More.'",
"title": "lanm_13-1030x579",
"credit": "Courtesy of CFI",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13843190": {
"type": "attachments",
"id": "arts_13843190",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13843190",
"found": true
},
"parent": 13843189,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/aa68_d023_00164rv42_wide-5cbb8e0de699d9359173546847d54e93515e4f8b-520x292.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 292
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/aa68_d023_00164rv42_wide-5cbb8e0de699d9359173546847d54e93515e4f8b-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/aa68_d023_00164rv42_wide-5cbb8e0de699d9359173546847d54e93515e4f8b-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/aa68_d023_00164rv42_wide-5cbb8e0de699d9359173546847d54e93515e4f8b-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/aa68_d023_00164rv42_wide-5cbb8e0de699d9359173546847d54e93515e4f8b-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/aa68_d023_00164rv42_wide-5cbb8e0de699d9359173546847d54e93515e4f8b-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/aa68_d023_00164rv42_wide-5cbb8e0de699d9359173546847d54e93515e4f8b.jpg",
"width": 2048,
"height": 1152
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/aa68_d023_00164rv42_wide-5cbb8e0de699d9359173546847d54e93515e4f8b-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/aa68_d023_00164rv42_wide-5cbb8e0de699d9359173546847d54e93515e4f8b-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/aa68_d023_00164rv42_wide-5cbb8e0de699d9359173546847d54e93515e4f8b-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/aa68_d023_00164rv42_wide-5cbb8e0de699d9359173546847d54e93515e4f8b-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/aa68_d023_00164rv42_wide-5cbb8e0de699d9359173546847d54e93515e4f8b-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/aa68_d023_00164rv42_wide-5cbb8e0de699d9359173546847d54e93515e4f8b-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/aa68_d023_00164rv42_wide-5cbb8e0de699d9359173546847d54e93515e4f8b-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/aa68_d023_00164rv42_wide-5cbb8e0de699d9359173546847d54e93515e4f8b-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/aa68_d023_00164rv42_wide-5cbb8e0de699d9359173546847d54e93515e4f8b-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/aa68_d023_00164rv42_wide-5cbb8e0de699d9359173546847d54e93515e4f8b-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/aa68_d023_00164rv42_wide-5cbb8e0de699d9359173546847d54e93515e4f8b-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/aa68_d023_00164rv42_wide-5cbb8e0de699d9359173546847d54e93515e4f8b-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/aa68_d023_00164rv42_wide-5cbb8e0de699d9359173546847d54e93515e4f8b-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/aa68_d023_00164rv42_wide-5cbb8e0de699d9359173546847d54e93515e4f8b-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/aa68_d023_00164rv42_wide-5cbb8e0de699d9359173546847d54e93515e4f8b-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1539910414,
"modified": 1539910559,
"caption": "\"I ... am! Your singing tel-a-gram!\": Michael Myers (Nick Castle) pays a visit to Laurie Strode (Jamie Lee Curtis) in David Gordon Green's 'Halloween.'",
"description": "\"I ... am! Your singing tel-a-gram!\": Michael Myers (Nick Castle) pays a visit to Laurie Strode (Jamie Lee Curtis) in David Gordon Green's 'Halloween.'",
"title": "\"I ... am! Your singing tel-a-gram!\": Michael Myers (Nick Castle) pays a visit to Laurie Strode (Jamie Lee Curtis) in David Gordon Green's Halloween.",
"credit": "Ryan Green/Universal Pictures",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13842871": {
"type": "attachments",
"id": "arts_13842871",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13842871",
"found": true
},
"parent": 13842866,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/At-Least-You-KNow_02_COVER-520x292.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 292
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/At-Least-You-KNow_02_COVER-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/At-Least-You-KNow_02_COVER-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/At-Least-You-KNow_02_COVER-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/At-Least-You-KNow_02_COVER.jpg",
"width": 850,
"height": 478
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/At-Least-You-KNow_02_COVER-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/At-Least-You-KNow_02_COVER-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/At-Least-You-KNow_02_COVER-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/At-Least-You-KNow_02_COVER-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/At-Least-You-KNow_02_COVER-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/At-Least-You-KNow_02_COVER-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/At-Least-You-KNow_02_COVER-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/At-Least-You-KNow_02_COVER-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/At-Least-You-KNow_02_COVER-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1539629310,
"modified": 1539629385,
"caption": "Zackary Drucker, Still from 'At Least You Know You Exist,' 2011.",
"description": "Zackary Drucker, Still from 'At Least You Know You Exist,' 2011.",
"title": "At Least You KNow_02_COVER",
"credit": "Courtesy of SF Cinematheque",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13842649": {
"type": "attachments",
"id": "arts_13842649",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13842649",
"found": true
},
"parent": 13842648,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/closeaf_wide-38ff497032a7461bc717984599dc9bce3efe2898-520x292.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 292
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/closeaf_wide-38ff497032a7461bc717984599dc9bce3efe2898-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/closeaf_wide-38ff497032a7461bc717984599dc9bce3efe2898-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/closeaf_wide-38ff497032a7461bc717984599dc9bce3efe2898-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/closeaf_wide-38ff497032a7461bc717984599dc9bce3efe2898-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/closeaf_wide-38ff497032a7461bc717984599dc9bce3efe2898-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/closeaf_wide-38ff497032a7461bc717984599dc9bce3efe2898.jpg",
"width": 2048,
"height": 1152
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/closeaf_wide-38ff497032a7461bc717984599dc9bce3efe2898-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/closeaf_wide-38ff497032a7461bc717984599dc9bce3efe2898-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/closeaf_wide-38ff497032a7461bc717984599dc9bce3efe2898-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/closeaf_wide-38ff497032a7461bc717984599dc9bce3efe2898-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/closeaf_wide-38ff497032a7461bc717984599dc9bce3efe2898-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/closeaf_wide-38ff497032a7461bc717984599dc9bce3efe2898-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/closeaf_wide-38ff497032a7461bc717984599dc9bce3efe2898-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/closeaf_wide-38ff497032a7461bc717984599dc9bce3efe2898-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/closeaf_wide-38ff497032a7461bc717984599dc9bce3efe2898-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/closeaf_wide-38ff497032a7461bc717984599dc9bce3efe2898-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/closeaf_wide-38ff497032a7461bc717984599dc9bce3efe2898-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/closeaf_wide-38ff497032a7461bc717984599dc9bce3efe2898-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/closeaf_wide-38ff497032a7461bc717984599dc9bce3efe2898-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/closeaf_wide-38ff497032a7461bc717984599dc9bce3efe2898-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/closeaf_wide-38ff497032a7461bc717984599dc9bce3efe2898-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1539328142,
"modified": 1539328406,
"caption": "Ryan Gosling as Neil Armstrong in 'First Man.'",
"description": "Ryan Gosling as Neil Armstrong in 'First Man.'",
"title": "Ryan Gosling as Neil Armstrong in First Man.",
"credit": "Daniel McFadden/Universal Pictures",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13842638": {
"type": "attachments",
"id": "arts_13842638",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13842638",
"found": true
},
"parent": 13842635,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/RyanCoogler-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/RyanCoogler-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/RyanCoogler-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/RyanCoogler-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/RyanCoogler-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/RyanCoogler-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/RyanCoogler.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/RyanCoogler-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/RyanCoogler-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/RyanCoogler-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/RyanCoogler-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/RyanCoogler-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/RyanCoogler-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/RyanCoogler-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/RyanCoogler-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/RyanCoogler-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/RyanCoogler-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/RyanCoogler-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/RyanCoogler-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/RyanCoogler-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/RyanCoogler-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/RyanCoogler-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1539296956,
"modified": 1539296985,
"caption": "Director Ryan Coogler attends the photocall for Rendezvous with Ryan Coogler during the 71st annual Cannes Film Festival at Palais des Festivals on May 10, 2018 in Cannes, France. ",
"description": "Director Ryan Coogler attends the photocall for Rendezvous with Ryan Coogler during the 71st annual Cannes Film Festival at Palais des Festivals on May 10, 2018 in Cannes, France. ",
"title": "RyanCoogler",
"credit": "Andreas Rentz/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"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
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"byline_arts_13843339": {
"type": "authors",
"id": "byline_arts_13843339",
"meta": {
"override": true
},
"slug": "byline_arts_13843339",
"name": "Elizabeth Blair",
"isLoading": false
},
"byline_arts_13843189": {
"type": "authors",
"id": "byline_arts_13843189",
"meta": {
"override": true
},
"slug": "byline_arts_13843189",
"name": "Monica Castillo",
"isLoading": false
},
"byline_arts_13842648": {
"type": "authors",
"id": "byline_arts_13842648",
"meta": {
"override": true
},
"slug": "byline_arts_13842648",
"name": "Linda Holmes",
"isLoading": false
},
"mfox": {
"type": "authors",
"id": "22",
"meta": {
"index": "authors_1716337520",
"id": "22",
"found": true
},
"name": "Michael Fox",
"firstName": "Michael",
"lastName": "Fox",
"slug": "mfox",
"email": "foxonfilm@yahoo.com",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "Michael Fox has written about film for dozens of publications since 1987. He is a founding member of the San Francisco Bay Area Film Critics Circle.",
"avatar": "https://secure.gravatar.com/avatar/d9849d6c659c41414795c471d907bb97b396e2a32b88e20e6ff66f65fbdd6dcd?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"contributor"
]
}
],
"headData": {
"title": "Michael Fox | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/d9849d6c659c41414795c471d907bb97b396e2a32b88e20e6ff66f65fbdd6dcd?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/d9849d6c659c41414795c471d907bb97b396e2a32b88e20e6ff66f65fbdd6dcd?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/mfox"
},
"jedalatpour": {
"type": "authors",
"id": "42",
"meta": {
"index": "authors_1716337520",
"id": "42",
"found": true
},
"name": "Jeffrey Edalatpour",
"firstName": "Jeffrey",
"lastName": "Edalatpour",
"slug": "jedalatpour",
"email": "jedalatpour@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "Jeffrey Edalatpour's first published article was a 1999 film review of Pedro Almodovar’s \u003ci>All About My Mother. \u003c/i>Since then, his writing about arts, food and culture has appeared in a variety of print and online publications, including: KQED Arts, \u003ci>Metro Silicon Valley, Interview Magazine, \u003c/i>Berkeleyside.com, The Rumpus and \u003ci>SF Weekly. \u003c/i>His favorite Iris Murdoch novels (in no particular order) are \u003ci>The Bell, An Unofficial Rose \u003c/i>and\u003ci>The Black Prince\u003c/i>\u003ci>. \u003c/i>In other words, his home library is an anglophile’s dream.",
"avatar": "https://secure.gravatar.com/avatar/ed59ec60f4980f3a45d0c3758c17a4d4?s=600&d=blank&r=g",
"twitter": "jsedalatpour",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"contributor"
]
},
{
"site": "about",
"roles": [
"contributor"
]
},
{
"site": "bayareabites",
"roles": [
"author"
]
}
],
"headData": {
"title": "Jeffrey Edalatpour | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/ed59ec60f4980f3a45d0c3758c17a4d4?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/ed59ec60f4980f3a45d0c3758c17a4d4?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/jedalatpour"
},
"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"
},
"gmeline": {
"type": "authors",
"id": "185",
"meta": {
"index": "authors_1716337520",
"id": "185",
"found": true
},
"name": "Gabe Meline",
"firstName": "Gabe",
"lastName": "Meline",
"slug": "gmeline",
"email": "gmeline@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Senior Editor, KQED Arts & Culture",
"bio": "Gabe Meline entered journalism at age 15 making photocopied zines, and has since earned awards from the Edward R. Murrow Awards, the Society for Professional Journalists, the Online Journalism Awards, the Association of Alternative Newsweeklies and the California Newspaper Publishers Association. Prior to KQED, he was the editor of the \u003cem>North Bay Bohemian\u003c/em> and a touring musician. He lives with his wife and daughter in his hometown of Santa Rosa, CA.",
"avatar": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "artschool",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"author"
]
},
{
"site": "pop",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "food",
"roles": [
"editor"
]
},
{
"site": "forum",
"roles": [
"administrator"
]
},
{
"site": "liveblog",
"roles": [
"editor"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Gabe Meline | KQED",
"description": "Senior Editor, KQED Arts & Culture",
"ogImgSrc": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/gmeline"
},
"kwhalen": {
"type": "authors",
"id": "3248",
"meta": {
"index": "authors_1716337520",
"id": "3248",
"found": true
},
"name": "Kelly Whalen",
"firstName": "Kelly",
"lastName": "Whalen",
"slug": "kwhalen",
"email": "kwhalen@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": "Senior Video Producer",
"bio": "Kelly Whalen is a filmmaker and educator who directs and produces social justice documentaries and award-winning arts and culture web series. She is the creator of KQED Arts’ three-time Webby Award-winning YouTube series \u003cem>If Cities Could Dance\u003c/em>, featuring dancers across the country representing their cities’ signature moves, and the director of \u003cem>When the Waters Get Deep\u003c/em>, a documentary about Oakland-based artists SOL Development and their work toward healing their communities’ trauma from gun violence.",
"avatar": "https://secure.gravatar.com/avatar/1a2b57e8a13abdcfc3d4966d9c0e1512?s=600&d=blank&r=g",
"twitter": "kellyfilmmaker",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"subscriber"
]
}
],
"headData": {
"title": "Kelly Whalen | KQED",
"description": "Senior Video Producer",
"ogImgSrc": "https://secure.gravatar.com/avatar/1a2b57e8a13abdcfc3d4966d9c0e1512?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/1a2b57e8a13abdcfc3d4966d9c0e1512?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/kwhalen"
},
"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/39af590a0e19126bafbf121ec9d891a77a3d680061d7cc03d720efe706992707?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"subscriber"
]
},
{
"site": "news",
"roles": [
"author"
]
}
],
"headData": {
"title": "Claudia Escobar | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/39af590a0e19126bafbf121ec9d891a77a3d680061d7cc03d720efe706992707?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/39af590a0e19126bafbf121ec9d891a77a3d680061d7cc03d720efe706992707?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": 12.563364
},
"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": 127
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=movies",
"seeMore": false,
"paginated": true,
"page": 127
}
},
{
"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_13843831": {
"type": "posts",
"id": "arts_13843831",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13843831",
"score": null,
"sort": [
1540842681000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1540842681,
"format": "standard",
"title": "Now Playing! The Ghost of Romance Past Haunts SF Indie ‘Filmmaker’",
"headTitle": "Now Playing! The Ghost of Romance Past Haunts SF Indie ‘Filmmaker’ | KQED",
"content": "\u003cp>In an intriguing coincidence, the latest works by the iconoclastic American independent auteurs Orson Welles and JP Allen open opposite each other in the Bay Area this weekend. One director has written, directed and (with one exception) acted in seven films, all of which he financed himself. The other is Orson Welles.\u003c/p>\n\u003cp>Welles hardly needs elucidation, other than to say that he started filming \u003cem>The Other Side of the Wind\u003c/em> in 1970 and was never able to finish it before he died in 1985. Film buffs had resigned themselves to the probability that the movie would never exist in a completed state. It does now, thankfully, and opens at the \u003ca href=\"https://www.roxie.com/ai1ec_event/the-other-side-of-the-wind-35mm/?instance_id=30460\" rel=\"noopener\" target=\"_blank\">Roxie\u003c/a> and debuts on Netflix Nov. 2. However, \u003cem>The Other Side of the Wind \u003c/em>is not the film to start with if you’re just discovering Orson Welles. That would be \u003cem>Citizen Kane\u003c/em>, or one of his other masterpieces.\u003c/p>\n\u003cp>JP Allen, on the other hand, should be far better known—certainly in San Francisco, where he’s shot all but one of his juicily cerebral films. His recurring theme is the sexual and psychological dynamics that heat and power romantic relationships, but he’s equally passionate about reconfiguring narratives and subverting movie formulas and clichés.\u003c/p>\n\u003cp>\u003cem>The Filmmaker\u003c/em> (opening at the \u003ca href=\"http://www.coffeeandlanguage.com/the-filmmaker.html\" rel=\"noopener\" target=\"_blank\">Presidio Theater on Nov. 2\u003c/a>), like many of Allen’s films, presents its protagonist and the audience with a mystery. A solitary photographer and sometime video maker (played by Allen) discovers that his apartment’s been broken into and his identity compromised. Starkly alone in the deserted, canyon-like half-block of Stockton south of the Broadway Tunnel, he gets a cellphone call entangling him with a woman half his age (Ashley Rain Turner, giving a raw and brave performance) who’s traced him from Las Vegas.\u003c/p>\n\u003cp>As is invariably the case in Allen’s work, the agent of the man’s torment holds the key to his evolution (and, just maybe, redemption). And, as is also typical in his films, the man writhes and wrestles to retain control of the situation to the point of absurdity (though not tragedy). What happened in Vegas many years ago, between our now-jaded and faded hero and a beguiling woman he met at a trade show, can’t stay in Vegas—or his lacquered memory—anymore.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Filmmaker\u003c/em>, which was inspired by rather than adapted from Allen’s 2008 novel of the same name, questions our responsibilities—debts, if you will—to others, and the degree to which we can alter the paths they’re on. Entwined with that altruistic or guilty impulse is the imperative to come to terms with the misunderstandings and desecrations of one’s past. Allen, abetted by Daniel Teixeira-Gomes’ shimmering cinematography, depicts San Francisco as a mixture of Lonely Avenue and Sin City. If you live here, you’re home already.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 498,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 8
},
"modified": 1705027080,
"excerpt": "JP Allen should be far better known in San Francisco, where he’s shot all but one of his juicily cerebral films.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "JP Allen should be far better known in San Francisco, where he’s shot all but one of his juicily cerebral films.",
"title": "Now Playing! The Ghost of Romance Past Haunts SF Indie ‘Filmmaker’ | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Now Playing! The Ghost of Romance Past Haunts SF Indie ‘Filmmaker’",
"datePublished": "2018-10-29T12:51:21-07:00",
"dateModified": "2024-01-11T18:38:00-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "now-playing-the-ghost-of-romance-past-haunts-sf-indie-filmmaker",
"status": "publish",
"sticky": false,
"path": "/arts/13843831/now-playing-the-ghost-of-romance-past-haunts-sf-indie-filmmaker",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In an intriguing coincidence, the latest works by the iconoclastic American independent auteurs Orson Welles and JP Allen open opposite each other in the Bay Area this weekend. One director has written, directed and (with one exception) acted in seven films, all of which he financed himself. The other is Orson Welles.\u003c/p>\n\u003cp>Welles hardly needs elucidation, other than to say that he started filming \u003cem>The Other Side of the Wind\u003c/em> in 1970 and was never able to finish it before he died in 1985. Film buffs had resigned themselves to the probability that the movie would never exist in a completed state. It does now, thankfully, and opens at the \u003ca href=\"https://www.roxie.com/ai1ec_event/the-other-side-of-the-wind-35mm/?instance_id=30460\" rel=\"noopener\" target=\"_blank\">Roxie\u003c/a> and debuts on Netflix Nov. 2. However, \u003cem>The Other Side of the Wind \u003c/em>is not the film to start with if you’re just discovering Orson Welles. That would be \u003cem>Citizen Kane\u003c/em>, or one of his other masterpieces.\u003c/p>\n\u003cp>JP Allen, on the other hand, should be far better known—certainly in San Francisco, where he’s shot all but one of his juicily cerebral films. His recurring theme is the sexual and psychological dynamics that heat and power romantic relationships, but he’s equally passionate about reconfiguring narratives and subverting movie formulas and clichés.\u003c/p>\n\u003cp>\u003cem>The Filmmaker\u003c/em> (opening at the \u003ca href=\"http://www.coffeeandlanguage.com/the-filmmaker.html\" rel=\"noopener\" target=\"_blank\">Presidio Theater on Nov. 2\u003c/a>), like many of Allen’s films, presents its protagonist and the audience with a mystery. A solitary photographer and sometime video maker (played by Allen) discovers that his apartment’s been broken into and his identity compromised. Starkly alone in the deserted, canyon-like half-block of Stockton south of the Broadway Tunnel, he gets a cellphone call entangling him with a woman half his age (Ashley Rain Turner, giving a raw and brave performance) who’s traced him from Las Vegas.\u003c/p>\n\u003cp>As is invariably the case in Allen’s work, the agent of the man’s torment holds the key to his evolution (and, just maybe, redemption). And, as is also typical in his films, the man writhes and wrestles to retain control of the situation to the point of absurdity (though not tragedy). What happened in Vegas many years ago, between our now-jaded and faded hero and a beguiling woman he met at a trade show, can’t stay in Vegas—or his lacquered memory—anymore.\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>The Filmmaker\u003c/em>, which was inspired by rather than adapted from Allen’s 2008 novel of the same name, questions our responsibilities—debts, if you will—to others, and the degree to which we can alter the paths they’re on. Entwined with that altruistic or guilty impulse is the imperative to come to terms with the misunderstandings and desecrations of one’s past. Allen, abetted by Daniel Teixeira-Gomes’ shimmering cinematography, depicts San Francisco as a mixture of Lonely Avenue and Sin City. If you live here, you’re home already.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13843831/now-playing-the-ghost-of-romance-past-haunts-sf-indie-filmmaker",
"authors": [
"22"
],
"programs": [
"arts_140"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_977",
"arts_1690",
"arts_596"
],
"featImg": "arts_13843849",
"label": "arts_140"
},
"arts_13843512": {
"type": "posts",
"id": "arts_13843512",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13843512",
"score": null,
"sort": [
1540566007000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1540566007,
"format": "standard",
"title": "In Paul Dano's 'Wildlife,' an Affecting Study of a Family in Financial Peril",
"headTitle": "In Paul Dano’s ‘Wildlife,’ an Affecting Study of a Family in Financial Peril | KQED",
"content": "\u003cp>America is on fire and the nuclear family is burning in Paul Dano’s melancholic film, \u003cem>Wildlife\u003c/em>.\u003c/p>\n\u003cp>Based on the novel of the same name by Richard Ford, the film follows the end of a marriage through the eyes of the couple’s teenage son, Joe Brinson (Ed Oxenbould). The family moves from place to place because father Jerry (Jake Gyllenhaal) can’t hold down a job for long. Despite this, mother Jeanette (Carey Mulligan) remains supportive of her husband. But when he takes a job as a firefighter and moves out of their apartment to join the front lines, she’s left without income and—in 1960—with few options.\u003c/p>\n\u003cp>While husband and wife struggle to stave off poverty, a fire rages in the background, an affecting metaphor for a marriage in peril. But Dano, who was in San Francisco earlier this month, adds that what’s being threatened is the American dream, and it’s combustible. “I think that both of these parents are suddenly faced with what their present lives \u003cem>are\u003c/em> rather than the idea of what they were meant to be,” the director explains. “And they implode.”\u003c/p>\n\u003cfigure id=\"attachment_13843517\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13843517\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/Wildlife-Image-2.jpg\" alt=\"Carey Mulligan as Jeanette Brinson, Ed Oxenbould as Joe Brinson, and Jake Gyllenhaal as Jerry Brinson in Paul Dano’s ‘Wildlife.'\" width=\"1200\" height=\"649\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-2.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-2-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-2-800x433.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-2-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-2-1020x552.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-2-1180x638.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-2-960x519.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-2-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-2-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-2-520x281.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Carey Mulligan as Jeanette Brinson, Ed Oxenbould as Joe Brinson, and Jake Gyllenhaal as Jerry Brinson in Paul Dano’s ‘Wildlife.’ \u003ccite>(IFC Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Wildlife\u003c/em> quickly conveys the kind of madness that can infect a family without a way to earn money. In a shot that establishes Jerry’s position in society, the camera, low to the ground, focuses on a hand shining a golf shoe. Dano pulls back and widens the frame to reveal Jerry on his knees. When he loses his job at the golf course for being overly familiar with the patrons, we understand his sense of powerlessness and frustration. It’s not enough for his employer that he performs part of his job on his knees, his spirit has to be cowed too. He’s a servant, and not their equal.\u003c/p>\n\u003cp>With Jerry off fighting fires, Jeanette’s employment options are just similarly limited. And it is during this transition from marital strife to job search as, essentially, a single mom, that \u003cem>Wildlife\u003c/em> becomes Carey Mulligan’s film. Asking for work and repeatedly rejected, Mulligan smiles all the while, refusing to betray her desperation.\u003c/p>\n\u003cfigure id=\"attachment_13843518\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13843518\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/Wildlife-Image-1.jpg\" alt=\"Carey Mulligan as Jeanette Brinson in Paul Dano’s ‘Wildlife.'\" width=\"1200\" height=\"648\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-1.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-1-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-1-800x432.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-1-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-1-1020x551.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-1-1180x637.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-1-960x518.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-1-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-1-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-1-520x281.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Carey Mulligan as Jeanette Brinson in Paul Dano’s ‘Wildlife.’ \u003ccite>(IFC Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What most drew the director to the source material was a scene in which Ford writes about Joe watching his mother teach a swim class. “He’s seeing everybody around her, probably thinking, ‘There’s a woman who’s got a nice smile. Or there’s a woman who’s got a good figure, or there’s a woman who looks happy,'” Dano says. “But he knows something is wrong. And that’s where the duality is in us, the presentation versus the layers. That excited me.” As the pressure builds, Jeanette loses the ability to hide that duality from her son.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One of Dano and Zoe Kazan’s challenges (his life and writing partner who co-wrote the script with him) was the depiction of Joe as an unsophisticated innocent. When his mother introduces him to, or rather, stops shielding him from adult realities, he stares at her blankly. He’s helpless, often silent, because he doesn’t understand why she’s behaving the way she is.\u003c/p>\n\u003cfigure id=\"attachment_13843519\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13843519\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/Wildlife-Image-3.jpg\" alt=\"Carey Mulligan as Jeanette Brinson, and Jake Gyllenhaal as Jerry Brinson in Paul Dano’s ‘Wildlife.’\" width=\"1200\" height=\"675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-3.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-3-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-3-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-3-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-3-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-3-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-3-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-3-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-3-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Carey Mulligan as Jeanette Brinson, and Jake Gyllenhaal as Jerry Brinson in Paul Dano’s ‘Wildlife.’ \u003ccite>(IFC Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This was also Dano’s response to things that happened in his own life. “For me, when the ground started to shake in my house, I wanted things not to tip. I wanted to keep things together. I was scared and, because things felt unstable, my reaction was stable,” he says. “This was how I was forced to be an adult at a young age. That was my reaction, it’s not going to be everybody’s. And that’s Joe’s. It’s there in the book and it’s in the film and I was really moved by that.”\u003c/p>\n\u003cp>In one beautiful scene, Joe runs at night along a snowy, deserted highway. Dano sums up the moment, if not the film’s allusive message, by saying, “To me this kid has to break from his parents.” He needs to avoid making their mistakes in his own life. After all, Jerry can only express that hard transition of moving away from childhood and toward adulthood to Joe obliquely, saying, “This is a wild life, isn’t it, son?”\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>\n\u003cp>\u003ci>‘Wildlife’ is playing in San Francisco at the AMC Kabuki 8 and Landmark’s Embarcadero Center and in Berkeley at Shattuck Cinemas. \u003ca href=\"http://www.ifcfilms.com/films/wildlife\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 843,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 13
},
"modified": 1705027088,
"excerpt": "In Paul Dano's directorial debut, co-written with Zoe Kazan, he tells the story of the end of a marriage through the innocent eyes of the couple's teenage son.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "In Paul Dano's directorial debut, co-written with Zoe Kazan, he tells the story of the end of a marriage through the innocent eyes of the couple's teenage son.",
"title": "In Paul Dano's 'Wildlife,' an Affecting Study of a Family in Financial Peril | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "In Paul Dano's 'Wildlife,' an Affecting Study of a Family in Financial Peril",
"datePublished": "2018-10-26T08:00:07-07:00",
"dateModified": "2024-01-11T18:38:08-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "in-paul-danos-wildlife-an-affecting-story-of-a-family-in-financial-peril",
"status": "publish",
"sticky": false,
"path": "/arts/13843512/in-paul-danos-wildlife-an-affecting-story-of-a-family-in-financial-peril",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>America is on fire and the nuclear family is burning in Paul Dano’s melancholic film, \u003cem>Wildlife\u003c/em>.\u003c/p>\n\u003cp>Based on the novel of the same name by Richard Ford, the film follows the end of a marriage through the eyes of the couple’s teenage son, Joe Brinson (Ed Oxenbould). The family moves from place to place because father Jerry (Jake Gyllenhaal) can’t hold down a job for long. Despite this, mother Jeanette (Carey Mulligan) remains supportive of her husband. But when he takes a job as a firefighter and moves out of their apartment to join the front lines, she’s left without income and—in 1960—with few options.\u003c/p>\n\u003cp>While husband and wife struggle to stave off poverty, a fire rages in the background, an affecting metaphor for a marriage in peril. But Dano, who was in San Francisco earlier this month, adds that what’s being threatened is the American dream, and it’s combustible. “I think that both of these parents are suddenly faced with what their present lives \u003cem>are\u003c/em> rather than the idea of what they were meant to be,” the director explains. “And they implode.”\u003c/p>\n\u003cfigure id=\"attachment_13843517\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13843517\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/Wildlife-Image-2.jpg\" alt=\"Carey Mulligan as Jeanette Brinson, Ed Oxenbould as Joe Brinson, and Jake Gyllenhaal as Jerry Brinson in Paul Dano’s ‘Wildlife.'\" width=\"1200\" height=\"649\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-2.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-2-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-2-800x433.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-2-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-2-1020x552.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-2-1180x638.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-2-960x519.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-2-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-2-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-2-520x281.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Carey Mulligan as Jeanette Brinson, Ed Oxenbould as Joe Brinson, and Jake Gyllenhaal as Jerry Brinson in Paul Dano’s ‘Wildlife.’ \u003ccite>(IFC Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Wildlife\u003c/em> quickly conveys the kind of madness that can infect a family without a way to earn money. In a shot that establishes Jerry’s position in society, the camera, low to the ground, focuses on a hand shining a golf shoe. Dano pulls back and widens the frame to reveal Jerry on his knees. When he loses his job at the golf course for being overly familiar with the patrons, we understand his sense of powerlessness and frustration. It’s not enough for his employer that he performs part of his job on his knees, his spirit has to be cowed too. He’s a servant, and not their equal.\u003c/p>\n\u003cp>With Jerry off fighting fires, Jeanette’s employment options are just similarly limited. And it is during this transition from marital strife to job search as, essentially, a single mom, that \u003cem>Wildlife\u003c/em> becomes Carey Mulligan’s film. Asking for work and repeatedly rejected, Mulligan smiles all the while, refusing to betray her desperation.\u003c/p>\n\u003cfigure id=\"attachment_13843518\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13843518\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/Wildlife-Image-1.jpg\" alt=\"Carey Mulligan as Jeanette Brinson in Paul Dano’s ‘Wildlife.'\" width=\"1200\" height=\"648\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-1.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-1-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-1-800x432.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-1-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-1-1020x551.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-1-1180x637.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-1-960x518.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-1-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-1-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-1-520x281.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Carey Mulligan as Jeanette Brinson in Paul Dano’s ‘Wildlife.’ \u003ccite>(IFC Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What most drew the director to the source material was a scene in which Ford writes about Joe watching his mother teach a swim class. “He’s seeing everybody around her, probably thinking, ‘There’s a woman who’s got a nice smile. Or there’s a woman who’s got a good figure, or there’s a woman who looks happy,'” Dano says. “But he knows something is wrong. And that’s where the duality is in us, the presentation versus the layers. That excited me.” As the pressure builds, Jeanette loses the ability to hide that duality from her son.\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>One of Dano and Zoe Kazan’s challenges (his life and writing partner who co-wrote the script with him) was the depiction of Joe as an unsophisticated innocent. When his mother introduces him to, or rather, stops shielding him from adult realities, he stares at her blankly. He’s helpless, often silent, because he doesn’t understand why she’s behaving the way she is.\u003c/p>\n\u003cfigure id=\"attachment_13843519\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13843519\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/Wildlife-Image-3.jpg\" alt=\"Carey Mulligan as Jeanette Brinson, and Jake Gyllenhaal as Jerry Brinson in Paul Dano’s ‘Wildlife.’\" width=\"1200\" height=\"675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-3.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-3-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-3-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-3-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-3-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-3-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-3-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-3-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-3-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Carey Mulligan as Jeanette Brinson, and Jake Gyllenhaal as Jerry Brinson in Paul Dano’s ‘Wildlife.’ \u003ccite>(IFC Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This was also Dano’s response to things that happened in his own life. “For me, when the ground started to shake in my house, I wanted things not to tip. I wanted to keep things together. I was scared and, because things felt unstable, my reaction was stable,” he says. “This was how I was forced to be an adult at a young age. That was my reaction, it’s not going to be everybody’s. And that’s Joe’s. It’s there in the book and it’s in the film and I was really moved by that.”\u003c/p>\n\u003cp>In one beautiful scene, Joe runs at night along a snowy, deserted highway. Dano sums up the moment, if not the film’s allusive message, by saying, “To me this kid has to break from his parents.” He needs to avoid making their mistakes in his own life. After all, Jerry can only express that hard transition of moving away from childhood and toward adulthood to Joe obliquely, saying, “This is a wild life, isn’t it, son?”\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>\n\u003cp>\u003ci>‘Wildlife’ is playing in San Francisco at the AMC Kabuki 8 and Landmark’s Embarcadero Center and in Berkeley at Shattuck Cinemas. \u003ca href=\"http://www.ifcfilms.com/films/wildlife\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13843512/in-paul-danos-wildlife-an-affecting-story-of-a-family-in-financial-peril",
"authors": [
"42"
],
"categories": [
"arts_74"
],
"tags": [
"arts_11323",
"arts_1118",
"arts_977",
"arts_596",
"arts_769",
"arts_5878"
],
"featImg": "arts_13843562",
"label": "arts"
},
"arts_13843368": {
"type": "posts",
"id": "arts_13843368",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13843368",
"score": null,
"sort": [
1540334636000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 3500
},
"blocks": [],
"publishDate": 1540334636,
"format": "video",
"title": "In ‘Rodents of Unusual Size,’ Truth is Stranger Than Fiction",
"headTitle": "In ‘Rodents of Unusual Size,’ Truth is Stranger Than Fiction | KQED",
"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>\u003cspan style=\"font-weight: 400\">For Bay Area filmmakers Quinn Costello, Chris Metzler and Jeff Springer, it’s the suspense of not knowing where a story will end up that makes documentaries so exciting. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When they started working on \u003cem>Rodents of Unusual Size\u003c/em> four years ago, they didn’t know if they’d be able to gain the trust of the Louisiana communities fighting to eradicate nutria—an invasive species of monstrous, 20-pound swamp rats wreaking havoc on the wetlands that prevent coastal erosion and help protect residents from hurricanes.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“People were really used to TV crews coming and caricaturing them, blowing their stories up and kind of making fun of them,” says Costello. But Costello, Metzler and Springer weren’t just another reality television crew. The trio shared a genuine curiosity about the nutria hunters and their families, forming close relationships with their subjects on over a dozen visits to Louisiana during hunting four seasons.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13843390\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13843390 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/THOMAS_GONZALES-800x450.png\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/THOMAS_GONZALES-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/THOMAS_GONZALES-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/THOMAS_GONZALES-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/THOMAS_GONZALES-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/THOMAS_GONZALES-1200x675.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/THOMAS_GONZALES.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/THOMAS_GONZALES-1180x664.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/THOMAS_GONZALES-960x540.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/THOMAS_GONZALES-240x135.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/THOMAS_GONZALES-375x211.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/THOMAS_GONZALES-520x293.png 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Thomas Gonzales in ‘Rodents of Unusual Size’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">The filmmakers are no strangers to unusual stories. They routinely tackle projects most would dismiss as impossible, whether that’s \u003ca href=\"https://www.kqed.org/trulyca/57/plagues-and-pleasures-on-the-salton-sea\" target=\"_blank\" rel=\"noopener noreferrer\">documenting the eccentric community around the stagnant Salton Sea \u003c/a>\u003c/span>\u003cspan style=\"font-weight: 400\">or the \u003ca href=\"https://www.kqed.org/trulyca/87/everyday-sunshine-the-story-of-fishbone\" target=\"_blank\" rel=\"noopener noreferrer\">unclassifiable, tumultuous band of Fishbone\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And for the trio behind \u003cem>Rodents of Unusual Size\u003c/em>, which screens with the filmmakers present at \u003ca href=\"https://rafaelfilm.cafilm.org/rodents-of-unusual-size/?fbclid=IwAR14S-Q8aYGvTwdGVeKFDY8ulrWlzFksIP2YCOjQqJ5NF1pKtoCOIZmmk8o\" target=\"_blank\" rel=\"noopener noreferrer\">the Smith Rafael Center on Thursday, Oct. 25,\u003c/a> and premieres on PBS’ \u003cem>Independent Lens\u003c/em> in January 2019, there’s far more to their film than the drama of the hunt.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">(Local audiences should also note giant swamp rats are not just a Louisiana problem: \u003ca href=\"https://www.sfgate.com/news/article/nutria-California-swamp-rats-300-dead-hunt-traps-13303143.php\" target=\"_blank\" rel=\"noopener noreferrer\">The California Department of Fish and Wildlife recently caught their 300th nutria at a pond in Merced County\u003c/a>.) \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">KQED Arts sat down with Costello, Metzler and Springer to find out more about making a film with three directors and how documentaries can be portals into other worlds.\u003c/span>\u003c/p>\n\u003cp>\u003cb>How did you get your start in documentary filmmaking?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Jeff: \u003c/b>\u003cspan style=\"font-weight: 400\">Chris and I met at USC as undergraduates, and later we ended up in film school making more narrative-oriented projects together. Toward the end of school, we both found that nonfiction film was really a lot more interesting than fiction. A few years later, we made our first feature-length documentary film, \u003cem>Plagues and Pleasures on the Salton Sea\u003c/em>.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Chris: \u003c/b>\u003cspan style=\"font-weight: 400\">I remember when Jeff and I went and saw [the documentary] \u003cem>Fast, Cheap and Out of Control\u003c/em>. It gave me the permission to say, documentaries can be a lot like narrative films and you could take on interesting, unique subject matter that you wouldn’t normally think a film could be made of.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Quinn: \u003c/b>\u003cspan style=\"font-weight: 400\">One of my first jobs in film was working as an assistant editor for two veteran documentary filmmakers in the Bay Area, Will Parrinello and John Antonelli. That experience was really priceless because it gave me an access point to see how people are making a living as independent documentary filmmakers. This is one path that you can take. \u003c/span>\u003c/p>\n\u003cp>\u003cb>How did the three of you team up to make this film? \u003c/b>\u003c/p>\n\u003cp>\u003cb>Quinn: \u003c/b>\u003cspan style=\"font-weight: 400\">I met Chris serendipitously at a KQED \u003cem>Truly CA\u003c/em> filmmakers party and was always interested in the films he and Jeff were making. There was some overlap in that I was working on a lot of environmental films. I had this idea, originally, to make a short in Louisiana about nutria, and as it turned out, Chris and Jeff also knew about the subject. We started talking about collaborating and how we could pull this off and eventually we decided to buy plane tickets, head down to Louisiana and just start filming.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jeff: \u003c/b>\u003cspan style=\"font-weight: 400\">A lot of people wonder, how can you have three directors on a film? I think it’s worked out really well because I think we each bring different skill sets to the team. I also shot the film, Quinn edited it, and Chris does a lot of the producing. So I think that we can collaborate very well that way, because we kind of have our craft area that we are also able to focus on. If there’s any disagreement, we take it to vote, and with three of us, it’s easy to make decisions.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13834029\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13834029\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/ROUS2.jpg\" alt=\"Filmmakers Jeff Springer, Chris Metzler and Quinn Costello\" width=\"720\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS2.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS2-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS2-240x192.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS2-375x300.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS2-520x416.jpg 520w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Filmmakers Jeff Springer, Chris Metzler and Quinn Costello \u003ccite>(Courtesy of the filmmakers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>How do you define success?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Chris: \u003c/b>\u003cspan style=\"font-weight: 400\">For me, there really isn’t any kind of a point in the film [when you can say], “Okay, we’ve succeeded.” Some people ask, “What about your world premiere, or getting your film on TV, or a sold-out crowd to a screening, is that the thing that kind of makes you excited?” Those things are always fun, but they’re kind of expectations going in. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s really about meeting all these people and winding up in these unique situations and places, whether it’s the deserts of California, on tour with a punk rock band like Fishbone, or being down in Louisiana chasing giant swamp rats. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Quinn: \u003c/b>\u003cspan style=\"font-weight: 400\">It’s like opening a door, a portal into all of these different parts of the world that maybe you wouldn’t get to see otherwise and you get to share that experience for a while. \u003c/span>\u003c/p>\n\u003cp>\u003cb>What’s something you would tell your younger self?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Quinn: \u003c/b>\u003cspan style=\"font-weight: 400\">Put one foot in front of the other. Don’t think about the end product; just think about the next right step. Don’t let what you want this film to be at the end get in the way of getting the film started. Start the film and the end will figure itself out. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With \u003cem>Rodents of Unusual Size\u003c/em>, we thought we would be finished years ago, and if we had known it was going to take as long as it did—not that we wouldn’t have done it—we would have been a little bewildered by that.\u003c/span>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>Chris: \u003c/b>Making a documentary is a marathon and while it sounds a little bit trite, there are just highs and lows throughout. There’s times when you love the project that you’re working on and other times that you hate it; hopefully you choose a project that you can continue to fall in love with. —\u003ci style=\"font-weight: 400\"> \u003c/i>\u003ci>Introductory\u003c/i>\u003ci style=\"font-weight: 400\"> text by Sarah Hotchkiss, and interview by Kelly Whalen\u003c/i>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1124,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 25
},
"modified": 1705027102,
"excerpt": "Documentary filmmakers Quinn Costello, Chris Metzler and Jeff Springer spent four years following giant swamp rats decimating the Louisiana coastline—and the local hunters committed to stopping them.\r\n",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Documentary filmmakers Quinn Costello, Chris Metzler and Jeff Springer spent four years following giant swamp rats decimating the Louisiana coastline—and the local hunters committed to stopping them.\r\n",
"title": "In ‘Rodents of Unusual Size,’ Truth is Stranger Than Fiction | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "In ‘Rodents of Unusual Size,’ Truth is Stranger Than Fiction",
"datePublished": "2018-10-23T15:43:56-07:00",
"dateModified": "2024-01-11T18:38:22-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "behind-the-lens-rodents-of-unusual-size",
"status": "publish",
"videoEmbed": "https://vimeo.com/296753792",
"excludeFromSiteSearch": "Include",
"pbsMediaId": "3018261432",
"sticky": false,
"WpOldSlug": "in-rodents-of-unusual-size-truth-is-stranger-than-fiction",
"path": "/arts/13843368/behind-the-lens-rodents-of-unusual-size",
"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>\u003cspan style=\"font-weight: 400\">For Bay Area filmmakers Quinn Costello, Chris Metzler and Jeff Springer, it’s the suspense of not knowing where a story will end up that makes documentaries so exciting. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When they started working on \u003cem>Rodents of Unusual Size\u003c/em> four years ago, they didn’t know if they’d be able to gain the trust of the Louisiana communities fighting to eradicate nutria—an invasive species of monstrous, 20-pound swamp rats wreaking havoc on the wetlands that prevent coastal erosion and help protect residents from hurricanes.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“People were really used to TV crews coming and caricaturing them, blowing their stories up and kind of making fun of them,” says Costello. But Costello, Metzler and Springer weren’t just another reality television crew. The trio shared a genuine curiosity about the nutria hunters and their families, forming close relationships with their subjects on over a dozen visits to Louisiana during hunting four seasons.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13843390\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13843390 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/THOMAS_GONZALES-800x450.png\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/THOMAS_GONZALES-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/THOMAS_GONZALES-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/THOMAS_GONZALES-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/THOMAS_GONZALES-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/THOMAS_GONZALES-1200x675.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/THOMAS_GONZALES.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/THOMAS_GONZALES-1180x664.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/THOMAS_GONZALES-960x540.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/THOMAS_GONZALES-240x135.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/THOMAS_GONZALES-375x211.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/THOMAS_GONZALES-520x293.png 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Thomas Gonzales in ‘Rodents of Unusual Size’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">The filmmakers are no strangers to unusual stories. They routinely tackle projects most would dismiss as impossible, whether that’s \u003ca href=\"https://www.kqed.org/trulyca/57/plagues-and-pleasures-on-the-salton-sea\" target=\"_blank\" rel=\"noopener noreferrer\">documenting the eccentric community around the stagnant Salton Sea \u003c/a>\u003c/span>\u003cspan style=\"font-weight: 400\">or the \u003ca href=\"https://www.kqed.org/trulyca/87/everyday-sunshine-the-story-of-fishbone\" target=\"_blank\" rel=\"noopener noreferrer\">unclassifiable, tumultuous band of Fishbone\u003c/a>. \u003c/span>\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>\u003cspan style=\"font-weight: 400\">And for the trio behind \u003cem>Rodents of Unusual Size\u003c/em>, which screens with the filmmakers present at \u003ca href=\"https://rafaelfilm.cafilm.org/rodents-of-unusual-size/?fbclid=IwAR14S-Q8aYGvTwdGVeKFDY8ulrWlzFksIP2YCOjQqJ5NF1pKtoCOIZmmk8o\" target=\"_blank\" rel=\"noopener noreferrer\">the Smith Rafael Center on Thursday, Oct. 25,\u003c/a> and premieres on PBS’ \u003cem>Independent Lens\u003c/em> in January 2019, there’s far more to their film than the drama of the hunt.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">(Local audiences should also note giant swamp rats are not just a Louisiana problem: \u003ca href=\"https://www.sfgate.com/news/article/nutria-California-swamp-rats-300-dead-hunt-traps-13303143.php\" target=\"_blank\" rel=\"noopener noreferrer\">The California Department of Fish and Wildlife recently caught their 300th nutria at a pond in Merced County\u003c/a>.) \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">KQED Arts sat down with Costello, Metzler and Springer to find out more about making a film with three directors and how documentaries can be portals into other worlds.\u003c/span>\u003c/p>\n\u003cp>\u003cb>How did you get your start in documentary filmmaking?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Jeff: \u003c/b>\u003cspan style=\"font-weight: 400\">Chris and I met at USC as undergraduates, and later we ended up in film school making more narrative-oriented projects together. Toward the end of school, we both found that nonfiction film was really a lot more interesting than fiction. A few years later, we made our first feature-length documentary film, \u003cem>Plagues and Pleasures on the Salton Sea\u003c/em>.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Chris: \u003c/b>\u003cspan style=\"font-weight: 400\">I remember when Jeff and I went and saw [the documentary] \u003cem>Fast, Cheap and Out of Control\u003c/em>. It gave me the permission to say, documentaries can be a lot like narrative films and you could take on interesting, unique subject matter that you wouldn’t normally think a film could be made of.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Quinn: \u003c/b>\u003cspan style=\"font-weight: 400\">One of my first jobs in film was working as an assistant editor for two veteran documentary filmmakers in the Bay Area, Will Parrinello and John Antonelli. That experience was really priceless because it gave me an access point to see how people are making a living as independent documentary filmmakers. This is one path that you can take. \u003c/span>\u003c/p>\n\u003cp>\u003cb>How did the three of you team up to make this film? \u003c/b>\u003c/p>\n\u003cp>\u003cb>Quinn: \u003c/b>\u003cspan style=\"font-weight: 400\">I met Chris serendipitously at a KQED \u003cem>Truly CA\u003c/em> filmmakers party and was always interested in the films he and Jeff were making. There was some overlap in that I was working on a lot of environmental films. I had this idea, originally, to make a short in Louisiana about nutria, and as it turned out, Chris and Jeff also knew about the subject. We started talking about collaborating and how we could pull this off and eventually we decided to buy plane tickets, head down to Louisiana and just start filming.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jeff: \u003c/b>\u003cspan style=\"font-weight: 400\">A lot of people wonder, how can you have three directors on a film? I think it’s worked out really well because I think we each bring different skill sets to the team. I also shot the film, Quinn edited it, and Chris does a lot of the producing. So I think that we can collaborate very well that way, because we kind of have our craft area that we are also able to focus on. If there’s any disagreement, we take it to vote, and with three of us, it’s easy to make decisions.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13834029\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13834029\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/ROUS2.jpg\" alt=\"Filmmakers Jeff Springer, Chris Metzler and Quinn Costello\" width=\"720\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS2.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS2-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS2-240x192.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS2-375x300.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS2-520x416.jpg 520w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Filmmakers Jeff Springer, Chris Metzler and Quinn Costello \u003ccite>(Courtesy of the filmmakers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>How do you define success?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Chris: \u003c/b>\u003cspan style=\"font-weight: 400\">For me, there really isn’t any kind of a point in the film [when you can say], “Okay, we’ve succeeded.” Some people ask, “What about your world premiere, or getting your film on TV, or a sold-out crowd to a screening, is that the thing that kind of makes you excited?” Those things are always fun, but they’re kind of expectations going in. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s really about meeting all these people and winding up in these unique situations and places, whether it’s the deserts of California, on tour with a punk rock band like Fishbone, or being down in Louisiana chasing giant swamp rats. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Quinn: \u003c/b>\u003cspan style=\"font-weight: 400\">It’s like opening a door, a portal into all of these different parts of the world that maybe you wouldn’t get to see otherwise and you get to share that experience for a while. \u003c/span>\u003c/p>\n\u003cp>\u003cb>What’s something you would tell your younger self?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Quinn: \u003c/b>\u003cspan style=\"font-weight: 400\">Put one foot in front of the other. Don’t think about the end product; just think about the next right step. Don’t let what you want this film to be at the end get in the way of getting the film started. Start the film and the end will figure itself out. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With \u003cem>Rodents of Unusual Size\u003c/em>, we thought we would be finished years ago, and if we had known it was going to take as long as it did—not that we wouldn’t have done it—we would have been a little bewildered by that.\u003c/span>\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>\u003cb>Chris: \u003c/b>Making a documentary is a marathon and while it sounds a little bit trite, there are just highs and lows throughout. There’s times when you love the project that you’re working on and other times that you hate it; hopefully you choose a project that you can continue to fall in love with. —\u003ci style=\"font-weight: 400\"> \u003c/i>\u003ci>Introductory\u003c/i>\u003ci style=\"font-weight: 400\"> text by Sarah Hotchkiss, and interview by Kelly Whalen\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13843368/behind-the-lens-rodents-of-unusual-size",
"authors": [
"3248"
],
"series": [
"arts_3500"
],
"categories": [
"arts_74"
],
"tags": [
"arts_2771",
"arts_1118",
"arts_977",
"arts_596",
"arts_989",
"arts_1007"
],
"featImg": "arts_13844962",
"label": "arts_3500"
},
"arts_13843339": {
"type": "posts",
"id": "arts_13843339",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13843339",
"score": null,
"sort": [
1540318413000
]
},
"guestAuthors": [],
"slug": "the-hate-u-give-star-says-the-novel-was-like-reading-my-own-diary",
"title": "'The Hate U Give' Star Says The Novel Was Like 'Reading My Own Diary'",
"publishDate": 1540318413,
"format": "standard",
"headTitle": "‘The Hate U Give’ Star Says The Novel Was Like ‘Reading My Own Diary’ | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/658251028/659203378\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>As Amandla Stenberg prepared for her lead role in the film adaptation of \u003cem>The Hate U Give, \u003c/em>she devoured Angie Thomas’ 2017 \u003ca href=\"https://www.npr.org/books/titles/522191657/the-hate-u-give\" target=\"_blank\" rel=\"noopener\">young adult novel\u003c/a>. “Reading the book became this strange, spiritual thing because it started to feel like I was reading my own diary,” she says.\u003c/p>\n\u003cp>Like protagonist Starr Carter, Stenberg grew up in a black neighborhood, but attended an overwhelmingly white school. “I had a very parallel experience,” she says. Stenberg was 10 when she began attending a school across town; she was one of just four black girls in her grade.\u003c/p>\n\u003cp>“I became really familiar with the experience of being isolated in my ethnicity,” Stenberg says. She found it hard to “show all the way up” or be fully herself.\u003c/p>\n\u003cp>“I wanted to fit into this space in which the culture was really white and privileged and kind of alternative,” she says. “So I learned how to adapt to that environment in order to feel included.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the movie, Starr also learns to code switch to fit in. “That means flipping a switch in my brain” around her prep school classmates, she says. But she’s proud of where she’s from — Starr “loves her blackness,” Stenberg explains.\u003c/p>\n\u003cp>One night, Starr and her childhood friend Khalil are pulled over by a white police officer who shoots Khalil when he mistakes his hairbrush for a weapon.\u003c/p>\n\u003cp>Thomas \u003ca href=\"https://www.npr.org/2017/02/26/517305270/the-hate-u-give-explores-racism-and-police-violence\" target=\"_blank\" rel=\"noopener\">told NPR\u003c/a> she was inspired to write \u003cem>The Hate U Give\u003c/em> after the fatal shooting of Oscar Grant—a young, African-American man who was killed by a white transit officer in Oakland on New Year’s Day in 2009.\u003c/p>\n\u003cp>Grant was unarmed when he was shot, and Thomas was struck by the media coverage that focused on Grant’s criminal record rather than the circumstances of his death. “More people were talking about what he had done in his past than the fact that he unjustly lost his life,” Thomas said.\u003c/p>\n\u003cp>Starr is the only witness to Khalil’s killing. While she wants the police officer to face justice, she’s afraid to speak out. Without giving too much away, she has good reasons for wanting to hold back.\u003c/p>\n\u003cp>But Starr’s father doesn’t accept her silence—he raised his children to fight to be heard. He’s taught them the Black Panther’s Ten-Point Program—including “an immediate end to police brutality and murder of black people”—and to work for justice “by any means necessary.”\u003c/p>\n\u003cp>“So why you gonna be quiet?” he asks Starr.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/517305270/517305271\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>There were special screenings of the film around the country before its official release. Students at Washington, D.C., area public schools had the opportunity to see the film at the Smithsonian National Museum of American History.\u003c/p>\n\u003cp>Tiana Minor, 16, who attends Fauquier High School in Virginia, says society tries to “overlook” or “sugarcoat” issues of racial injustice. She thinks the film will help people open their eyes to what she knows are “real-life problems.”\u003c/p>\n\u003cp>Minor’s classmate, Devon Lewis, 16, says he understands Starr’s reluctance to speak out. “She wants to talk, but she can’t because she just doesn’t have the voice yet,” he says. Lewis adds that he liked the way the father in the story named his daughter “Starr” for “light.” That’s a detail Stenberg likes, too.\u003c/p>\n\u003cp>“Something that’s so beautiful about black culture is that we give our children power in their names,” Stenberg says. “My name actually means ‘power’ in Zulu and Xhosa. It was something that my mom was very intentional with. I think we recognize that it’s a tough world out there, and so we give our children names that they can use as superpowers.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This notion of what you “give your children” is referenced in the title of the book and movie:\u003cem> The Hate U Give\u003c/em>. It comes from Tupac Shakur’s THUG LIFE: The Hate U Give Little Infants F***** Everybody. As Amandla Stenberg says—the love you give is even more powerful.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Hate+U+Give%27+Star+Says+The+Novel+Was+Like+%27Reading+My+Own+Diary%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "Like protagonist Starr Carter, Amandla Stenberg grew up in a black neighborhood, but attended an overwhelmingly white school. She stars in the adaptation of the novel about a fatal police shooting.",
"status": "publish",
"parent": 0,
"modified": 1726770931,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 20,
"wordCount": 749
},
"headData": {
"title": "'The Hate U Give' Star Says The Novel Was Like 'Reading My Own Diary' | KQED",
"description": "Like protagonist Starr Carter, Amandla Stenberg grew up in a black neighborhood, but attended an overwhelmingly white school. She stars in the adaptation of the novel about a fatal police shooting.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'The Hate U Give' Star Says The Novel Was Like 'Reading My Own Diary'",
"datePublished": "2018-10-23T11:13:33-07:00",
"dateModified": "2024-09-19T11:35:31-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprImageCredit": "Claire Harbage",
"nprByline": "Elizabeth Blair",
"nprImageAgency": "NPR",
"nprStoryId": "658251028",
"nprApiLink": "http://api.npr.org/query?id=658251028&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "https://www.npr.org/2018/10/20/658251028/the-hate-u-give-star-says-the-novel-was-like-reading-my-own-diary?ft=nprml&f=658251028",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 22 Oct 2018 13:01:00 -0400",
"nprStoryDate": "Sat, 20 Oct 2018 17:26:33 -0400",
"nprLastModifiedDate": "Mon, 22 Oct 2018 13:01:27 -0400",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2018/10/20181020_atc_the_hate_u_give_star_says_the_novel_was_like_reading_my_own_diary.mp3?orgId=1&topicId=1137&d=252&p=2&story=658251028&ft=nprml&f=658251028",
"nprAudioM3u": "http://api.npr.org/m3u/1659203378-6577b6.m3u?orgId=1&topicId=1137&d=252&p=2&story=658251028&ft=nprml&f=658251028",
"audioTrackLength": 252,
"path": "/arts/13843339/the-hate-u-give-star-says-the-novel-was-like-reading-my-own-diary",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2018/10/20181020_atc_the_hate_u_give_star_says_the_novel_was_like_reading_my_own_diary.mp3?orgId=1&topicId=1137&d=252&p=2&story=658251028&ft=nprml&f=658251028",
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/658251028/659203378\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>As Amandla Stenberg prepared for her lead role in the film adaptation of \u003cem>The Hate U Give, \u003c/em>she devoured Angie Thomas’ 2017 \u003ca href=\"https://www.npr.org/books/titles/522191657/the-hate-u-give\" target=\"_blank\" rel=\"noopener\">young adult novel\u003c/a>. “Reading the book became this strange, spiritual thing because it started to feel like I was reading my own diary,” she says.\u003c/p>\n\u003cp>Like protagonist Starr Carter, Stenberg grew up in a black neighborhood, but attended an overwhelmingly white school. “I had a very parallel experience,” she says. Stenberg was 10 when she began attending a school across town; she was one of just four black girls in her grade.\u003c/p>\n\u003cp>“I became really familiar with the experience of being isolated in my ethnicity,” Stenberg says. She found it hard to “show all the way up” or be fully herself.\u003c/p>\n\u003cp>“I wanted to fit into this space in which the culture was really white and privileged and kind of alternative,” she says. “So I learned how to adapt to that environment in order to feel included.”\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>In the movie, Starr also learns to code switch to fit in. “That means flipping a switch in my brain” around her prep school classmates, she says. But she’s proud of where she’s from — Starr “loves her blackness,” Stenberg explains.\u003c/p>\n\u003cp>One night, Starr and her childhood friend Khalil are pulled over by a white police officer who shoots Khalil when he mistakes his hairbrush for a weapon.\u003c/p>\n\u003cp>Thomas \u003ca href=\"https://www.npr.org/2017/02/26/517305270/the-hate-u-give-explores-racism-and-police-violence\" target=\"_blank\" rel=\"noopener\">told NPR\u003c/a> she was inspired to write \u003cem>The Hate U Give\u003c/em> after the fatal shooting of Oscar Grant—a young, African-American man who was killed by a white transit officer in Oakland on New Year’s Day in 2009.\u003c/p>\n\u003cp>Grant was unarmed when he was shot, and Thomas was struck by the media coverage that focused on Grant’s criminal record rather than the circumstances of his death. “More people were talking about what he had done in his past than the fact that he unjustly lost his life,” Thomas said.\u003c/p>\n\u003cp>Starr is the only witness to Khalil’s killing. While she wants the police officer to face justice, she’s afraid to speak out. Without giving too much away, she has good reasons for wanting to hold back.\u003c/p>\n\u003cp>But Starr’s father doesn’t accept her silence—he raised his children to fight to be heard. He’s taught them the Black Panther’s Ten-Point Program—including “an immediate end to police brutality and murder of black people”—and to work for justice “by any means necessary.”\u003c/p>\n\u003cp>“So why you gonna be quiet?” he asks Starr.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/517305270/517305271\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>There were special screenings of the film around the country before its official release. Students at Washington, D.C., area public schools had the opportunity to see the film at the Smithsonian National Museum of American History.\u003c/p>\n\u003cp>Tiana Minor, 16, who attends Fauquier High School in Virginia, says society tries to “overlook” or “sugarcoat” issues of racial injustice. She thinks the film will help people open their eyes to what she knows are “real-life problems.”\u003c/p>\n\u003cp>Minor’s classmate, Devon Lewis, 16, says he understands Starr’s reluctance to speak out. “She wants to talk, but she can’t because she just doesn’t have the voice yet,” he says. Lewis adds that he liked the way the father in the story named his daughter “Starr” for “light.” That’s a detail Stenberg likes, too.\u003c/p>\n\u003cp>“Something that’s so beautiful about black culture is that we give our children power in their names,” Stenberg says. “My name actually means ‘power’ in Zulu and Xhosa. It was something that my mom was very intentional with. I think we recognize that it’s a tough world out there, and so we give our children names that they can use as superpowers.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This notion of what you “give your children” is referenced in the title of the book and movie:\u003cem> The Hate U Give\u003c/em>. It comes from Tupac Shakur’s THUG LIFE: The Hate U Give Little Infants F***** Everybody. As Amandla Stenberg says—the love you give is even more powerful.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Hate+U+Give%27+Star+Says+The+Novel+Was+Like+%27Reading+My+Own+Diary%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13843339/the-hate-u-give-star-says-the-novel-was-like-reading-my-own-diary",
"authors": [
"byline_arts_13843339"
],
"categories": [
"arts_74"
],
"tags": [
"arts_977",
"arts_596",
"arts_5848"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13843340",
"label": "arts_137"
},
"arts_13843306": {
"type": "posts",
"id": "arts_13843306",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13843306",
"score": null,
"sort": [
1540247927000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1540247927,
"format": "standard",
"title": "Now Playing! Reel Black Lives in 'Life & Nothing More'",
"headTitle": "Now Playing! Reel Black Lives in ‘Life & Nothing More’ | KQED",
"content": "\u003cp>The movies, as Vittorio De Sica’s neorealist classic \u003cem>Bicycle Thieves\u003c/em> proved way, way back in 1948, can movingly convey the narrow margin that separates the working poor from disaster. But many filmmakers find it difficult to practice restraint given the temptation to elevate and sentimentalize their characters while upping their daily hardships to the point of melodramatic tragedy.\u003c/p>\n\u003cp>In the Florida-set \u003cem>Life & Nothing More\u003c/em>, opening Friday, Oct. 26 (at the Alamo Drafthouse in San Francisco, the Grand Lake in Oakland and the Smith Rafael Film Center in San Rafael), writer-director Antonio Méndez Esparza balances the essence of inner lives with larger social forces and big-picture moralizing. The film opens on 14-year-old Andrew (played by Andrew Bleechington), a taciturn black kid seemingly unaffected by his introduction to the justice system. But his mom, Regina (Regina Williams), who’s raising Andrew and his three-year-old sister on her own (her ex-husband is in prison) while working in a diner, feels the screws tightening even more.\u003c/p>\n\u003cfigure id=\"attachment_13843313\" class=\"wp-caption aligncenter\" style=\"max-width: 1030px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/lanm_01-1030x579.jpg\" alt=\"Andrew Bleechington in 'Life & Nothing More.'\" width=\"1030\" height=\"579\" class=\"size-full wp-image-13843313\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/lanm_01-1030x579.jpg 1030w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/lanm_01-1030x579-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/lanm_01-1030x579-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/lanm_01-1030x579-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/lanm_01-1030x579-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/lanm_01-1030x579-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/lanm_01-1030x579-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/lanm_01-1030x579-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/lanm_01-1030x579-520x292.jpg 520w\" sizes=\"(max-width: 1030px) 100vw, 1030px\">\u003cfigcaption class=\"wp-caption-text\">Andrew Bleechington in ‘Life & Nothing More.’ \u003ccite>(Courtesy of CFI)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Regina is a hard case, but gradually she responds to a suitor offering the possibility of comfort and support. Andrew’s reaction to the interloper makes Regina’s life even tougher, but \u003cem>Life & Nothing More\u003c/em>—like Charles Burnett’s piercing \u003cem>Killer of Sheep\u003c/em>, made exactly four decades ago in Los Angeles—makes us see that domestic pressures are exacerbated by external forces like economic anxiety, pernicious racism and lack of opportunity.\u003c/p>\n\u003cp>Esparza employs time-honored neorealist techniques like nonprofessional actors and longer-than-average takes, but he avoids the contemporary cliché of handheld cameras. His approach works not to distract us from Regina and Andrew’s everyday struggles, and to insinuate us into their reality.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 313,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 6
},
"modified": 1705027107,
"excerpt": "Writer-director Antonio Méndez Esparza depicts everyday lives against a backdrop of social forces.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Writer-director Antonio Méndez Esparza depicts everyday lives against a backdrop of social forces.",
"title": "Now Playing! Reel Black Lives in 'Life & Nothing More' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Now Playing! Reel Black Lives in 'Life & Nothing More'",
"datePublished": "2018-10-22T15:38:47-07:00",
"dateModified": "2024-01-11T18:38:27-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "now-playing-reel-black-lives-in-life-nothing-more",
"status": "publish",
"sticky": false,
"path": "/arts/13843306/now-playing-reel-black-lives-in-life-nothing-more",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The movies, as Vittorio De Sica’s neorealist classic \u003cem>Bicycle Thieves\u003c/em> proved way, way back in 1948, can movingly convey the narrow margin that separates the working poor from disaster. But many filmmakers find it difficult to practice restraint given the temptation to elevate and sentimentalize their characters while upping their daily hardships to the point of melodramatic tragedy.\u003c/p>\n\u003cp>In the Florida-set \u003cem>Life & Nothing More\u003c/em>, opening Friday, Oct. 26 (at the Alamo Drafthouse in San Francisco, the Grand Lake in Oakland and the Smith Rafael Film Center in San Rafael), writer-director Antonio Méndez Esparza balances the essence of inner lives with larger social forces and big-picture moralizing. The film opens on 14-year-old Andrew (played by Andrew Bleechington), a taciturn black kid seemingly unaffected by his introduction to the justice system. But his mom, Regina (Regina Williams), who’s raising Andrew and his three-year-old sister on her own (her ex-husband is in prison) while working in a diner, feels the screws tightening even more.\u003c/p>\n\u003cfigure id=\"attachment_13843313\" class=\"wp-caption aligncenter\" style=\"max-width: 1030px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/lanm_01-1030x579.jpg\" alt=\"Andrew Bleechington in 'Life & Nothing More.'\" width=\"1030\" height=\"579\" class=\"size-full wp-image-13843313\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/lanm_01-1030x579.jpg 1030w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/lanm_01-1030x579-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/lanm_01-1030x579-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/lanm_01-1030x579-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/lanm_01-1030x579-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/lanm_01-1030x579-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/lanm_01-1030x579-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/lanm_01-1030x579-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/lanm_01-1030x579-520x292.jpg 520w\" sizes=\"(max-width: 1030px) 100vw, 1030px\">\u003cfigcaption class=\"wp-caption-text\">Andrew Bleechington in ‘Life & Nothing More.’ \u003ccite>(Courtesy of CFI)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Regina is a hard case, but gradually she responds to a suitor offering the possibility of comfort and support. Andrew’s reaction to the interloper makes Regina’s life even tougher, but \u003cem>Life & Nothing More\u003c/em>—like Charles Burnett’s piercing \u003cem>Killer of Sheep\u003c/em>, made exactly four decades ago in Los Angeles—makes us see that domestic pressures are exacerbated by external forces like economic anxiety, pernicious racism and lack of opportunity.\u003c/p>\n\u003cp>Esparza employs time-honored neorealist techniques like nonprofessional actors and longer-than-average takes, but he avoids the contemporary cliché of handheld cameras. His approach works not to distract us from Regina and Andrew’s everyday struggles, and to insinuate us into their reality.\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/13843306/now-playing-reel-black-lives-in-life-nothing-more",
"authors": [
"22"
],
"programs": [
"arts_140"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_1006",
"arts_596"
],
"featImg": "arts_13843312",
"label": "arts_140"
},
"arts_13843189": {
"type": "posts",
"id": "arts_13843189",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13843189",
"score": null,
"sort": [
1539954051000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1539954051,
"format": "standard",
"title": "'Halloween': This Time, Laurie Strode Is Locked And Loaded",
"headTitle": "‘Halloween’: This Time, Laurie Strode Is Locked And Loaded | KQED",
"content": "\u003cp>Trauma is not neat and pretty to deal with; it is not easily diagnosed, it does not vanish on its own, and its lingering effects can touch those around us. In the latest sequel to the long and winding \u003cem>Halloween \u003c/em>series, trauma plays an important role in the narrative arc of famed final girl Laurie Strode (Jamie Lee Curtis). You might remember her from the original 1978 John Carpenter film, which saw her screaming, running, discovering her friends brutally murdered, then fending off a serial killer to protect the kids she was babysitting. \u003c/p>\n\u003cp>The 2018 sequel picks up several decades later, and while it largely conforms to the retro thrills of the “serial killer on the loose” subgenre, it makes something interesting out of Laurie’s earlier experience. In this film, trauma and survivor’s guilt are not swept under the rug, as often happens in sequels. Instead, Laurie’s experience shapes her behavior and her relationship with both her loved ones and the wider world.\u003c/p>\n\u003cp>Horror movies have lightly toyed with a character’s trauma for dramatic effect before. In Neil Marshall’s \u003cem>The Descent\u003c/em>, Sarah (Shauna Macdonald) tries to cope with the loss of her family in an accident by reuniting with friends and taking a girl’s trip. Things go terribly wrong on the group’s cave-diving adventure, and the memory of her daughter as well as her survivor’s guilt haunt her as she fights off cannibalistic monsters. Wes Craven’s \u003cem>Scream \u003c/em>features Sidney Prescott (Neve Campbell) struggling to cope with her mother’s murder. When a similar killer starts attacking her classmates, it brings her worst fears back to her doorstep.\u003c/p>\n\u003cp>But in this present-day \u003cem>Halloween\u003c/em>, directed by David Gordon Green, trauma is no mere plot device; it’s the film’s explicit subject. Laurie has become a virtual hermit, closing herself off from a world that saw her more like a freak show than a survivor. She’s quick to shut out journalists looking to make a sensational story out of her experience. In this timeline, which skips all of the other sequels, Laurie arms herself in case serial killer Michael Myers returns. She teaches her daughter how to survive, how to shoot, and when to seek shelter in the family panic room. She’s trying to inoculate her daughter from fully inheriting her trauma, as when young women are taught to walk to their cars with their keys between their fingers. This \u003cem>Halloween \u003c/em>sets out to explore the emotional cost of seeing a monster in every shadow.\u003c/p>\n\u003cp>https://youtu.be/ek1ePFp-nBI\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Laurie’s insistence that her daughter Karen (Judy Greer) learn to protect herself and check around every corner causes a rift in their relationship: Karen resents her mother for the survivalist training and for exposing her to secondhand paranoia. She settles for a passive husband and refuses to train her own daughter Allyson (Andi Matichak) the way her mother raised her. She naively considers her mother’s trauma to be hers alone and actively tries to separate Laurie from spending time with her granddaughter. In the movie, trying to break the cycle of fear leaves them vulnerable to the man who caused the fear in the first place.\u003c/p>\n\u003cp>We see why Karen has so forcefully pushed Laurie out in one especially tense dinner scene: A visibly shaken Laurie shows up late to meet the family at a restaurant, upsetting the shallow pleasantries. Granddaughter Allyson tries to calm her, while daughter Karen becomes confrontational, angry that her mother has shown up at all. Curtis’ performance here is moving — she’s clearly uncomfortable within seconds of sitting down at the table. She keeps looking past the others nervously, while Karen’s body language telegraphs her frustration at the challenges of caring for someone struggling with mental health issues.\u003c/p>\n\u003cp>Trauma manifests in ways we can’t control, often at times when it isn’t appropriate to cry or scream. Laurie’s instability in these moments is palpable, and helps explain why she took such drastic measures against a (likely supernaturally driven) killer.\u003c/p>\n\u003cp>Laurie’s story could have gone any number of ways. She could have buried her trauma, reliving it only in nightmares. She could have moved to another part of the world. If it’s disappointing to see Laurie Strode turned, here, into a gun-toting survivalist in a standard revenge plot, the actress’ own words may shed some light on that decision.\u003c/p>\n\u003cp>At Austin’s Fantastic Fest screening last month, \u003ca href=\"https://www.syfy.com/syfywire/jamie-lee-curtis-flips-a-fan-the-bird-and-talks-trauma-at-halloweens-fantastic-fest\">Curtis told the crowd\u003c/a>, “Laurie Strode went back to school on November 1st with a bandage on her arm. She left school on the 31st, this dreaming, intellectual, going-off-to-college girl. And she came back on the first of November a freak, where everybody talked about her. Nobody helped her. And that’s what I think was the reasoning behind going back to the original trauma. And I’m really glad they did.”\u003c/p>\n\u003cp>It would have been nice if more women could have had some say in the narrative trajectory Laurie has taken, instead of film’s all-male screenwriting trio of Green, Danny McBride and John Fradley. However, this \u003cem>Halloween\u003c/em> highlights a question that horror films so often ignore: How does a genre that unleashes so much violence on its characters grapple with post-traumatic stress disorder, trauma and grief? Horror filmmakers will always terrorize their characters in the moment, of course — but here’s hoping we’ll start to see more films willing to explore the lingering costs of \u003cem>living \u003c/em>with fear every day. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While this latest \u003cem>Halloween \u003c/em>may not accomplish everything it sets out to do, it amply demonstrates how difficult it can be to move on from the ghosts of traumas past.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 997,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 13
},
"modified": 1705027112,
"excerpt": "Critic Monica Castillo says this Halloween sequel takes as its true subject the lingering effects of the trauma Jamie Lee Curtis' character experienced in the 1978 original. (Also there's stabbing.)",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Critic Monica Castillo says this Halloween sequel takes as its true subject the lingering effects of the trauma Jamie Lee Curtis' character experienced in the 1978 original. (Also there's stabbing.)",
"title": "'Halloween': This Time, Laurie Strode Is Locked And Loaded | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Halloween': This Time, Laurie Strode Is Locked And Loaded",
"datePublished": "2018-10-19T06:00:51-07:00",
"dateModified": "2024-01-11T18:38:32-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "halloween-this-time-laurie-strode-is-locked-and-loaded",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=656992437&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Monica Castillo",
"nprStoryDate": "Thu, 18 Oct 2018 17:00:50 -0400",
"nprLastModifiedDate": "Thu, 18 Oct 2018 18:46:28 -0400",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/2018/10/18/656992437/halloween-this-time-laurie-strode-is-locked-and-loaded?ft=nprml&f=656992437",
"nprImageAgency": "Universal Pictures",
"nprImageCredit": "Ryan Green",
"nprStoryId": "656992437",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 18 Oct 2018 18:46:00 -0400",
"path": "/arts/13843189/halloween-this-time-laurie-strode-is-locked-and-loaded",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Trauma is not neat and pretty to deal with; it is not easily diagnosed, it does not vanish on its own, and its lingering effects can touch those around us. In the latest sequel to the long and winding \u003cem>Halloween \u003c/em>series, trauma plays an important role in the narrative arc of famed final girl Laurie Strode (Jamie Lee Curtis). You might remember her from the original 1978 John Carpenter film, which saw her screaming, running, discovering her friends brutally murdered, then fending off a serial killer to protect the kids she was babysitting. \u003c/p>\n\u003cp>The 2018 sequel picks up several decades later, and while it largely conforms to the retro thrills of the “serial killer on the loose” subgenre, it makes something interesting out of Laurie’s earlier experience. In this film, trauma and survivor’s guilt are not swept under the rug, as often happens in sequels. Instead, Laurie’s experience shapes her behavior and her relationship with both her loved ones and the wider world.\u003c/p>\n\u003cp>Horror movies have lightly toyed with a character’s trauma for dramatic effect before. In Neil Marshall’s \u003cem>The Descent\u003c/em>, Sarah (Shauna Macdonald) tries to cope with the loss of her family in an accident by reuniting with friends and taking a girl’s trip. Things go terribly wrong on the group’s cave-diving adventure, and the memory of her daughter as well as her survivor’s guilt haunt her as she fights off cannibalistic monsters. Wes Craven’s \u003cem>Scream \u003c/em>features Sidney Prescott (Neve Campbell) struggling to cope with her mother’s murder. When a similar killer starts attacking her classmates, it brings her worst fears back to her doorstep.\u003c/p>\n\u003cp>But in this present-day \u003cem>Halloween\u003c/em>, directed by David Gordon Green, trauma is no mere plot device; it’s the film’s explicit subject. Laurie has become a virtual hermit, closing herself off from a world that saw her more like a freak show than a survivor. She’s quick to shut out journalists looking to make a sensational story out of her experience. In this timeline, which skips all of the other sequels, Laurie arms herself in case serial killer Michael Myers returns. She teaches her daughter how to survive, how to shoot, and when to seek shelter in the family panic room. She’s trying to inoculate her daughter from fully inheriting her trauma, as when young women are taught to walk to their cars with their keys between their fingers. This \u003cem>Halloween \u003c/em>sets out to explore the emotional cost of seeing a monster in every shadow.\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/ek1ePFp-nBI'\n title='//www.youtube.com/embed/ek1ePFp-nBI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Laurie’s insistence that her daughter Karen (Judy Greer) learn to protect herself and check around every corner causes a rift in their relationship: Karen resents her mother for the survivalist training and for exposing her to secondhand paranoia. She settles for a passive husband and refuses to train her own daughter Allyson (Andi Matichak) the way her mother raised her. She naively considers her mother’s trauma to be hers alone and actively tries to separate Laurie from spending time with her granddaughter. In the movie, trying to break the cycle of fear leaves them vulnerable to the man who caused the fear in the first place.\u003c/p>\n\u003cp>We see why Karen has so forcefully pushed Laurie out in one especially tense dinner scene: A visibly shaken Laurie shows up late to meet the family at a restaurant, upsetting the shallow pleasantries. Granddaughter Allyson tries to calm her, while daughter Karen becomes confrontational, angry that her mother has shown up at all. Curtis’ performance here is moving — she’s clearly uncomfortable within seconds of sitting down at the table. She keeps looking past the others nervously, while Karen’s body language telegraphs her frustration at the challenges of caring for someone struggling with mental health issues.\u003c/p>\n\u003cp>Trauma manifests in ways we can’t control, often at times when it isn’t appropriate to cry or scream. Laurie’s instability in these moments is palpable, and helps explain why she took such drastic measures against a (likely supernaturally driven) killer.\u003c/p>\n\u003cp>Laurie’s story could have gone any number of ways. She could have buried her trauma, reliving it only in nightmares. She could have moved to another part of the world. If it’s disappointing to see Laurie Strode turned, here, into a gun-toting survivalist in a standard revenge plot, the actress’ own words may shed some light on that decision.\u003c/p>\n\u003cp>At Austin’s Fantastic Fest screening last month, \u003ca href=\"https://www.syfy.com/syfywire/jamie-lee-curtis-flips-a-fan-the-bird-and-talks-trauma-at-halloweens-fantastic-fest\">Curtis told the crowd\u003c/a>, “Laurie Strode went back to school on November 1st with a bandage on her arm. She left school on the 31st, this dreaming, intellectual, going-off-to-college girl. And she came back on the first of November a freak, where everybody talked about her. Nobody helped her. And that’s what I think was the reasoning behind going back to the original trauma. And I’m really glad they did.”\u003c/p>\n\u003cp>It would have been nice if more women could have had some say in the narrative trajectory Laurie has taken, instead of film’s all-male screenwriting trio of Green, Danny McBride and John Fradley. However, this \u003cem>Halloween\u003c/em> highlights a question that horror films so often ignore: How does a genre that unleashes so much violence on its characters grapple with post-traumatic stress disorder, trauma and grief? Horror filmmakers will always terrorize their characters in the moment, of course — but here’s hoping we’ll start to see more films willing to explore the lingering costs of \u003cem>living \u003c/em>with fear every day. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While this latest \u003cem>Halloween \u003c/em>may not accomplish everything it sets out to do, it amply demonstrates how difficult it can be to move on from the ghosts of traumas past.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13843189/halloween-this-time-laurie-strode-is-locked-and-loaded",
"authors": [
"byline_arts_13843189"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_977",
"arts_1206"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13843190",
"label": "arts_137"
},
"arts_13842866": {
"type": "posts",
"id": "arts_13842866",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13842866",
"score": null,
"sort": [
1539630030000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1539630030,
"format": "standard",
"title": "Now Playing! SF Cinematheque Salutes the Tenderloin’s Transgender History",
"headTitle": "Now Playing! SF Cinematheque Salutes the Tenderloin’s Transgender History | KQED",
"content": "\u003cp>Urban history is both concrete and fleeting, as we know firsthand from the breakneck pace of development in the Mission, SOMA and Dogpatch neighborhoods. In early 2017, local opposition to a proposed mid-Market residential and hotel complex compelled Supervisor Jane Kim to introduce legislation establishing the Compton’s Transgender, Lesbian, Gay and Bisexual District. Her bill represented a deal whereby the developer of 950-974 Market—which was wiping out some old-line gay bars in the Tenderloin—funded a venture to preserve the area’s cultural and historical legacy.\u003c/p>\n\u003cp>Whence the name? Victor Silverman and Susan Stryker’s dramatic 2005 documentary, \u003cem>Screaming Queens: The Riot at Compton’s Cafeteria\u003c/em>, unearthed the largely forgotten story of the transgender women and drag queens who got fed up with systemic police harassment in 1966 at the titular establishment at Turk and Taylor (three years before the Stonewall riots, which receive most of the credit for jumpstarting the gay rights movement).\u003c/p>\n\u003cfigure id=\"attachment_13842872\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/Things-We-Both-Know.jpg\" alt=\"Finn Paul & Roy Perez, Still from 'Things We Both Know (Not Our Real Names).'\" width=\"1280\" height=\"720\" class=\"size-full wp-image-13842872\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Things-We-Both-Know.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Things-We-Both-Know-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Things-We-Both-Know-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Things-We-Both-Know-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Things-We-Both-Know-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Things-We-Both-Know-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Things-We-Both-Know-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Things-We-Both-Know-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Things-We-Both-Know-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Things-We-Both-Know-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Things-We-Both-Know-520x293.jpg 520w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Finn Paul & Roy Perez, Still from ‘Things We Both Know (Not Our Real Names).’ \u003ccite>(Courtesy of SF Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>San Francisco Cinematheque, the city’s stalwart exhibitor of experimental film, tapped guest programmer Malic Amalya to assemble \u003ca href=\"http://www.sfcinematheque.org/screenings/infrared/\" rel=\"noopener\" target=\"_blank\">Infrared—In Celebration of the Compton Transgender District\u003c/a>, four programs exploring private and public sexuality, identity and activism. The collection of personal portraits in “Dislocation of Existence” (Tuesday, Oct. 16 at CounterPulse, 80 Turk St.), Amalya writes, “offer ephemeral glimpses into what’s possible and pulverizing flashes of what’s been stolen.” The Oct. 30 program, “Slow/Sheltering/Shattering,” positions individual experiences and actions as catalysts for larger social movements. \u003c/p>\n\u003cp>Infrared concludes with Jeff Preiss’ ambitious personal doc \u003cem>Stop\u003c/em> (Nov. 6), which depicts his son’s coming of age over 16 years as well as the myriad changes in the physical world around him. The notion of the present slipping into history (urban and otherwise) is poignant territory for an astute filmmaker.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 340,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 6
},
"modified": 1705027134,
"excerpt": "The personal and the political are intertwined in this experimental-film homage to the Compton’s Transgender, Lesbian, Gay and Bisexual District.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The personal and the political are intertwined in this experimental-film homage to the Compton’s Transgender, Lesbian, Gay and Bisexual District.",
"title": "Now Playing! SF Cinematheque Salutes the Tenderloin’s Transgender History | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Now Playing! SF Cinematheque Salutes the Tenderloin’s Transgender History",
"datePublished": "2018-10-15T12:00:30-07:00",
"dateModified": "2024-01-11T18:38:54-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "now-playing-sf-cinematheque-salutes-the-tenderloins-transgender-history",
"status": "publish",
"sticky": false,
"path": "/arts/13842866/now-playing-sf-cinematheque-salutes-the-tenderloins-transgender-history",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Urban history is both concrete and fleeting, as we know firsthand from the breakneck pace of development in the Mission, SOMA and Dogpatch neighborhoods. In early 2017, local opposition to a proposed mid-Market residential and hotel complex compelled Supervisor Jane Kim to introduce legislation establishing the Compton’s Transgender, Lesbian, Gay and Bisexual District. Her bill represented a deal whereby the developer of 950-974 Market—which was wiping out some old-line gay bars in the Tenderloin—funded a venture to preserve the area’s cultural and historical legacy.\u003c/p>\n\u003cp>Whence the name? Victor Silverman and Susan Stryker’s dramatic 2005 documentary, \u003cem>Screaming Queens: The Riot at Compton’s Cafeteria\u003c/em>, unearthed the largely forgotten story of the transgender women and drag queens who got fed up with systemic police harassment in 1966 at the titular establishment at Turk and Taylor (three years before the Stonewall riots, which receive most of the credit for jumpstarting the gay rights movement).\u003c/p>\n\u003cfigure id=\"attachment_13842872\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/Things-We-Both-Know.jpg\" alt=\"Finn Paul & Roy Perez, Still from 'Things We Both Know (Not Our Real Names).'\" width=\"1280\" height=\"720\" class=\"size-full wp-image-13842872\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Things-We-Both-Know.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Things-We-Both-Know-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Things-We-Both-Know-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Things-We-Both-Know-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Things-We-Both-Know-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Things-We-Both-Know-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Things-We-Both-Know-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Things-We-Both-Know-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Things-We-Both-Know-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Things-We-Both-Know-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Things-We-Both-Know-520x293.jpg 520w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Finn Paul & Roy Perez, Still from ‘Things We Both Know (Not Our Real Names).’ \u003ccite>(Courtesy of SF Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>San Francisco Cinematheque, the city’s stalwart exhibitor of experimental film, tapped guest programmer Malic Amalya to assemble \u003ca href=\"http://www.sfcinematheque.org/screenings/infrared/\" rel=\"noopener\" target=\"_blank\">Infrared—In Celebration of the Compton Transgender District\u003c/a>, four programs exploring private and public sexuality, identity and activism. The collection of personal portraits in “Dislocation of Existence” (Tuesday, Oct. 16 at CounterPulse, 80 Turk St.), Amalya writes, “offer ephemeral glimpses into what’s possible and pulverizing flashes of what’s been stolen.” The Oct. 30 program, “Slow/Sheltering/Shattering,” positions individual experiences and actions as catalysts for larger social movements. \u003c/p>\n\u003cp>Infrared concludes with Jeff Preiss’ ambitious personal doc \u003cem>Stop\u003c/em> (Nov. 6), which depicts his son’s coming of age over 16 years as well as the myriad changes in the physical world around him. The notion of the present slipping into history (urban and otherwise) is poignant territory for an astute filmmaker.\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/13842866/now-playing-sf-cinematheque-salutes-the-tenderloins-transgender-history",
"authors": [
"22"
],
"programs": [
"arts_140"
],
"categories": [
"arts_74"
],
"tags": [
"arts_5142",
"arts_1118",
"arts_1006",
"arts_5052",
"arts_1020",
"arts_1334"
],
"featImg": "arts_13842871",
"label": "arts_140"
},
"arts_13842648": {
"type": "posts",
"id": "arts_13842648",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13842648",
"score": null,
"sort": [
1539349223000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1539349223,
"format": "standard",
"title": "'First Man' Considers Glory, Grief And A Famous Walk On The Moon",
"headTitle": "‘First Man’ Considers Glory, Grief And A Famous Walk On The Moon | KQED",
"content": "\u003cp>“You’re bouncing off the atmosphere.”\u003c/p>\n\u003cp>Early in director Damien Chazelle’s \u003cem>First Man\u003c/em>, this is one of the cautions given to Neil Armstrong (Ryan Gosling) during his pilot training, years before he walked on the moon. That idea of the barrier between Earth and space, the violence of making the journey through it and the almost mystical experience of being on the other side of it forms the spine of the film.\u003c/p>\n\u003cp>We encounter Armstrong at three points: 1961, leading up to the start of his training as an astronaut; 1965, just before his first space flight; and 1968, as he prepares to be the first person to walk on the moon. His family life progresses alongside his much more famous professional one: the loss of his two-year-old daughter from brain cancer, the grief that nearly consumes him after, the sacrifices that his service demands from his wife, Janet (Claire Foy), and his relationship with his two boys, to whom he hesitates to explain the dangers of space travel.\u003c/p>\n\u003cp>https://youtu.be/PSoRx87OO6k\u003c/p>\n\u003cp>It makes all the sense in the world that this screenplay is written by Josh Singer, who has screenwriting credits on \u003cem>Spotlight\u003c/em> and \u003cem>The Post\u003c/em> and, long ago, \u003cem>The West Wing\u003c/em>. Singer seems drawn to stories that often make up a certain American integrity narrative—the noble presidency, a justice-seeking press, and here, the moon landing. But while those pieces favor high drama in their declaration of principle, this one is a little quieter. It shows streaks of rah-rah nostalgia for a terribly troubled age with not a lot of discussion of what made it so troubled (save for a reading of Gil Scott-Heron’s “Whitey On The Moon”). But Gosling’s version of Armstrong is intriguingly turned inward, deeply feeling but outwardly passive.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This comes up first in his relationship with his daughter, with whom he is warm and affectionate, far from the distant ’50s and ’60s dad often drawn in popular culture as a symbol of regressive and emotionless ideas about masculinity. This despite the fact that his work requires—as we learn in the opening sequence—an almost impossible level of detached poise as his cockpit shakes and bangs and gives every indication that it is about to blow apart.\u003c/p>\n\u003cp>Chazelle shoots the cockpit scenes with claustrophobic disorientation, so that the clanging and banging and vibrating is all that exists in the small spaces astronauts inhabit. You see a similar setup several times in the film. The technique creates a sharper sense of the violence—and therefore the risk—of space flight. It’s impossible to watch these scenes and not wonder whether these men are doing something that they are not meant to do. The wonder of all this, as it were, is not an abstract concept of the grandeur of space, or at least it is not only that. It is that we are more than obviously not designed to pass through this barrier, except in that we are designed to find ways to do unlikely things.\u003c/p>\n\u003cp>Astronauts, and the many many many \u003cem>many\u003c/em> people who support them, suppress every natural instinct that tells you that when you are vomiting and shaking and everything in your ears is roaring and there’s no air to breathe, you stop going wherever you are going, and you go back where you came from. That understanding informs the film’s idea of Armstrong as a man who, both changed by grief and committed to flight and to duty, can take enormous risks to explore space, but must be forced by his wife to face his young sons and explain those risks. There are risks and there are risks.\u003c/p>\n\u003cp>Foy’s character is unavoidably secondary to what we might call the HGM (Historically Great Man) to whom she is married. But she carries a significant piece of the emotional weight of the story. Her husband doesn’t always understand that Janet sits and listens to the radio when he’s on a flight, just in case he dies. He doesn’t initially grasp the burden on her of being responsible for managing their sons’ anxieties. There’s an excellent sequence in which the administrators at NASA decide that in a dangerous situation, the best thing to do is just turn off the radio so families can’t listen—which, obviously, is an absurd miscalculation if the idea is to reduce worry. Foy drives the scene with her balanced presentation of Janet’s understanding of command and her expectations as a person who also serves.\u003c/p>\n\u003cp>Structurally, the film leads up to Armstrong’s walk on the moon. But it leads to that moment tonally as well. The peace and silence of that sequence underscore that on the other side of this historically difficult barrier to cross was an end to the shaking and banging and defiance of every sign of … well, doom. This is hope, really; not just the hope of space travel, but every hope. Your capsule shakes, the air roars, you even risk your life, all because maybe there is something on the other side that nobody has ever seen before. And maybe over there, you stop shaking.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>First Man \u003c/em>does romanticize space travel and some of the iconography of the Historically Great Man (and, as critic Yolanda Machado \u003ca href=\"https://twitter.com/SassyMamainLA/status/1049470438609276929\" target=\"_blank\" rel=\"noopener\">has noted\u003c/a>, its vision of NASA in the 1960s seems awfully white, even for NASA in the 1960s). But the imagery of a struggle against an unforgiving onslaught of heat and hazards, and against the forces that constantly try to return you to your place, is effective. Whether it’s grief or gravity you fight, those battles are won only with great steadfastness and support—and the hope that they will end in peace.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 997,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 12
},
"modified": 1705027140,
"excerpt": "Ryan Gosling plays Neil Armstrong in a story about the noise, heat and struggle it takes to overcome forces to which you're meant to surrender.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Ryan Gosling plays Neil Armstrong in a story about the noise, heat and struggle it takes to overcome forces to which you're meant to surrender.",
"title": "'First Man' Considers Glory, Grief And A Famous Walk On The Moon | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'First Man' Considers Glory, Grief And A Famous Walk On The Moon",
"datePublished": "2018-10-12T06:00:23-07:00",
"dateModified": "2024-01-11T18:39:00-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "first-man-considers-glory-grief-and-a-famous-walk-on-the-moon",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=655889177&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Linda Holmes",
"nprStoryDate": "Thu, 11 Oct 2018 05:01:00 -0400",
"nprLastModifiedDate": "Thu, 11 Oct 2018 10:15:57 -0400",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/2018/10/11/655889177/first-man-considers-glory-grief-and-a-famous-walk-on-the-moon?ft=nprml&f=655889177",
"nprImageAgency": "Universal Pictures",
"nprImageCredit": "Daniel McFadden",
"nprStoryId": "655889177",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 11 Oct 2018 10:15:00 -0400",
"path": "/arts/13842648/first-man-considers-glory-grief-and-a-famous-walk-on-the-moon",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“You’re bouncing off the atmosphere.”\u003c/p>\n\u003cp>Early in director Damien Chazelle’s \u003cem>First Man\u003c/em>, this is one of the cautions given to Neil Armstrong (Ryan Gosling) during his pilot training, years before he walked on the moon. That idea of the barrier between Earth and space, the violence of making the journey through it and the almost mystical experience of being on the other side of it forms the spine of the film.\u003c/p>\n\u003cp>We encounter Armstrong at three points: 1961, leading up to the start of his training as an astronaut; 1965, just before his first space flight; and 1968, as he prepares to be the first person to walk on the moon. His family life progresses alongside his much more famous professional one: the loss of his two-year-old daughter from brain cancer, the grief that nearly consumes him after, the sacrifices that his service demands from his wife, Janet (Claire Foy), and his relationship with his two boys, to whom he hesitates to explain the dangers of space travel.\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/PSoRx87OO6k'\n title='//www.youtube.com/embed/PSoRx87OO6k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It makes all the sense in the world that this screenplay is written by Josh Singer, who has screenwriting credits on \u003cem>Spotlight\u003c/em> and \u003cem>The Post\u003c/em> and, long ago, \u003cem>The West Wing\u003c/em>. Singer seems drawn to stories that often make up a certain American integrity narrative—the noble presidency, a justice-seeking press, and here, the moon landing. But while those pieces favor high drama in their declaration of principle, this one is a little quieter. It shows streaks of rah-rah nostalgia for a terribly troubled age with not a lot of discussion of what made it so troubled (save for a reading of Gil Scott-Heron’s “Whitey On The Moon”). But Gosling’s version of Armstrong is intriguingly turned inward, deeply feeling but outwardly passive.\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>This comes up first in his relationship with his daughter, with whom he is warm and affectionate, far from the distant ’50s and ’60s dad often drawn in popular culture as a symbol of regressive and emotionless ideas about masculinity. This despite the fact that his work requires—as we learn in the opening sequence—an almost impossible level of detached poise as his cockpit shakes and bangs and gives every indication that it is about to blow apart.\u003c/p>\n\u003cp>Chazelle shoots the cockpit scenes with claustrophobic disorientation, so that the clanging and banging and vibrating is all that exists in the small spaces astronauts inhabit. You see a similar setup several times in the film. The technique creates a sharper sense of the violence—and therefore the risk—of space flight. It’s impossible to watch these scenes and not wonder whether these men are doing something that they are not meant to do. The wonder of all this, as it were, is not an abstract concept of the grandeur of space, or at least it is not only that. It is that we are more than obviously not designed to pass through this barrier, except in that we are designed to find ways to do unlikely things.\u003c/p>\n\u003cp>Astronauts, and the many many many \u003cem>many\u003c/em> people who support them, suppress every natural instinct that tells you that when you are vomiting and shaking and everything in your ears is roaring and there’s no air to breathe, you stop going wherever you are going, and you go back where you came from. That understanding informs the film’s idea of Armstrong as a man who, both changed by grief and committed to flight and to duty, can take enormous risks to explore space, but must be forced by his wife to face his young sons and explain those risks. There are risks and there are risks.\u003c/p>\n\u003cp>Foy’s character is unavoidably secondary to what we might call the HGM (Historically Great Man) to whom she is married. But she carries a significant piece of the emotional weight of the story. Her husband doesn’t always understand that Janet sits and listens to the radio when he’s on a flight, just in case he dies. He doesn’t initially grasp the burden on her of being responsible for managing their sons’ anxieties. There’s an excellent sequence in which the administrators at NASA decide that in a dangerous situation, the best thing to do is just turn off the radio so families can’t listen—which, obviously, is an absurd miscalculation if the idea is to reduce worry. Foy drives the scene with her balanced presentation of Janet’s understanding of command and her expectations as a person who also serves.\u003c/p>\n\u003cp>Structurally, the film leads up to Armstrong’s walk on the moon. But it leads to that moment tonally as well. The peace and silence of that sequence underscore that on the other side of this historically difficult barrier to cross was an end to the shaking and banging and defiance of every sign of … well, doom. This is hope, really; not just the hope of space travel, but every hope. Your capsule shakes, the air roars, you even risk your life, all because maybe there is something on the other side that nobody has ever seen before. And maybe over there, you stop shaking.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>First Man \u003c/em>does romanticize space travel and some of the iconography of the Historically Great Man (and, as critic Yolanda Machado \u003ca href=\"https://twitter.com/SassyMamainLA/status/1049470438609276929\" target=\"_blank\" rel=\"noopener\">has noted\u003c/a>, its vision of NASA in the 1960s seems awfully white, even for NASA in the 1960s). But the imagery of a struggle against an unforgiving onslaught of heat and hazards, and against the forces that constantly try to return you to your place, is effective. Whether it’s grief or gravity you fight, those battles are won only with great steadfastness and support—and the hope that they will end in peace.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13842648/first-man-considers-glory-grief-and-a-famous-walk-on-the-moon",
"authors": [
"byline_arts_13842648"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13842649",
"label": "arts_137"
},
"arts_13842635": {
"type": "posts",
"id": "arts_13842635",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13842635",
"score": null,
"sort": [
1539297047000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1539297047,
"format": "standard",
"title": "Ryan Coogler Signs on for 'Black Panther' Sequel, According to Report",
"headTitle": "Ryan Coogler Signs on for ‘Black Panther’ Sequel, According to Report | KQED",
"content": "\u003cp>Ryan Coogler, the Oakland-raised film director behind Fruitvale Station and Black Panther, has signed on to write and direct Black Panther II, according to \u003ca href=\"https://www.hollywoodreporter.com/heat-vision/black-panther-2-ryan-coogler-write-direct-sequel-1151626?utm_source=twitter&utm_source=t.co&utm_medium=referral\">a report\u003c/a> by \u003cem>The Hollywood Reporter\u003c/em>.\u003c/p>\n\u003cp>Though Coogler was the obvious choice to direct a sequel to Black Panther—a smash hit which made $700 million at the domestic box office—today’s news includes the detail that Coogler will write the script next year with an eye to start production in either late 2019 or early 2020.\u003c/p>\n\u003cp>Coogler has long talked about the ways that Oakland shaped his creative vision. He appeared at premieres for both \u003cem>Fruitvale Station\u003c/em> and \u003cem>Black Panther\u003c/em> at the Grand Lake Theater, testifying to the city’s inspiration.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 124,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 5
},
"modified": 1705027143,
"excerpt": "Coogler will write the script next year with an eye to start production in either late 2019 or early 2020.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Coogler will write the script next year with an eye to start production in either late 2019 or early 2020.",
"title": "Ryan Coogler Signs on for 'Black Panther' Sequel, According to Report | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Ryan Coogler Signs on for 'Black Panther' Sequel, According to Report",
"datePublished": "2018-10-11T15:30:47-07:00",
"dateModified": "2024-01-11T18:39:03-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "ryan-coogler-signs-on-for-black-panther-ii-according-to-report",
"status": "publish",
"sticky": false,
"path": "/arts/13842635/ryan-coogler-signs-on-for-black-panther-ii-according-to-report",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ryan Coogler, the Oakland-raised film director behind Fruitvale Station and Black Panther, has signed on to write and direct Black Panther II, according to \u003ca href=\"https://www.hollywoodreporter.com/heat-vision/black-panther-2-ryan-coogler-write-direct-sequel-1151626?utm_source=twitter&utm_source=t.co&utm_medium=referral\">a report\u003c/a> by \u003cem>The Hollywood Reporter\u003c/em>.\u003c/p>\n\u003cp>Though Coogler was the obvious choice to direct a sequel to Black Panther—a smash hit which made $700 million at the domestic box office—today’s news includes the detail that Coogler will write the script next year with an eye to start production in either late 2019 or early 2020.\u003c/p>\n\u003cp>Coogler has long talked about the ways that Oakland shaped his creative vision. He appeared at premieres for both \u003cem>Fruitvale Station\u003c/em> and \u003cem>Black Panther\u003c/em> at the Grand Lake Theater, testifying to the city’s inspiration.\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/13842635/ryan-coogler-signs-on-for-black-panther-ii-according-to-report",
"authors": [
"185"
],
"categories": [
"arts_74"
],
"tags": [
"arts_3563",
"arts_12322",
"arts_596",
"arts_1143",
"arts_3961"
],
"featImg": "arts_13842638",
"label": "arts"
},
"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"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"radioSearchSegmentsReducer": {},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"racesGenElection2026PresidentialReducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?category=movies": {
"isFetching": false,
"latestQuery": {
"from": 1512,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 3264,
"relation": "eq"
},
"items": [
"arts_13843831",
"arts_13843512",
"arts_13843368",
"arts_13843339",
"arts_13843306",
"arts_13843189",
"arts_13842866",
"arts_13842648",
"arts_13842635",
"arts_13842424",
"arts_13842267",
"arts_13842237"
],
"complete": true
}
},
"recallGuideReducer": {
"intros": {},
"policy": {},
"candidates": {}
},
"savedArticleReducer": {
"articles": [],
"status": {}
},
"newslettersReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"newsletters": {},
"isSubscribing": false,
"isUnsubscribing": false,
"subscribedNewsletters": {}
},
"termsReducer": {
"about": {
"name": "About",
"type": "terms",
"id": "about",
"slug": "about",
"link": "/about",
"taxonomy": "site"
},
"arts": {
"name": "Arts & Culture",
"grouping": [
"arts",
"pop",
"trulyca"
],
"description": "KQED Arts provides daily in-depth coverage of the Bay Area's music, art, film, performing arts, literature and arts news, as well as cultural commentary and criticism.",
"type": "terms",
"id": "arts",
"slug": "arts",
"link": "/arts",
"taxonomy": "site"
},
"artschool": {
"name": "Art School",
"parent": "arts",
"type": "terms",
"id": "artschool",
"slug": "artschool",
"link": "/artschool",
"taxonomy": "site"
},
"bayareabites": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "bayareabites",
"slug": "bayareabites",
"link": "/food",
"taxonomy": "site"
},
"bayareahiphop": {
"name": "Bay Area Hiphop",
"type": "terms",
"id": "bayareahiphop",
"slug": "bayareahiphop",
"link": "/bayareahiphop",
"taxonomy": "site"
},
"campaign21": {
"name": "Campaign 21",
"type": "terms",
"id": "campaign21",
"slug": "campaign21",
"link": "/campaign21",
"taxonomy": "site"
},
"careers": {
"name": "Careers",
"type": "terms",
"id": "careers",
"slug": "careers",
"link": "/careers",
"taxonomy": "site"
},
"checkplease": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "checkplease",
"slug": "checkplease",
"link": "/food",
"taxonomy": "site"
},
"education": {
"name": "Education",
"grouping": [
"education"
],
"type": "terms",
"id": "education",
"slug": "education",
"link": "/education",
"taxonomy": "site"
},
"elections": {
"name": "Elections",
"type": "terms",
"id": "elections",
"slug": "elections",
"link": "/elections",
"taxonomy": "site"
},
"events": {
"name": "Events",
"type": "terms",
"id": "events",
"slug": "events",
"link": "/events",
"taxonomy": "site"
},
"event": {
"name": "Event",
"alias": "events",
"type": "terms",
"id": "event",
"slug": "event",
"link": "/event",
"taxonomy": "site"
},
"filmschoolshorts": {
"name": "Film School Shorts",
"type": "terms",
"id": "filmschoolshorts",
"slug": "filmschoolshorts",
"link": "/filmschoolshorts",
"taxonomy": "site"
},
"food": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"type": "terms",
"id": "food",
"slug": "food",
"link": "/food",
"taxonomy": "site"
},
"forum": {
"name": "Forum",
"relatedContentQuery": "posts/forum?",
"parent": "news",
"type": "terms",
"id": "forum",
"slug": "forum",
"link": "/forum",
"taxonomy": "site"
},
"futureofyou": {
"name": "Future of You",
"grouping": [
"science",
"futureofyou"
],
"parent": "science",
"type": "terms",
"id": "futureofyou",
"slug": "futureofyou",
"link": "/futureofyou",
"taxonomy": "site"
},
"jpepinheart": {
"name": "KQED food",
"relatedContentQuery": "posts/food,bayareabites,checkplease",
"parent": "food",
"type": "terms",
"id": "jpepinheart",
"slug": "jpepinheart",
"link": "/food",
"taxonomy": "site"
},
"liveblog": {
"name": "Live Blog",
"type": "terms",
"id": "liveblog",
"slug": "liveblog",
"link": "/liveblog",
"taxonomy": "site"
},
"livetv": {
"name": "Live TV",
"parent": "tv",
"type": "terms",
"id": "livetv",
"slug": "livetv",
"link": "/livetv",
"taxonomy": "site"
},
"lowdown": {
"name": "The Lowdown",
"relatedContentQuery": "posts/lowdown?",
"parent": "news",
"type": "terms",
"id": "lowdown",
"slug": "lowdown",
"link": "/lowdown",
"taxonomy": "site"
},
"mindshift": {
"name": "Mindshift",
"parent": "news",
"description": "MindShift explores the future of education by highlighting the innovative – and sometimes counterintuitive – ways educators and parents are helping all children succeed.",
"type": "terms",
"id": "mindshift",
"slug": "mindshift",
"link": "/mindshift",
"taxonomy": "site"
},
"news": {
"name": "News",
"grouping": [
"news",
"forum"
],
"type": "terms",
"id": "news",
"slug": "news",
"link": "/news",
"taxonomy": "site"
},
"newsletters": {
"name": "newsletters",
"type": "terms",
"id": "newsletters",
"slug": "newsletters",
"link": "/newsletters",
"taxonomy": "site"
},
"perspectives": {
"name": "Perspectives",
"parent": "radio",
"type": "terms",
"id": "perspectives",
"slug": "perspectives",
"link": "/perspectives",
"taxonomy": "site"
},
"podcasts": {
"name": "Podcasts",
"type": "terms",
"id": "podcasts",
"slug": "podcasts",
"link": "/podcasts",
"taxonomy": "site"
},
"pop": {
"name": "Pop",
"parent": "arts",
"type": "terms",
"id": "pop",
"slug": "pop",
"link": "/pop",
"taxonomy": "site"
},
"pressroom": {
"name": "Pressroom",
"type": "terms",
"id": "pressroom",
"slug": "pressroom",
"link": "/pressroom",
"taxonomy": "site"
},
"quest": {
"name": "Quest",
"parent": "science",
"type": "terms",
"id": "quest",
"slug": "quest",
"link": "/quest",
"taxonomy": "site"
},
"radio": {
"name": "Radio",
"grouping": [
"forum",
"perspectives"
],
"description": "Listen to KQED Public Radio – home of Forum and The California Report – on 88.5 FM in San Francisco, 89.3 FM in Sacramento, 88.3 FM in Santa Rosa and 88.1 FM in Martinez.",
"type": "terms",
"id": "radio",
"slug": "radio",
"link": "/radio",
"taxonomy": "site"
},
"root": {
"name": "KQED",
"image": "https://ww2.kqed.org/app/uploads/2020/02/KQED-OG-Image@1x.png",
"imageWidth": 1200,
"imageHeight": 630,
"headData": {
"title": "KQED | News, Radio, Podcasts, TV | Public Media for Northern California",
"description": "KQED provides public radio, television, and independent reporting on issues that matter to the Bay Area. We’re the NPR and PBS member station for Northern California."
},
"type": "terms",
"id": "root",
"slug": "root",
"link": "/root",
"taxonomy": "site"
},
"science": {
"name": "Science",
"grouping": [
"science",
"futureofyou"
],
"description": "KQED Science brings you award-winning science and environment coverage from the Bay Area and beyond.",
"type": "terms",
"id": "science",
"slug": "science",
"link": "/science",
"taxonomy": "site"
},
"stateofhealth": {
"name": "State of Health",
"parent": "science",
"type": "terms",
"id": "stateofhealth",
"slug": "stateofhealth",
"link": "/stateofhealth",
"taxonomy": "site"
},
"support": {
"name": "Support",
"type": "terms",
"id": "support",
"slug": "support",
"link": "/support",
"taxonomy": "site"
},
"thedolist": {
"name": "The Do List",
"parent": "arts",
"type": "terms",
"id": "thedolist",
"slug": "thedolist",
"link": "/thedolist",
"taxonomy": "site"
},
"trulyca": {
"name": "Truly CA",
"grouping": [
"arts",
"pop",
"trulyca"
],
"parent": "arts",
"type": "terms",
"id": "trulyca",
"slug": "trulyca",
"link": "/trulyca",
"taxonomy": "site"
},
"tv": {
"name": "TV",
"type": "terms",
"id": "tv",
"slug": "tv",
"link": "/tv",
"taxonomy": "site"
},
"voterguide": {
"name": "Voter Guide",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "voterguide",
"slug": "voterguide",
"link": "/voterguide",
"taxonomy": "site"
},
"guiaelectoral": {
"name": "Guia Electoral",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "guiaelectoral",
"slug": "guiaelectoral",
"link": "/guiaelectoral",
"taxonomy": "site"
},
"arts_category_movies": {
"isLoading": true
},
"arts_74": {
"type": "terms",
"id": "arts_74",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "74",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Movies",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Movies Archives | KQED Arts",
"ogDescription": null
},
"ttid": 75,
"slug": "movies",
"isLoading": false,
"link": "/arts/category/movies"
},
"arts_140": {
"type": "terms",
"id": "arts_140",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "140",
"found": true
},
"relationships": {},
"name": "The Do List",
"slug": "the-do-list",
"taxonomy": "program",
"description": null,
"featImg": "https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Do-LIst-logo-2014-horizontal-015.png",
"headData": {
"title": "The Do List Archives | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 141,
"isLoading": false,
"link": "/arts/program/the-do-list"
},
"arts_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_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_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_11323": {
"type": "terms",
"id": "arts_11323",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "11323",
"found": true
},
"relationships": {},
"featImg": null,
"name": "celebrities",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "celebrities Archives | KQED Arts",
"ogDescription": null
},
"ttid": 11335,
"slug": "celebrities",
"isLoading": false,
"link": "/arts/tag/celebrities"
},
"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_5878": {
"type": "terms",
"id": "arts_5878",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5878",
"found": true
},
"relationships": {},
"featImg": null,
"name": "wildlife",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "wildlife Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5890,
"slug": "wildlife",
"isLoading": false,
"link": "/arts/tag/wildlife"
},
"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_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_989": {
"type": "terms",
"id": "arts_989",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "989",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Q&A",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Q&A Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1007,
"slug": "qa",
"isLoading": false,
"link": "/arts/tag/qa"
},
"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_5848": {
"type": "terms",
"id": "arts_5848",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5848",
"found": true
},
"relationships": {},
"featImg": null,
"name": "police brutality",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "police brutality Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5860,
"slug": "police-brutality",
"isLoading": false,
"link": "/arts/tag/police-brutality"
},
"arts_137": {
"type": "terms",
"id": "arts_137",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "137",
"found": true
},
"relationships": {},
"featImg": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/logo-npr-lg1.png",
"name": "NPR",
"description": null,
"taxonomy": "affiliate",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "NPR Archives | KQED Arts",
"ogDescription": null
},
"ttid": 138,
"slug": "npr",
"isLoading": false,
"link": "/arts/affiliate/npr"
},
"arts_1006": {
"type": "terms",
"id": "arts_1006",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1006",
"found": true
},
"relationships": {},
"featImg": null,
"name": "guide",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "guide Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1023,
"slug": "guide",
"isLoading": false,
"link": "/arts/tag/guide"
},
"arts_1206": {
"type": "terms",
"id": "arts_1206",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1206",
"found": true
},
"relationships": {},
"featImg": null,
"name": "halloween",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "halloween Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1218,
"slug": "halloween",
"isLoading": false,
"link": "/arts/tag/halloween"
},
"arts_5142": {
"type": "terms",
"id": "arts_5142",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5142",
"found": true
},
"relationships": {},
"featImg": null,
"name": "compton's cafeteria riot",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "compton's cafeteria riot Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5154,
"slug": "comptons-cafeteria-riot",
"isLoading": false,
"link": "/arts/tag/comptons-cafeteria-riot"
},
"arts_5052": {
"type": "terms",
"id": "arts_5052",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5052",
"found": true
},
"relationships": {},
"featImg": null,
"name": "sf cinematheque",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "sf cinematheque Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5064,
"slug": "sf-cinematheque",
"isLoading": false,
"link": "/arts/tag/sf-cinematheque"
},
"arts_1020": {
"type": "terms",
"id": "arts_1020",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1020",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Tenderloin",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Tenderloin Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1037,
"slug": "tenderloin",
"isLoading": false,
"link": "/arts/tag/tenderloin"
},
"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_3563": {
"type": "terms",
"id": "arts_3563",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3563",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Black Panther",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Black Panther Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3575,
"slug": "black-panther",
"isLoading": false,
"link": "/arts/tag/black-panther"
},
"arts_12322": {
"type": "terms",
"id": "arts_12322",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "12322",
"found": true
},
"relationships": {},
"featImg": null,
"name": "films",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "films Archives | KQED Arts",
"ogDescription": null
},
"ttid": 12334,
"slug": "films",
"isLoading": false,
"link": "/arts/tag/films"
},
"arts_1143": {
"type": "terms",
"id": "arts_1143",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1143",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Oakland",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Oakland Archives | KQED Arts",
"ogDescription": null
},
"ttid": 692,
"slug": "oakland",
"isLoading": false,
"link": "/arts/tag/oakland"
},
"arts_3961": {
"type": "terms",
"id": "arts_3961",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3961",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Ryan Coogler",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Ryan Coogler Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3973,
"slug": "ryan-coogler",
"isLoading": false,
"link": "/arts/tag/ryan-coogler"
},
"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_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"
}
},
"userPermissionsReducer": {
"wpLoggedIn": false
},
"eventsReducer": {},
"fssReducer": {},
"tvDailyScheduleReducer": {},
"tvWeeklyScheduleReducer": {},
"tvPrimetimeScheduleReducer": {},
"tvMonthlyScheduleReducer": {},
"userAccountReducer": {
"user": {
"email": null,
"emailStatus": "EMAIL_UNVALIDATED",
"loggedStatus": "LOGGED_OUT",
"loggingChecked": false,
"articles": [],
"firstName": null,
"lastName": null,
"phoneNumber": null,
"fetchingMembership": false,
"membershipError": false,
"memberships": [
{
"id": null,
"startDate": null,
"firstName": null,
"lastName": null,
"familyNumber": null,
"memberNumber": null,
"memberSince": null,
"expirationDate": null,
"pfsEligible": false,
"isSustaining": false,
"membershipLevel": "Prospect",
"membershipStatus": "Non Member",
"lastGiftDate": null,
"renewalDate": null,
"lastDonationAmount": null
}
]
},
"authModal": {
"isOpen": false,
"view": "LANDING_VIEW"
},
"error": null
},
"youthMediaReducer": {},
"checkPleaseReducer": {
"filterData": {
"region": {
"key": "Restaurant Region",
"filters": [
"Any Region"
]
},
"cuisine": {
"key": "Restaurant Cuisine",
"filters": [
"Any Cuisine"
]
}
},
"restaurantDataById": {},
"restaurantIdsSorted": [],
"error": null
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
},
"requestOutcomesReducer": {
"notFound": []
},
"navPromosReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": true,
"promos": {
"news": {
"name": "2026 Voter Guide",
"link": "/voterguide",
"imageURL": "https://cdn.kqed.org/wp-content/uploads/2026/10/Nav-News-Nov2026ElectionCoverage@2x-7bd4aad4.png",
"description": "Get informed in minutes with our Voter Guide for California’s November 3 election."
},
"podcasts-radio": {},
"video-tv": {},
"events": {},
"support": {}
}
}
}