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_13830736": {
"type": "attachments",
"id": "arts_13830736",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13830736",
"found": true
},
"parent": 13830688,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/saving_brinton_still_3_outd-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/saving_brinton_still_3_outd-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/saving_brinton_still_3_outd-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/saving_brinton_still_3_outd-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/saving_brinton_still_3_outd-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/saving_brinton_still_3_outd-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/saving_brinton_still_3_outd.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/saving_brinton_still_3_outd-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/saving_brinton_still_3_outd-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/saving_brinton_still_3_outd-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/saving_brinton_still_3_outd-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/saving_brinton_still_3_outd-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/saving_brinton_still_3_outd-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/saving_brinton_still_3_outd-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/saving_brinton_still_3_outd-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/saving_brinton_still_3_outd-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/saving_brinton_still_3_outd-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/saving_brinton_still_3_outd-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/saving_brinton_still_3_outd-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/saving_brinton_still_3_outd-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/saving_brinton_still_3_outd-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/saving_brinton_still_3_outd-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1525069842,
"modified": 1525070209,
"caption": "Michael Zahs, a retired history teacher, saved rare films that date to 1895 and became the subject of the 2017 documentary 'Saving Brinton.'",
"description": "Michael Zahs, a retired history teacher, saved rare films that date to 1895 and became the subject of the 2017 documentary 'Saving Brinton.'",
"title": "saving_brinton_still_3_outd",
"credit": "Courtesy DocLands",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13829314": {
"type": "attachments",
"id": "arts_13829314",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13829314",
"found": true
},
"parent": 13829313,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/grace-jones-8_wide-99db695866ed558810cfefcc679305a6e8d390bb-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/grace-jones-8_wide-99db695866ed558810cfefcc679305a6e8d390bb-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/grace-jones-8_wide-99db695866ed558810cfefcc679305a6e8d390bb-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/grace-jones-8_wide-99db695866ed558810cfefcc679305a6e8d390bb-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/grace-jones-8_wide-99db695866ed558810cfefcc679305a6e8d390bb-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/grace-jones-8_wide-99db695866ed558810cfefcc679305a6e8d390bb-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/grace-jones-8_wide-99db695866ed558810cfefcc679305a6e8d390bb.jpg",
"width": 2048,
"height": 1152
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/grace-jones-8_wide-99db695866ed558810cfefcc679305a6e8d390bb-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/grace-jones-8_wide-99db695866ed558810cfefcc679305a6e8d390bb-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/grace-jones-8_wide-99db695866ed558810cfefcc679305a6e8d390bb-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/grace-jones-8_wide-99db695866ed558810cfefcc679305a6e8d390bb-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/grace-jones-8_wide-99db695866ed558810cfefcc679305a6e8d390bb-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/grace-jones-8_wide-99db695866ed558810cfefcc679305a6e8d390bb-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/grace-jones-8_wide-99db695866ed558810cfefcc679305a6e8d390bb-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/grace-jones-8_wide-99db695866ed558810cfefcc679305a6e8d390bb-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/grace-jones-8_wide-99db695866ed558810cfefcc679305a6e8d390bb-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/grace-jones-8_wide-99db695866ed558810cfefcc679305a6e8d390bb-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/grace-jones-8_wide-99db695866ed558810cfefcc679305a6e8d390bb-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/grace-jones-8_wide-99db695866ed558810cfefcc679305a6e8d390bb-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/grace-jones-8_wide-99db695866ed558810cfefcc679305a6e8d390bb-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/grace-jones-8_wide-99db695866ed558810cfefcc679305a6e8d390bb-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/grace-jones-8_wide-99db695866ed558810cfefcc679305a6e8d390bb-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1523578218,
"modified": 1523578218,
"caption": null,
"description": "\u003cem>Grace Jones: Bloodlight and Bami\u003c/em> is an intimate and personal look at the Jamaican megastar, who became a New Wave icon in the eighties.",
"title": "Grace Jones: Bloodlight and Bami is an intimate and personal look at the Jamaican megastar, who became a New Wave icon in the eighties.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13809278": {
"type": "attachments",
"id": "arts_13809278",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13809278",
"found": true
},
"parent": 13809267,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/RZA-featured-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/RZA-featured-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/RZA-featured-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/RZA-featured-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/RZA-featured-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/RZA-featured-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/RZA-featured.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/RZA-featured-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/RZA-featured-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/RZA-featured-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/RZA-featured-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/RZA-featured-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/RZA-featured-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/RZA-featured-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/RZA-featured-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/RZA-featured-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/RZA-featured-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/RZA-featured-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/RZA-featured-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/RZA-featured-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/RZA-featured-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1506068980,
"modified": 1524603418,
"caption": "RZA at the launch party of his 36 Chambers fashion collection, which was inspired by an exhibit at San Francisco's Asian Art Museum. ",
"description": "RZA's new fashion collection for his brand, 36 Chambers, was inspired by an exhibit at San Francisco's Asian Art Museum. ",
"title": "RZA featured",
"credit": "Nastia Voynovskaya ",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13830244": {
"type": "attachments",
"id": "arts_13830244",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13830244",
"found": true
},
"parent": 13830237,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Steph-Curry-sitting-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Steph-Curry-sitting-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Steph-Curry-sitting-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Steph-Curry-sitting-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Steph-Curry-sitting-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Steph-Curry-sitting-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Steph-Curry-sitting.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Steph-Curry-sitting-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Steph-Curry-sitting-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Steph-Curry-sitting-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Steph-Curry-sitting-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Steph-Curry-sitting-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Steph-Curry-sitting-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Steph-Curry-sitting-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Steph-Curry-sitting-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Steph-Curry-sitting-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Steph-Curry-sitting-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Steph-Curry-sitting-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Steph-Curry-sitting-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Steph-Curry-sitting-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Steph-Curry-sitting-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Steph-Curry-sitting-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1524528531,
"modified": 1524528618,
"caption": "Steph Curry speaks onstage during TechCrunch Disrupt SF 2016 at Pier 48 on September 13, 2016 in San Francisco, California. ",
"description": "Steph Curry speaks onstage during TechCrunch Disrupt SF 2016 at Pier 48 on September 13, 2016 in San Francisco, California. ",
"title": "TechCrunch Disrupt SF 2016 - Day 2",
"credit": "Steve Jennings/Getty Images for TechCrunch",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13830168": {
"type": "attachments",
"id": "arts_13830168",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13830168",
"found": true
},
"parent": 13830154,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/BlowUp.Antonioni-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/BlowUp.Antonioni-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/BlowUp.Antonioni-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/BlowUp.Antonioni-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/BlowUp.Antonioni-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/BlowUp.Antonioni-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/BlowUp.Antonioni.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/BlowUp.Antonioni-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/BlowUp.Antonioni-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/BlowUp.Antonioni-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/BlowUp.Antonioni-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/BlowUp.Antonioni-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/BlowUp.Antonioni-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/BlowUp.Antonioni-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/BlowUp.Antonioni-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/BlowUp.Antonioni-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/BlowUp.Antonioni-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/BlowUp.Antonioni-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/BlowUp.Antonioni-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/BlowUp.Antonioni-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/BlowUp.Antonioni-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/BlowUp.Antonioni-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1524505667,
"modified": 1524506084,
"caption": "Vanessa Redgrave and David Hemmings in 'Blow-Up,' screening April 28 at the Castro Theater's Antonioni tribute. ",
"description": "Vanessa Redgrave and David Hemmings in 'Blow-Up,' screening April 28 at the Castro Theater. ",
"title": "BlowUp.Antonioni",
"credit": "Courtesy Cinema Italia SF",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13830038": {
"type": "attachments",
"id": "arts_13830038",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13830038",
"found": true
},
"parent": 13830037,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/the-devil-and-father-amorth-review_wide-f325101354806e66b2a7b3657fab3f7954135bca-520x292.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 292
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/the-devil-and-father-amorth-review_wide-f325101354806e66b2a7b3657fab3f7954135bca-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/the-devil-and-father-amorth-review_wide-f325101354806e66b2a7b3657fab3f7954135bca-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/the-devil-and-father-amorth-review_wide-f325101354806e66b2a7b3657fab3f7954135bca-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/the-devil-and-father-amorth-review_wide-f325101354806e66b2a7b3657fab3f7954135bca-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/the-devil-and-father-amorth-review_wide-f325101354806e66b2a7b3657fab3f7954135bca.jpg",
"width": 998,
"height": 561
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/the-devil-and-father-amorth-review_wide-f325101354806e66b2a7b3657fab3f7954135bca-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/the-devil-and-father-amorth-review_wide-f325101354806e66b2a7b3657fab3f7954135bca-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/the-devil-and-father-amorth-review_wide-f325101354806e66b2a7b3657fab3f7954135bca-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/the-devil-and-father-amorth-review_wide-f325101354806e66b2a7b3657fab3f7954135bca-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/the-devil-and-father-amorth-review_wide-f325101354806e66b2a7b3657fab3f7954135bca-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/the-devil-and-father-amorth-review_wide-f325101354806e66b2a7b3657fab3f7954135bca-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/the-devil-and-father-amorth-review_wide-f325101354806e66b2a7b3657fab3f7954135bca-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/the-devil-and-father-amorth-review_wide-f325101354806e66b2a7b3657fab3f7954135bca-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/the-devil-and-father-amorth-review_wide-f325101354806e66b2a7b3657fab3f7954135bca-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1524248496,
"modified": 1524248732,
"caption": "Father Gabriele Amorth is the subject of William Friedkin's oddly slapdash documentary, 'The Devil and Father Amorth.'",
"description": "Father Gabriele Amorth is the subject of William Friedkin's oddly slapdash documentary, 'The Devil and Father Amorth.'",
"title": "Father Gabriele Amorth is the subject of William Friedkin's oddly slapdash documentary, The Devil and Father Amorth.",
"credit": "William Friedkin",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13829498": {
"type": "attachments",
"id": "arts_13829498",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13829498",
"found": true
},
"parent": 13829496,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/1_Lead-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/1_Lead-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/1_Lead-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/1_Lead-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/1_Lead-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/1_Lead-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/1_Lead.jpg",
"width": 2048,
"height": 1152
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/1_Lead-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/1_Lead-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/1_Lead-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/1_Lead-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/1_Lead-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/1_Lead-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/1_Lead-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/1_Lead-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/1_Lead-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/1_Lead-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/1_Lead-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/1_Lead-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/1_Lead-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/1_Lead-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/1_Lead-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1523868753,
"modified": 1524199051,
"caption": "Brady Jandreau as Brady Blackburn in 'The Rider.'",
"description": "Brady Jandreau as Brady Blackburn in 'The Rider.'",
"title": "1_Lead",
"credit": "Courtesy of Sony Pictures Classics",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13829730": {
"type": "attachments",
"id": "arts_13829730",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13829730",
"found": true
},
"parent": 13829726,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/ZAM-still-004-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/ZAM-still-004-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/ZAM-still-004-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/ZAM-still-004-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/ZAM-still-004-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/ZAM-still-004-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/ZAM-still-004.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/ZAM-still-004-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/ZAM-still-004-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/ZAM-still-004-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/ZAM-still-004-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/ZAM-still-004-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/ZAM-still-004-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/ZAM-still-004-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/ZAM-still-004-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/ZAM-still-004-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/ZAM-still-004-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/ZAM-still-004-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/ZAM-still-004-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/ZAM-still-004-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/ZAM-still-004-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/ZAM-still-004-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1524030738,
"modified": 1524031548,
"caption": "Lola Dueñas as Luciana Piñares de Luenga in Lucrecia Martel's 'Zama.'",
"description": "Lola Dueñas as Luciana Piñares de Luenga in Lucrecia Martel's 'Zama.'",
"title": "ZAM-still-004",
"credit": "Strand Releasing",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13829511": {
"type": "attachments",
"id": "arts_13829511",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13829511",
"found": true
},
"parent": 13829490,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/MiriamMakeba.MamaAfrica1-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/MiriamMakeba.MamaAfrica1-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/MiriamMakeba.MamaAfrica1-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/MiriamMakeba.MamaAfrica1-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/MiriamMakeba.MamaAfrica1-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/MiriamMakeba.MamaAfrica1-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/MiriamMakeba.MamaAfrica1.jpg",
"width": 2000,
"height": 1125
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/MiriamMakeba.MamaAfrica1-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/MiriamMakeba.MamaAfrica1-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/MiriamMakeba.MamaAfrica1-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/MiriamMakeba.MamaAfrica1-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/MiriamMakeba.MamaAfrica1-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/MiriamMakeba.MamaAfrica1-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/MiriamMakeba.MamaAfrica1-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/MiriamMakeba.MamaAfrica1-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/MiriamMakeba.MamaAfrica1-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/MiriamMakeba.MamaAfrica1-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/MiriamMakeba.MamaAfrica1-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/MiriamMakeba.MamaAfrica1-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/MiriamMakeba.MamaAfrica1-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/MiriamMakeba.MamaAfrica1-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/MiriamMakeba.MamaAfrica1-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1523896970,
"modified": 1523896997,
"caption": "Miriam Makeba in 'Miriam Makeba: Mama Africa,' screening April 18 at MoAD in San Francisco.",
"description": "Miriam Makeba in 'Miriam Makeba: Mama Africa,' screening April 18 at MoAD in San Francisco.",
"title": "MiriamMakeba.MamaAfrica1",
"credit": "Courtesy MoAD",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13829485": {
"type": "attachments",
"id": "arts_13829485",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13829485",
"found": true
},
"parent": 13829484,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-92310937_wide-630908bc5f4bb34d20cb74918b4de7d5f4d7942c-520x292.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 292
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-92310937_wide-630908bc5f4bb34d20cb74918b4de7d5f4d7942c-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-92310937_wide-630908bc5f4bb34d20cb74918b4de7d5f4d7942c-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-92310937_wide-630908bc5f4bb34d20cb74918b4de7d5f4d7942c-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-92310937_wide-630908bc5f4bb34d20cb74918b4de7d5f4d7942c-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-92310937_wide-630908bc5f4bb34d20cb74918b4de7d5f4d7942c-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-92310937_wide-630908bc5f4bb34d20cb74918b4de7d5f4d7942c.jpg",
"width": 2048,
"height": 1152
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-92310937_wide-630908bc5f4bb34d20cb74918b4de7d5f4d7942c-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-92310937_wide-630908bc5f4bb34d20cb74918b4de7d5f4d7942c-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-92310937_wide-630908bc5f4bb34d20cb74918b4de7d5f4d7942c-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-92310937_wide-630908bc5f4bb34d20cb74918b4de7d5f4d7942c-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-92310937_wide-630908bc5f4bb34d20cb74918b4de7d5f4d7942c-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-92310937_wide-630908bc5f4bb34d20cb74918b4de7d5f4d7942c-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-92310937_wide-630908bc5f4bb34d20cb74918b4de7d5f4d7942c-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-92310937_wide-630908bc5f4bb34d20cb74918b4de7d5f4d7942c-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-92310937_wide-630908bc5f4bb34d20cb74918b4de7d5f4d7942c-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-92310937_wide-630908bc5f4bb34d20cb74918b4de7d5f4d7942c-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-92310937_wide-630908bc5f4bb34d20cb74918b4de7d5f4d7942c-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-92310937_wide-630908bc5f4bb34d20cb74918b4de7d5f4d7942c-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-92310937_wide-630908bc5f4bb34d20cb74918b4de7d5f4d7942c-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-92310937_wide-630908bc5f4bb34d20cb74918b4de7d5f4d7942c-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-92310937_wide-630908bc5f4bb34d20cb74918b4de7d5f4d7942c-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1523833779,
"modified": 1523835114,
"caption": "Milos Forman at the International Rome Film Festival in Rome in 2009. He died at age 86 in Connecticut.",
"description": "Milos Forman at the International Rome Film Festival in Rome in 2009. He died at age 86 in Connecticut.",
"title": "Milos Forman at the International Rome Film Festival in Rome in 2009. He died at age 86 in Connecticut.",
"credit": "Ernesto S. Ruscio/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13829337": {
"type": "attachments",
"id": "arts_13829337",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13829337",
"found": true
},
"parent": 13829336,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/tennis_wide-22a476534780b46880774b342acf992068560e37-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/tennis_wide-22a476534780b46880774b342acf992068560e37-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/tennis_wide-22a476534780b46880774b342acf992068560e37-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/tennis_wide-22a476534780b46880774b342acf992068560e37-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/tennis_wide-22a476534780b46880774b342acf992068560e37-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/tennis_wide-22a476534780b46880774b342acf992068560e37-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/tennis_wide-22a476534780b46880774b342acf992068560e37.jpg",
"width": 2000,
"height": 1125
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/tennis_wide-22a476534780b46880774b342acf992068560e37-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/tennis_wide-22a476534780b46880774b342acf992068560e37-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/tennis_wide-22a476534780b46880774b342acf992068560e37-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/tennis_wide-22a476534780b46880774b342acf992068560e37-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/tennis_wide-22a476534780b46880774b342acf992068560e37-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/tennis_wide-22a476534780b46880774b342acf992068560e37-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/tennis_wide-22a476534780b46880774b342acf992068560e37-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/tennis_wide-22a476534780b46880774b342acf992068560e37-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/tennis_wide-22a476534780b46880774b342acf992068560e37-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/tennis_wide-22a476534780b46880774b342acf992068560e37-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/tennis_wide-22a476534780b46880774b342acf992068560e37-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/tennis_wide-22a476534780b46880774b342acf992068560e37-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/tennis_wide-22a476534780b46880774b342acf992068560e37-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/tennis_wide-22a476534780b46880774b342acf992068560e37-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/tennis_wide-22a476534780b46880774b342acf992068560e37-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1523637612,
"modified": 1523637612,
"caption": null,
"description": "Resistance is feudal: John McEnroe (Shia LaBeouf) and Bjorn Borg (Sverrir Godnason) face off in \u003cem>Borg vs. McEnroe, \u003c/em>a dramatized take on their famed '80s rivalry.",
"title": "Resistance is feudal: John McEnroe (Shia LaBeouf) and Bjorn Borg (Sverrir Godnason) face off in Borg vs. McEnroe, a dramatized take on their famed '80s rivalry.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13828837": {
"type": "attachments",
"id": "arts_13828837",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13828837",
"found": true
},
"parent": 13828836,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/aqp06653rc_wide-07014d65d1c466aa521207b7a76df10abcd26622-1-520x292.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 292
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/aqp06653rc_wide-07014d65d1c466aa521207b7a76df10abcd26622-1-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/aqp06653rc_wide-07014d65d1c466aa521207b7a76df10abcd26622-1-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/aqp06653rc_wide-07014d65d1c466aa521207b7a76df10abcd26622-1-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/aqp06653rc_wide-07014d65d1c466aa521207b7a76df10abcd26622-1-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/aqp06653rc_wide-07014d65d1c466aa521207b7a76df10abcd26622-1-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/aqp06653rc_wide-07014d65d1c466aa521207b7a76df10abcd26622-1.jpg",
"width": 2048,
"height": 1152
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/aqp06653rc_wide-07014d65d1c466aa521207b7a76df10abcd26622-1-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/aqp06653rc_wide-07014d65d1c466aa521207b7a76df10abcd26622-1-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/aqp06653rc_wide-07014d65d1c466aa521207b7a76df10abcd26622-1-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/aqp06653rc_wide-07014d65d1c466aa521207b7a76df10abcd26622-1-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/aqp06653rc_wide-07014d65d1c466aa521207b7a76df10abcd26622-1-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/aqp06653rc_wide-07014d65d1c466aa521207b7a76df10abcd26622-1-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/aqp06653rc_wide-07014d65d1c466aa521207b7a76df10abcd26622-1-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/aqp06653rc_wide-07014d65d1c466aa521207b7a76df10abcd26622-1-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/aqp06653rc_wide-07014d65d1c466aa521207b7a76df10abcd26622-1-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/aqp06653rc_wide-07014d65d1c466aa521207b7a76df10abcd26622-1-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/aqp06653rc_wide-07014d65d1c466aa521207b7a76df10abcd26622-1-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/aqp06653rc_wide-07014d65d1c466aa521207b7a76df10abcd26622-1-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/aqp06653rc_wide-07014d65d1c466aa521207b7a76df10abcd26622-1-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/aqp06653rc_wide-07014d65d1c466aa521207b7a76df10abcd26622-1-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1522969023,
"modified": 1522969023,
"caption": null,
"description": "Quiet On The Set Piece: John Krasinski directs, co-stars, and co-writes \u003cem>A Quiet Place\u003c/em>, a thriller that leverages silence for scares.",
"title": "Quiet On The Set Piece: John Krasinski directs, co-stars, and co-writes A Quiet Place, a thriller that leverages silence for scares.",
"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_13829313": {
"type": "authors",
"id": "byline_arts_13829313",
"meta": {
"override": true
},
"slug": "byline_arts_13829313",
"name": "Scott Tobias",
"isLoading": false
},
"byline_arts_13830037": {
"type": "authors",
"id": "byline_arts_13830037",
"meta": {
"override": true
},
"slug": "byline_arts_13830037",
"name": "Andrew Lapin",
"isLoading": false
},
"byline_arts_13829726": {
"type": "authors",
"id": "byline_arts_13829726",
"meta": {
"override": true
},
"slug": "byline_arts_13829726",
"name": "Max Goldberg",
"isLoading": false
},
"byline_arts_13829484": {
"type": "authors",
"id": "byline_arts_13829484",
"meta": {
"override": true
},
"slug": "byline_arts_13829484",
"name": "James Doubek",
"isLoading": false
},
"byline_arts_13829336": {
"type": "authors",
"id": "byline_arts_13829336",
"meta": {
"override": true
},
"slug": "byline_arts_13829336",
"name": "Ella Taylor",
"isLoading": false
},
"byline_arts_13828836": {
"type": "authors",
"id": "byline_arts_13828836",
"meta": {
"override": true
},
"slug": "byline_arts_13828836",
"name": "Scott Tobias",
"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"
},
"kjones": {
"type": "authors",
"id": "93",
"meta": {
"index": "authors_1716337520",
"id": "93",
"found": true
},
"name": "Kevin L. Jones",
"firstName": "Kevin",
"lastName": "Jones",
"slug": "kjones",
"email": "kjones@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": null,
"avatar": "https://secure.gravatar.com/avatar/12c65b5633ed39d0a59bb7f497eff645?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"subscriber"
]
},
{
"site": "styleguide",
"roles": [
"contributor"
]
},
{
"site": "artschool",
"roles": [
"subscriber"
]
},
{
"site": "news",
"roles": [
"subscriber"
]
},
{
"site": "pop",
"roles": [
"subscriber"
]
}
],
"headData": {
"title": "Kevin L. Jones | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/12c65b5633ed39d0a59bb7f497eff645?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/12c65b5633ed39d0a59bb7f497eff645?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/kjones"
},
"nvoynovskaya": {
"type": "authors",
"id": "11387",
"meta": {
"index": "authors_1716337520",
"id": "11387",
"found": true
},
"name": "Nastia Voynovskaya",
"firstName": "Nastia",
"lastName": "Voynovskaya",
"slug": "nvoynovskaya",
"email": "nvoynovskaya@kqed.org",
"display_author_email": false,
"staff_mastheads": [
"arts"
],
"title": "Editor and reporter",
"bio": "Nastia Voynovskaya is a reporter, editor and host at KQED Arts & Culture. She's been covering the arts in the Bay Area for over a decade, with a focus on music, queer culture, labor issues and grassroots organizing. She has edited KQED story series such as Trans Bay: A History of San Francisco's Gender-Diverse Community, and co-created KQED's Bay Area hip-hop history project, That's My Word. Nastia's work has been recognized by the Society of Professional Journalists and San Francisco Press Club. She regularly appears on podcasts and radio programs, including NPR's All Songs Considered, and hosts live events where music, culture and conversation meet.",
"avatar": "https://secure.gravatar.com/avatar/5025ee460e5a85d69ca20ea6c6f2f80d7e17795c828f61ea3aecfcd924e9042e?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": "https://www.instagram.com/nananastia/",
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"administrator"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "podcasts",
"roles": [
"editor"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Nastia Voynovskaya | KQED",
"description": "Editor and reporter",
"ogImgSrc": "https://secure.gravatar.com/avatar/5025ee460e5a85d69ca20ea6c6f2f80d7e17795c828f61ea3aecfcd924e9042e?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/5025ee460e5a85d69ca20ea6c6f2f80d7e17795c828f61ea3aecfcd924e9042e?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/nvoynovskaya"
}
},
"pagesReducer": {
"arts_category_movies": {
"type": "terms",
"id": "arts_74",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "74",
"score": 12.557754
},
"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": 133
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=movies",
"seeMore": false,
"paginated": true,
"page": 133
}
},
{
"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_13830688": {
"type": "posts",
"id": "arts_13830688",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13830688",
"score": null,
"sort": [
1525114844000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1525114844,
"format": "standard",
"title": "Now Playing! DocLands Reconciles Truth and History in Marin",
"headTitle": "Now Playing! DocLands Reconciles Truth and History in Marin | KQED",
"content": "\u003cp>May signals the arrival of the summer blockbuster movie season, and if you listen closely you’ll make out the faint echo of brain cells dying in multiplexes across the land. Several antidotes come to mind, including the \u003ca href=\"http://www.doclands.com\" rel=\"noopener\" target=\"_blank\">DocLands Documentary Film Festival\u003c/a>, running May 3-6 at venues in San Rafael (at the Smith Rafael Film Center) and Mill Valley (CineArts Sequoia). Programmed and presented by the California Film Institute, the parent organization of the Mill Valley Film Festival, DocLands encompasses a broad swath of social-issues films, environmental expeditions and quirky portraits of extraordinarily unique individuals.\u003c/p>\n\u003cp>Connie Field, the East Bay force of nature who nearly a decade ago produced and directed a seven-part history of the international crusade to end apartheid in South Africa, premieres \u003cem>Have You Heard from Johannesburg: Oliver Tambo\u003c/em> (May 6) to commemorate the past year’s centennial of the ANC leader’s birth. Inspiring, infuriating and revelatory, Field’s film is the epitome of essential viewing.\u003c/p>\n\u003cfigure id=\"attachment_13830737\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-800x530.jpg\" alt=\"Jack Casady and Jerry Garcia playing music at Olompali, the Marin commune that's the subject of a new documentary, 'Olompali: A Hippie Odyssey.' \" width=\"800\" height=\"530\" class=\"size-medium wp-image-13830737\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-1200x796.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-960x637.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jack Casady and Jerry Garcia playing music at Olompali, the Marin commune that’s the subject of a new documentary, ‘Olompali: A Hippie Odyssey.’ \u003ccite>(Peter Risley/Courtesy DocLands)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The chunk of history that Gregg Gibbs unearths in \u003cem>Olompali: A Hippie Odyssey\u003c/em> (May 6) begins with the magnetic force of the Summer of Love, which attracted young people from around the country to San Francisco. The doc focuses on a particularly idealistic group who turned on, dropped out, and established a commune 30 miles north of the city. \u003cem>Olompali\u003c/em> is narrated by Peter Coyote (who else?), who lived in a North Bay commune himself for a pivotal part of the ’60s and has an appreciation for the euphoria and frustrations of group living.\u003c/p>\n\u003cp>A touching entry in the subgenre of lost-movie documentaries, \u003cem>Saving Brinton\u003c/em> (May 6) spotlights a rural Iowa collector who found a long-untouched bin of reels and memorabilia in a farmhouse. This fellow, Michael Zahs, recognized the historical and artistic value of the films, but he became obsessed instead with the legacy of the itinerant 19th century businessman who introduced these movies to Midwestern farmers and townies. William Brinton was that man, and he has a movie named for him now.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 377,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 6
},
"modified": 1705027982,
"excerpt": "Rise above the imminent onslaught of summer blockbusters with a thrilling array of quirky portraits, environmental expeditions and social-issues films. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Rise above the imminent onslaught of summer blockbusters with a thrilling array of quirky portraits, environmental expeditions and social-issues films. ",
"title": "Now Playing! DocLands Reconciles Truth and History in Marin | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Now Playing! DocLands Reconciles Truth and History in Marin",
"datePublished": "2018-04-30T12:00:44-07:00",
"dateModified": "2024-01-11T18:53:02-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "now-playing-doclands-reconciles-truth-and-history-in-marin",
"status": "publish",
"sticky": false,
"path": "/arts/13830688/now-playing-doclands-reconciles-truth-and-history-in-marin",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>May signals the arrival of the summer blockbuster movie season, and if you listen closely you’ll make out the faint echo of brain cells dying in multiplexes across the land. Several antidotes come to mind, including the \u003ca href=\"http://www.doclands.com\" rel=\"noopener\" target=\"_blank\">DocLands Documentary Film Festival\u003c/a>, running May 3-6 at venues in San Rafael (at the Smith Rafael Film Center) and Mill Valley (CineArts Sequoia). Programmed and presented by the California Film Institute, the parent organization of the Mill Valley Film Festival, DocLands encompasses a broad swath of social-issues films, environmental expeditions and quirky portraits of extraordinarily unique individuals.\u003c/p>\n\u003cp>Connie Field, the East Bay force of nature who nearly a decade ago produced and directed a seven-part history of the international crusade to end apartheid in South Africa, premieres \u003cem>Have You Heard from Johannesburg: Oliver Tambo\u003c/em> (May 6) to commemorate the past year’s centennial of the ANC leader’s birth. Inspiring, infuriating and revelatory, Field’s film is the epitome of essential viewing.\u003c/p>\n\u003cfigure id=\"attachment_13830737\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-800x530.jpg\" alt=\"Jack Casady and Jerry Garcia playing music at Olompali, the Marin commune that's the subject of a new documentary, 'Olompali: A Hippie Odyssey.' \" width=\"800\" height=\"530\" class=\"size-medium wp-image-13830737\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-1200x796.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-960x637.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jack Casady and Jerry Garcia playing music at Olompali, the Marin commune that’s the subject of a new documentary, ‘Olompali: A Hippie Odyssey.’ \u003ccite>(Peter Risley/Courtesy DocLands)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The chunk of history that Gregg Gibbs unearths in \u003cem>Olompali: A Hippie Odyssey\u003c/em> (May 6) begins with the magnetic force of the Summer of Love, which attracted young people from around the country to San Francisco. The doc focuses on a particularly idealistic group who turned on, dropped out, and established a commune 30 miles north of the city. \u003cem>Olompali\u003c/em> is narrated by Peter Coyote (who else?), who lived in a North Bay commune himself for a pivotal part of the ’60s and has an appreciation for the euphoria and frustrations of group living.\u003c/p>\n\u003cp>A touching entry in the subgenre of lost-movie documentaries, \u003cem>Saving Brinton\u003c/em> (May 6) spotlights a rural Iowa collector who found a long-untouched bin of reels and memorabilia in a farmhouse. This fellow, Michael Zahs, recognized the historical and artistic value of the films, but he became obsessed instead with the legacy of the itinerant 19th century businessman who introduced these movies to Midwestern farmers and townies. William Brinton was that man, and he has a movie named for him now.\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/13830688/now-playing-doclands-reconciles-truth-and-history-in-marin",
"authors": [
"22"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_977",
"arts_1845",
"arts_596"
],
"featImg": "arts_13830736",
"label": "arts"
},
"arts_13829313": {
"type": "posts",
"id": "arts_13829313",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13829313",
"score": null,
"sort": [
1524834004000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1524834004,
"format": "standard",
"title": "A Diva Deconstructed In 'Grace Jones: Bloodlight and Bami'",
"headTitle": "A Diva Deconstructed In ‘Grace Jones: Bloodlight and Bami’ | KQED",
"content": "\u003cp>There’s a sequence in the documentary \u003cem>Grace Jones: Bloodlight and Bami\u003c/em> that follows the pop-art icon before, during, and after a pre-recorded TV performance she’s giving in front of a studio audience in France. As she makes her way toward the stage in a black corset, high heels, and a lacy purple headdress that masks her eyes — an amusing contrast with the lumpen roadies and stagehands she greets along the way — Jones frets about the possibility of the set being tacky. And sure enough, when she’s escorted on stage, she’s surrounded by beautiful women in white lingerie, dancing suggestively around high-back wooden chairs. Without saying a word, she performs for the crowd and absolutely kills it, as usual. \u003c/p>\n\u003cp>Backstage, however, it’s another story. Jones unloads on the show’s producer, likening herself to “a madam in a whorehouse” and comparing the dance choreography to women strutting around a brothel. The producer accepts the criticism and asks if she wants the dancers removed from the next taping. Jones says yes, but with regrets: “Those poor girls,” she says. “They will be so upset with me. They will hate me.” Such is the personal cost of artistic integrity: By insisting on a creative environment that meets her standards, Jones will have to make a few enemies. After decades in the spotlight, no doubt those few have become many. \u003c/p>\n\u003cp>The word for that is “diva.” \u003c/p>\n\u003cp>Among its virtues, Sophie Fiennes’ idiosyncratic documentary will make you think twice about what \u003cem>diva \u003c/em>means when applied to a performer like Jones, whose longevity has as much to do with carefully managing her own image as capitalizing on the evident gifts of her husky voice and regal cheekbones. As a conceptual artist, she might be compared to musicians like Prince or David Byrne, but because they’re men, they’re labeled iconoclasts, not divas, and in \u003cem>Bloodlight and Bami\u003c/em>, she’s often forced to put her foot down to get what she wants. She has a new album she’s recording on her own dime, which means that when a session player doesn’t show up the studio or a venue host balks at paying for a hotel suite, Jones has to yell into the phone. Otherwise, the show doesn’t go on. \u003c/p>\n\u003cp>Fiennes hasn’t constructed \u003cem>Bloodlight and Bami\u003c/em> like an ordinary behind-the-music profile, so those nostalgic for Jones’ disco glory days are advised to look elsewhere. The past \u003cem>does\u003c/em> figure heavily into the film, but only through the lens of the present, as Jones returns to Jamaica, her birthplace, to reconnect with members of her family. It’s a joyous occasion for Jones to see her mother, who gets to show off her own vocal formidable range in a church hymn, but she’s also haunted by bad memories of her childhood on the island. Her grandmother’s second husband, known as “Mas P,” was an angry religious zealot who subjected her to sadistic beatings before she finally left Jamaica at 13 to join her parents in upstate New York. Jones attributes her fierceness on stage— and her temperamental behavior off it, too — to his influence, though how much she’s internalized his abuse is a mystery the film doesn’t endeavor to solve. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Though Fiennes specializes in documentary profiles — she did one on the German painter and sculptor Anselm Kiefer (\u003cem>Over Your Cities Grass Will Grow\u003c/em>) and two on the Slovenian philosopher Slavoj Žižek (\u003cem>The Pervert’s Guide to Cinema\u003c/em> and \u003cem>The Pervert’s Guide to Ideology\u003c/em>) — she doesn’t care much for context or any information that could be gleaned from a Wikipedia page. Consequently, \u003cem>Bloodlight and Bami\u003c/em> can feel misshapen and listless, with a two-hour running time that’s not only taxing, but a little arbitrary. The electrifying live performance sequences give the film whatever structure it has, but the behind-the-scenes material, shot in grimy video, is unpolished to a fault. Sometimes even fly-on-the-wall footage needs to be swatted. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Yet Fiennes does achieve a level of intimacy and candor with Jones that’s uncommon for documentaries about figures who control their images this closely. Where a film like \u003cem>Madonna: Truth or Dare\u003c/em> whiffs like an exercise in brand extension, \u003cem>Bloodlight and Bami\u003c/em> finds Jones giving herself over to Fiennes in a way she wouldn’t to, say, the French producer who turned her stage show into a tacky brothel. Her performances testify to her indomitable presence, but she also gives a piece of herself to the camera, some small window into her soul. It’s only fitting that she leaves us wanting more. \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=A+Diva+Deconstructed+In+%27Grace+Jones%3A+Bloodlight+and+Bami%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 836,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 9
},
"modified": 1705027989,
"excerpt": "Sophie Fiennes' film about the legendary performer \"achieve[s] a level of intimacy and candor ... that's uncommon for documentaries about figures who control their images this closely.\"",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Sophie Fiennes' film about the legendary performer "achieve a level of intimacy and candor ... that's uncommon for documentaries about figures who control their images this closely."",
"title": "A Diva Deconstructed In 'Grace Jones: Bloodlight and Bami' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "A Diva Deconstructed In 'Grace Jones: Bloodlight and Bami'",
"datePublished": "2018-04-27T06:00:04-07:00",
"dateModified": "2024-01-11T18:53:09-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "a-diva-deconstructed-in-grace-jones-bloodlight-and-bami",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=601106353&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Scott Tobias",
"nprStoryDate": "Thu, 12 Apr 2018 17:00:41 -0400",
"nprLastModifiedDate": "Fri, 13 Apr 2018 09:12:34 -0400",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/2018/04/12/601106353/a-diva-deconstructed-in-grace-jones-bloodlight-and-bami?ft=nprml&f=601106353",
"nprImageAgency": "Kino Lorber",
"nprStoryId": "601106353",
"nprRetrievedStory": "1",
"nprPubDate": "Fri, 13 Apr 2018 09:12:00 -0400",
"path": "/arts/13829313/a-diva-deconstructed-in-grace-jones-bloodlight-and-bami",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s a sequence in the documentary \u003cem>Grace Jones: Bloodlight and Bami\u003c/em> that follows the pop-art icon before, during, and after a pre-recorded TV performance she’s giving in front of a studio audience in France. As she makes her way toward the stage in a black corset, high heels, and a lacy purple headdress that masks her eyes — an amusing contrast with the lumpen roadies and stagehands she greets along the way — Jones frets about the possibility of the set being tacky. And sure enough, when she’s escorted on stage, she’s surrounded by beautiful women in white lingerie, dancing suggestively around high-back wooden chairs. Without saying a word, she performs for the crowd and absolutely kills it, as usual. \u003c/p>\n\u003cp>Backstage, however, it’s another story. Jones unloads on the show’s producer, likening herself to “a madam in a whorehouse” and comparing the dance choreography to women strutting around a brothel. The producer accepts the criticism and asks if she wants the dancers removed from the next taping. Jones says yes, but with regrets: “Those poor girls,” she says. “They will be so upset with me. They will hate me.” Such is the personal cost of artistic integrity: By insisting on a creative environment that meets her standards, Jones will have to make a few enemies. After decades in the spotlight, no doubt those few have become many. \u003c/p>\n\u003cp>The word for that is “diva.” \u003c/p>\n\u003cp>Among its virtues, Sophie Fiennes’ idiosyncratic documentary will make you think twice about what \u003cem>diva \u003c/em>means when applied to a performer like Jones, whose longevity has as much to do with carefully managing her own image as capitalizing on the evident gifts of her husky voice and regal cheekbones. As a conceptual artist, she might be compared to musicians like Prince or David Byrne, but because they’re men, they’re labeled iconoclasts, not divas, and in \u003cem>Bloodlight and Bami\u003c/em>, she’s often forced to put her foot down to get what she wants. She has a new album she’s recording on her own dime, which means that when a session player doesn’t show up the studio or a venue host balks at paying for a hotel suite, Jones has to yell into the phone. Otherwise, the show doesn’t go on. \u003c/p>\n\u003cp>Fiennes hasn’t constructed \u003cem>Bloodlight and Bami\u003c/em> like an ordinary behind-the-music profile, so those nostalgic for Jones’ disco glory days are advised to look elsewhere. The past \u003cem>does\u003c/em> figure heavily into the film, but only through the lens of the present, as Jones returns to Jamaica, her birthplace, to reconnect with members of her family. It’s a joyous occasion for Jones to see her mother, who gets to show off her own vocal formidable range in a church hymn, but she’s also haunted by bad memories of her childhood on the island. Her grandmother’s second husband, known as “Mas P,” was an angry religious zealot who subjected her to sadistic beatings before she finally left Jamaica at 13 to join her parents in upstate New York. Jones attributes her fierceness on stage— and her temperamental behavior off it, too — to his influence, though how much she’s internalized his abuse is a mystery the film doesn’t endeavor to solve. \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>Though Fiennes specializes in documentary profiles — she did one on the German painter and sculptor Anselm Kiefer (\u003cem>Over Your Cities Grass Will Grow\u003c/em>) and two on the Slovenian philosopher Slavoj Žižek (\u003cem>The Pervert’s Guide to Cinema\u003c/em> and \u003cem>The Pervert’s Guide to Ideology\u003c/em>) — she doesn’t care much for context or any information that could be gleaned from a Wikipedia page. Consequently, \u003cem>Bloodlight and Bami\u003c/em> can feel misshapen and listless, with a two-hour running time that’s not only taxing, but a little arbitrary. The electrifying live performance sequences give the film whatever structure it has, but the behind-the-scenes material, shot in grimy video, is unpolished to a fault. Sometimes even fly-on-the-wall footage needs to be swatted. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Yet Fiennes does achieve a level of intimacy and candor with Jones that’s uncommon for documentaries about figures who control their images this closely. Where a film like \u003cem>Madonna: Truth or Dare\u003c/em> whiffs like an exercise in brand extension, \u003cem>Bloodlight and Bami\u003c/em> finds Jones giving herself over to Fiennes in a way she wouldn’t to, say, the French producer who turned her stage show into a tacky brothel. Her performances testify to her indomitable presence, but she also gives a piece of herself to the camera, some small window into her soul. It’s only fitting that she leaves us wanting more. \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=A+Diva+Deconstructed+In+%27Grace+Jones%3A+Bloodlight+and+Bami%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13829313/a-diva-deconstructed-in-grace-jones-bloodlight-and-bami",
"authors": [
"byline_arts_13829313"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_596"
],
"featImg": "arts_13829314",
"label": "arts"
},
"arts_13830280": {
"type": "posts",
"id": "arts_13830280",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13830280",
"score": null,
"sort": [
1524606329000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1524606329,
"format": "image",
"title": "RZA to Score 'The 36th Chamber of Shao Lin' Live at Castro Theatre",
"headTitle": "RZA to Score ‘The 36th Chamber of Shao Lin’ Live at Castro Theatre | KQED",
"content": "\u003cp>As a kid growing up on Staten Island, RZA became obsessed with martial arts films, in part because they represented a struggle against oppression he didn’t yet realize existed outside of black America. Classics like \u003cem>The 36th Chamber of Shao Lin \u003c/em>awakened his nascent political consciousness, and samples from it and other films lend Wu-Tang Clan’s music an air of militancy and brotherhood.\u003c/p>\n\u003cp>That early obsession with martial arts films continues to be a guiding force in RZA’s work: His latest collection for his clothing brand, 36 Chambers, had its \u003ca href=\"https://www.kqed.org/arts/13809267\" target=\"_blank\" rel=\"noopener\">debut at San Francisco’s Asian Art Museum\u003c/a> last fall. And now, RZA returns to the Bay Area to perform a live soundtrack for a special screening of \u003cem>The 36th Chamber of Shao Lin.\u003c/em>\u003c/p>\n\u003cp>For the new score, RZA will draw on Wu-Tang Clan’s nearly 30-year catalog, programming beats live throughout the film’s 115-minute run time. It’s happening at the Castro Theatre on Apr. 26, and there are still \u003ca href=\"https://www.eventbrite.com/e/rza-live-from-the-36th-chamber-the-castro-theatre-sf-tickets-44005973050\" target=\"_blank\" rel=\"noopener\">tickets\u003c/a> on sale.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 184,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 6
},
"modified": 1705028021,
"excerpt": "The Wu-Tang Clan founder will perform a live soundtrack to the classic martial arts film that inspired his early work. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The Wu-Tang Clan founder will perform a live soundtrack to the classic martial arts film that inspired his early work. ",
"title": "RZA to Score 'The 36th Chamber of Shao Lin' Live at Castro Theatre | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "RZA to Score 'The 36th Chamber of Shao Lin' Live at Castro Theatre",
"datePublished": "2018-04-24T14:45:29-07:00",
"dateModified": "2024-01-11T18:53:41-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "rza-to-score-the-36th-chamber-of-shao-lin-live-at-castro-theatre",
"status": "publish",
"sticky": false,
"path": "/arts/13830280/rza-to-score-the-36th-chamber-of-shao-lin-live-at-castro-theatre",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As a kid growing up on Staten Island, RZA became obsessed with martial arts films, in part because they represented a struggle against oppression he didn’t yet realize existed outside of black America. Classics like \u003cem>The 36th Chamber of Shao Lin \u003c/em>awakened his nascent political consciousness, and samples from it and other films lend Wu-Tang Clan’s music an air of militancy and brotherhood.\u003c/p>\n\u003cp>That early obsession with martial arts films continues to be a guiding force in RZA’s work: His latest collection for his clothing brand, 36 Chambers, had its \u003ca href=\"https://www.kqed.org/arts/13809267\" target=\"_blank\" rel=\"noopener\">debut at San Francisco’s Asian Art Museum\u003c/a> last fall. And now, RZA returns to the Bay Area to perform a live soundtrack for a special screening of \u003cem>The 36th Chamber of Shao Lin.\u003c/em>\u003c/p>\n\u003cp>For the new score, RZA will draw on Wu-Tang Clan’s nearly 30-year catalog, programming beats live throughout the film’s 115-minute run time. It’s happening at the Castro Theatre on Apr. 26, and there are still \u003ca href=\"https://www.eventbrite.com/e/rza-live-from-the-36th-chamber-the-castro-theatre-sf-tickets-44005973050\" target=\"_blank\" rel=\"noopener\">tickets\u003c/a> on sale.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\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/13830280/rza-to-score-the-36th-chamber-of-shao-lin-live-at-castro-theatre",
"authors": [
"11387"
],
"programs": [
"arts_140"
],
"categories": [
"arts_74",
"arts_69"
],
"tags": [
"arts_831",
"arts_596"
],
"featImg": "arts_13809278",
"label": "arts_140"
},
"arts_13830237": {
"type": "posts",
"id": "arts_13830237",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13830237",
"score": null,
"sort": [
1524531326000
]
},
"guestAuthors": [],
"slug": "steph-curry-inks-development-deal-with-sony-entertainment",
"title": "Steph Curry Inks Development Deal with Sony Entertainment",
"publishDate": 1524531326,
"format": "standard",
"headTitle": "Steph Curry Inks Development Deal with Sony Entertainment | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>After dominating the basketball court for years, Steph Curry just made a 3-pointer in the world of entertainment. \u003c/p>\n\u003cp>The 30-year-old point guard who led the Golden State Warriors to two NBA championships recently started a production company called Unanimous Media — a reference to the unanimous decision to make him NBA Most Valuable Player in 2016. On Monday, \u003ca href=\"https://www.hollywoodreporter.com/news/nba-star-stephen-curry-scores-film-tv-pact-sony-1104927\" rel=\"noopener\" target=\"_blank\">\u003ci>The Hollywood Reporter\u003c/i> reported\u003c/a> that Unanimous signed a multi-year development deal with Sony Entertainment.\u003c/p>\n\u003cp>Unanimous plans to produce a range of family-friendly and faith-based content for film and television, as well as some sports-focused media. Per the agreement, Sony will get first look at any potential projects, including those in electronics, gaming and virtual reality. \u003c/p>\n\u003cp>“I’ve been blessed to have this platform and I want to use it to affect the world positively,” Curry told \u003cem>The Hollywood Reporter\u003c/em>. \u003c/p>\n\u003cp>It’s unclear how much the deal is worth, but it comes not long after Curry signed his newest contract with the Warriors that pays $201 million over five years — the NBA’s richest deal and the biggest sports contract outside of baseball. That’s on top of the $35 million he receives \u003ca href=\"https://www.forbes.com/sites/kurtbadenhausen/2017/07/01/stephen-curry-to-sign-richest-contract-in-nba-history-worth-201-million/#518562a2357e\" rel=\"noopener\" target=\"_blank\">annually from endorsement deals\u003c/a>. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For more details on Curry’s deal, visit \u003ca href=\"https://www.hollywoodreporter.com/news/nba-star-stephen-curry-scores-film-tv-pact-sony-1104927\" rel=\"noopener\" target=\"_blank\">\u003cem>The Hollywood Reporter\u003c/em>.\u003c/a>\u003c/p>\n\n",
"blocks": [],
"excerpt": "The 30-year-old point guard for the Golden State Warriors recently started a media company called Unanimous Media.",
"status": "publish",
"parent": 0,
"modified": 1726705222,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 8,
"wordCount": 222
},
"headData": {
"title": "Steph Curry Inks Development Deal with Sony Entertainment | KQED",
"description": "The 30-year-old point guard for the Golden State Warriors recently started a media company called Unanimous Media.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Steph Curry Inks Development Deal with Sony Entertainment",
"datePublished": "2018-04-23T17:55:26-07:00",
"dateModified": "2024-09-18T17:20:22-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/13830237/steph-curry-inks-development-deal-with-sony-entertainment",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After dominating the basketball court for years, Steph Curry just made a 3-pointer in the world of entertainment. \u003c/p>\n\u003cp>The 30-year-old point guard who led the Golden State Warriors to two NBA championships recently started a production company called Unanimous Media — a reference to the unanimous decision to make him NBA Most Valuable Player in 2016. On Monday, \u003ca href=\"https://www.hollywoodreporter.com/news/nba-star-stephen-curry-scores-film-tv-pact-sony-1104927\" rel=\"noopener\" target=\"_blank\">\u003ci>The Hollywood Reporter\u003c/i> reported\u003c/a> that Unanimous signed a multi-year development deal with Sony Entertainment.\u003c/p>\n\u003cp>Unanimous plans to produce a range of family-friendly and faith-based content for film and television, as well as some sports-focused media. Per the agreement, Sony will get first look at any potential projects, including those in electronics, gaming and virtual reality. \u003c/p>\n\u003cp>“I’ve been blessed to have this platform and I want to use it to affect the world positively,” Curry told \u003cem>The Hollywood Reporter\u003c/em>. \u003c/p>\n\u003cp>It’s unclear how much the deal is worth, but it comes not long after Curry signed his newest contract with the Warriors that pays $201 million over five years — the NBA’s richest deal and the biggest sports contract outside of baseball. That’s on top of the $35 million he receives \u003ca href=\"https://www.forbes.com/sites/kurtbadenhausen/2017/07/01/stephen-curry-to-sign-richest-contract-in-nba-history-worth-201-million/#518562a2357e\" rel=\"noopener\" target=\"_blank\">annually from endorsement deals\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For more details on Curry’s deal, visit \u003ca href=\"https://www.hollywoodreporter.com/news/nba-star-stephen-curry-scores-film-tv-pact-sony-1104927\" rel=\"noopener\" target=\"_blank\">\u003cem>The Hollywood Reporter\u003c/em>.\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13830237/steph-curry-inks-development-deal-with-sony-entertainment",
"authors": [
"93"
],
"categories": [
"arts_74",
"arts_69",
"arts_235"
],
"featImg": "arts_13830244",
"label": "arts"
},
"arts_13830154": {
"type": "posts",
"id": "arts_13830154",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13830154",
"score": null,
"sort": [
1524510015000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1524510015,
"format": "standard",
"title": "Now Playing! Michelangelo Antonioni’s Lives of Quiet Desperation at the Castro",
"headTitle": "Now Playing! Michelangelo Antonioni’s Lives of Quiet Desperation at the Castro | KQED",
"content": "\u003cp>The great tragedy of modern life, Sofia Coppola might say, is that the accoutrements of success—clothes, toys, technology and beautiful lovers—don’t provide happiness or nourishment. This is not a recent realization: Sixty years ago, the Italian filmmaker Michelangelo Antonioni discerned the boredom and self-loathing of affluent urbanites amid the glittery, gritty grandeur of his country’s postwar economic revival. Luce Cinecitta’s April 28 retrospective at the Castro, \u003ca href=\"http://www.cinemaitaliasf.com\" rel=\"noopener\" target=\"_blank\">Michelangelo Antonioni\u003c/a>, summons the director’s radically unflinching and impeccably designed dissections of human nature for a contemporary generation of conspicuous consumers.\u003c/p>\n\u003cp>In the exquisite black-and-white films \u003cem>L’avventura\u003c/em> (1960) and \u003cem>L’eclisse\u003c/em> (1962), as well as his aggressive forays into color, \u003cem>Red Desert\u003c/em> (1964) and \u003cem>Blow-Up\u003c/em> (1966), Antonioni exposed the trap door beneath the trappings of privilege: the gradual disintegration of morality, a concurrent loss of empathy, a tenuous, nebulous sense of identity and an inability to connect on a meaningful level with another person. (One can imagine what Antonioni would make of the people wearing earbuds and staring at their screens on the 45 Union, let alone the Google buses to Silicon Valley.)\u003c/p>\n\u003cp>The genius of Antonioni’s 1960s films lay in his ability to express entire themes and interpersonal relationships through his compositions: Every image conveyed the whole story. Even the outlier in this roundup of career highlights, \u003cem>The Passenger\u003c/em> (1974), a sweaty, dusty road movie starring Jack Nicholson at his peak, ends with one of the most astonishing and moving sequences in all of cinema. Surely some of San Francisco’s nouveau bourgeoisie will identify with the existential journey of a man ditching his identity and escaping his self-created prison of ties and responsibilities. Antonioni, you see, is one of the immortals.\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>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 304,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 6
},
"modified": 1705028031,
"excerpt": "Can San Francisco's tech generation identify with the ennui of affluent 1960s Italian urbanites? Luce Cinecitta’s April 28 retrospective finds out.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Can San Francisco's tech generation identify with the ennui of affluent 1960s Italian urbanites? Luce Cinecitta’s April 28 retrospective finds out.",
"title": "Now Playing! Michelangelo Antonioni’s Lives of Quiet Desperation at the Castro | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Now Playing! Michelangelo Antonioni’s Lives of Quiet Desperation at the Castro",
"datePublished": "2018-04-23T12:00:15-07:00",
"dateModified": "2024-01-11T18:53:51-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "now-playing-michelangelo-antonionis-lives-of-quiet-desperation-at-the-castro",
"status": "publish",
"sticky": false,
"path": "/arts/13830154/now-playing-michelangelo-antonionis-lives-of-quiet-desperation-at-the-castro",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The great tragedy of modern life, Sofia Coppola might say, is that the accoutrements of success—clothes, toys, technology and beautiful lovers—don’t provide happiness or nourishment. This is not a recent realization: Sixty years ago, the Italian filmmaker Michelangelo Antonioni discerned the boredom and self-loathing of affluent urbanites amid the glittery, gritty grandeur of his country’s postwar economic revival. Luce Cinecitta’s April 28 retrospective at the Castro, \u003ca href=\"http://www.cinemaitaliasf.com\" rel=\"noopener\" target=\"_blank\">Michelangelo Antonioni\u003c/a>, summons the director’s radically unflinching and impeccably designed dissections of human nature for a contemporary generation of conspicuous consumers.\u003c/p>\n\u003cp>In the exquisite black-and-white films \u003cem>L’avventura\u003c/em> (1960) and \u003cem>L’eclisse\u003c/em> (1962), as well as his aggressive forays into color, \u003cem>Red Desert\u003c/em> (1964) and \u003cem>Blow-Up\u003c/em> (1966), Antonioni exposed the trap door beneath the trappings of privilege: the gradual disintegration of morality, a concurrent loss of empathy, a tenuous, nebulous sense of identity and an inability to connect on a meaningful level with another person. (One can imagine what Antonioni would make of the people wearing earbuds and staring at their screens on the 45 Union, let alone the Google buses to Silicon Valley.)\u003c/p>\n\u003cp>The genius of Antonioni’s 1960s films lay in his ability to express entire themes and interpersonal relationships through his compositions: Every image conveyed the whole story. Even the outlier in this roundup of career highlights, \u003cem>The Passenger\u003c/em> (1974), a sweaty, dusty road movie starring Jack Nicholson at his peak, ends with one of the most astonishing and moving sequences in all of cinema. Surely some of San Francisco’s nouveau bourgeoisie will identify with the existential journey of a man ditching his identity and escaping his self-created prison of ties and responsibilities. Antonioni, you see, is one of the immortals.\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>\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/13830154/now-playing-michelangelo-antonionis-lives-of-quiet-desperation-at-the-castro",
"authors": [
"22"
],
"categories": [
"arts_74"
],
"tags": [
"arts_3670",
"arts_1118",
"arts_596"
],
"featImg": "arts_13830168",
"label": "arts"
},
"arts_13830037": {
"type": "posts",
"id": "arts_13830037",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13830037",
"score": null,
"sort": [
1524322855000
]
},
"guestAuthors": [],
"slug": "william-friedkin-meets-the-devil-and-father-amorth",
"title": "William Friedkin Meets 'The Devil And Father Amorth'",
"publishDate": 1524322855,
"format": "standard",
"headTitle": "William Friedkin Meets ‘The Devil And Father Amorth’ | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>“The director of \u003cem>The Exorcist\u003c/em> witnesses a real exorcism.” It’s a hook too devilish to resist, so in 2016 \u003cem>Vanity Fair \u003c/em>\u003ca href=\"https://www.vanityfair.com/hollywood/2016/10/father-amorth-the-vatican-exorcist\" target=\"_blank\" rel=\"noopener\">sent filmmaker William Friedkin to Italy\u003c/a> to file a story about Father Gabriele Amorth. Rome’s leading exorcist was then 91 and, though he didn’t yet know it, only a few months from death. He plowed ahead with his work, performing a ritual on a woman he believed to be possessed by Satan, and invited Friedkin to document it, in a rare sit-in. \u003c/p>\n\u003cp>This was basically the plot of Friedkin’s 1973 blockbuster, a landmark of horror cinema that to this day can still send an icy blast of panic directly into your soul. Despite spending the last four decades professing he was done with the exorcism business, it was inevitable he’d be diving back in at some point.\u003cem> The Devil and Father Amorth\u003c/em>, a documentary Friedkin compiled from the footage he filmed for the article, is quite short, running just over an hour … but it’s one of the most bizarre hours of documentary you’re likely to see from an accomplished director. Mostly because, despite Friedkin’s pedigree, it seems to have been made by someone who’s never seen a movie before.\u003c/p>\n\u003cp>Let’s tackle the obvious question first. Did Friedkin, and Father Amorth, actually dance with the devil? Well, Satan doesn’t carry dental records, so your interpretation of the footage will vary. But oddly enough, the original \u003cem>Exorcist\u003c/em>, with its unparalleled special effects, shocking imagery and disturbingly committed performance from Linda Blair,was a better argument for the existence of demonic possession than the direct source, because the visions from our nightmares were so lush and detailed they could only be neutered by the real thing. Here the exorcism footage plays out in more or less real time, for about fifteen minutes. Friedkin films this while crouching in the corner of a bare room, right next to the patient, surrounded by her family, Father Amorth and rosary beads. The woman, whose name is Christina, trembles in her chair in a trance-like state as the priest chants Latin spells to cast out evil spirits. Then she shakes awake, with a voice that doesn’t seem to be her own, screaming “DON’T TOUCH HER!” and “I AM SATAN!” and “WE ARE LEGION!” This is her ninth exorcism, and she’s clearly in a lot of distress. But it doesn’t seem like any of these sessions will bring her true relief.\u003c/p>\n\u003cp>Friedkin clearly believes this is a momentous discovery, but he has a vanilla way of showing it. The first 15 minutes of \u003cem>The Devil and Father Amorth\u003c/em> play like a making-of featurette from \u003cem>The Exorcist\u003c/em>, with Friedkin giving us an out-of-nowhere guided tour of the original film’s Georgetown locations, interspersed with 20-year-old interviews with the film’s writer, William Peter Blatty (who died last year). Then we get the run-up to Father Amorth’s session, which Friedkin approaches with Herzogian glee as he explains the strict filming conditions he was under: no crews, only a tiny digital camera permitted, etc. We’re not dealing quite with the Cave of Forgotten Dreams here, but sure, we can get onboard with a few limitations. Yet Friedkin must have liked that handheld feeling, because he films nearly every interview, even the ones that aren’t with demons, while holding that tiny DSLR camera, elbow leaning lazily on a desk. He also sets up a reverse-shot so we can see him interviewing his subject as he holds the camera in front of his face. It’s disorienting and serves no clear aesthetic purpose, and seems to point to the whole enterprise being a rush job.\u003c/p>\n\u003cp>The exorcism takes us through the film’s halfway point, and it gets somehow weirder and duller at the same time. The back end is a clunky, History Channel-like mishmash of interviews, none of which really deepen our understanding of possession, exorcisms or the like. There are various neurologists and psychiatrists, who offer their best guesses as to what took place, mostly determining that they don’t know, either. (One interesting possibility, that Christina’s brain created the Devil within her because that’s what her religious background imbued in her psyche, is floated but not explored.) And an American bishop politely recuses himself from any future exorcisms: “You gotta be really, really holy.” Finally, Friedkin has a climactic encounter, one to which he doesn’t even bring a camera. So he tells us about it later instead, in a “you had to be there” vibe. C’mon, dude. Pics or it didn’t happen.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This sort of thing would normally be catnip for a rant from BBC film critic Mark Kermode, who not only loves going off on bad movies but has also called \u003cem>The Exorcist \u003c/em>his favorite film of all time. Except… Kermode co-wrote the documentary with Friedkin, which only deepens the mystery of its alien ineptitude. Where are the human stakes that made \u003cem>The Exorcist\u003c/em> so frightfully compelling? We learn little about Father Amorth, the tens of thousands of exorcisms he claimed to have performed, or his theories about Satanic possession in Nazi Germany and the Vatican. We barely get to know Christina at all. And we come to understand modern science’s response to demonic possession only in the most perfunctory way. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Before Father Amorth performed any exorcism, he would literally thumb his nose at the devil. Maybe this sloppy, amateurish effort to capture him is Friedkin’s way of doing the same. \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=William+Friedkin+Meets+%27The+Devil+And+Father+Amorth%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "The director of 'The Exorcist' compiles footage of an exorcism he filmed for a magazine article. The bizarre result \"seems to have been made by someone who's never seen a movie before.\"",
"status": "publish",
"parent": 0,
"modified": 1726705187,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 9,
"wordCount": 996
},
"headData": {
"title": "William Friedkin Meets 'The Devil And Father Amorth' | KQED",
"description": "The director of 'The Exorcist' compiles footage of an exorcism he filmed for a magazine article. The bizarre result "seems to have been made by someone who's never seen a movie before."",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "William Friedkin Meets 'The Devil And Father Amorth'",
"datePublished": "2018-04-21T08:00:55-07:00",
"dateModified": "2024-09-18T17:19:47-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Andrew Lapin",
"nprImageAgency": "William Friedkin",
"nprStoryId": "603255562",
"nprApiLink": "http://api.npr.org/query?id=603255562&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "https://www.npr.org/2018/04/19/603255562/william-friedkin-meets-the-devil-and-father-amorth?ft=nprml&f=603255562",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 19 Apr 2018 17:00:00 -0400",
"nprStoryDate": "Thu, 19 Apr 2018 17:00:53 -0400",
"nprLastModifiedDate": "Thu, 19 Apr 2018 17:00:53 -0400",
"path": "/arts/13830037/william-friedkin-meets-the-devil-and-father-amorth",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“The director of \u003cem>The Exorcist\u003c/em> witnesses a real exorcism.” It’s a hook too devilish to resist, so in 2016 \u003cem>Vanity Fair \u003c/em>\u003ca href=\"https://www.vanityfair.com/hollywood/2016/10/father-amorth-the-vatican-exorcist\" target=\"_blank\" rel=\"noopener\">sent filmmaker William Friedkin to Italy\u003c/a> to file a story about Father Gabriele Amorth. Rome’s leading exorcist was then 91 and, though he didn’t yet know it, only a few months from death. He plowed ahead with his work, performing a ritual on a woman he believed to be possessed by Satan, and invited Friedkin to document it, in a rare sit-in. \u003c/p>\n\u003cp>This was basically the plot of Friedkin’s 1973 blockbuster, a landmark of horror cinema that to this day can still send an icy blast of panic directly into your soul. Despite spending the last four decades professing he was done with the exorcism business, it was inevitable he’d be diving back in at some point.\u003cem> The Devil and Father Amorth\u003c/em>, a documentary Friedkin compiled from the footage he filmed for the article, is quite short, running just over an hour … but it’s one of the most bizarre hours of documentary you’re likely to see from an accomplished director. Mostly because, despite Friedkin’s pedigree, it seems to have been made by someone who’s never seen a movie before.\u003c/p>\n\u003cp>Let’s tackle the obvious question first. Did Friedkin, and Father Amorth, actually dance with the devil? Well, Satan doesn’t carry dental records, so your interpretation of the footage will vary. But oddly enough, the original \u003cem>Exorcist\u003c/em>, with its unparalleled special effects, shocking imagery and disturbingly committed performance from Linda Blair,was a better argument for the existence of demonic possession than the direct source, because the visions from our nightmares were so lush and detailed they could only be neutered by the real thing. Here the exorcism footage plays out in more or less real time, for about fifteen minutes. Friedkin films this while crouching in the corner of a bare room, right next to the patient, surrounded by her family, Father Amorth and rosary beads. The woman, whose name is Christina, trembles in her chair in a trance-like state as the priest chants Latin spells to cast out evil spirits. Then she shakes awake, with a voice that doesn’t seem to be her own, screaming “DON’T TOUCH HER!” and “I AM SATAN!” and “WE ARE LEGION!” This is her ninth exorcism, and she’s clearly in a lot of distress. But it doesn’t seem like any of these sessions will bring her true relief.\u003c/p>\n\u003cp>Friedkin clearly believes this is a momentous discovery, but he has a vanilla way of showing it. The first 15 minutes of \u003cem>The Devil and Father Amorth\u003c/em> play like a making-of featurette from \u003cem>The Exorcist\u003c/em>, with Friedkin giving us an out-of-nowhere guided tour of the original film’s Georgetown locations, interspersed with 20-year-old interviews with the film’s writer, William Peter Blatty (who died last year). Then we get the run-up to Father Amorth’s session, which Friedkin approaches with Herzogian glee as he explains the strict filming conditions he was under: no crews, only a tiny digital camera permitted, etc. We’re not dealing quite with the Cave of Forgotten Dreams here, but sure, we can get onboard with a few limitations. Yet Friedkin must have liked that handheld feeling, because he films nearly every interview, even the ones that aren’t with demons, while holding that tiny DSLR camera, elbow leaning lazily on a desk. He also sets up a reverse-shot so we can see him interviewing his subject as he holds the camera in front of his face. It’s disorienting and serves no clear aesthetic purpose, and seems to point to the whole enterprise being a rush job.\u003c/p>\n\u003cp>The exorcism takes us through the film’s halfway point, and it gets somehow weirder and duller at the same time. The back end is a clunky, History Channel-like mishmash of interviews, none of which really deepen our understanding of possession, exorcisms or the like. There are various neurologists and psychiatrists, who offer their best guesses as to what took place, mostly determining that they don’t know, either. (One interesting possibility, that Christina’s brain created the Devil within her because that’s what her religious background imbued in her psyche, is floated but not explored.) And an American bishop politely recuses himself from any future exorcisms: “You gotta be really, really holy.” Finally, Friedkin has a climactic encounter, one to which he doesn’t even bring a camera. So he tells us about it later instead, in a “you had to be there” vibe. C’mon, dude. Pics or it didn’t happen.\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 sort of thing would normally be catnip for a rant from BBC film critic Mark Kermode, who not only loves going off on bad movies but has also called \u003cem>The Exorcist \u003c/em>his favorite film of all time. Except… Kermode co-wrote the documentary with Friedkin, which only deepens the mystery of its alien ineptitude. Where are the human stakes that made \u003cem>The Exorcist\u003c/em> so frightfully compelling? We learn little about Father Amorth, the tens of thousands of exorcisms he claimed to have performed, or his theories about Satanic possession in Nazi Germany and the Vatican. We barely get to know Christina at all. And we come to understand modern science’s response to demonic possession only in the most perfunctory way. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Before Father Amorth performed any exorcism, he would literally thumb his nose at the devil. Maybe this sloppy, amateurish effort to capture him is Friedkin’s way of doing the same. \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=William+Friedkin+Meets+%27The+Devil+And+Father+Amorth%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13830037/william-friedkin-meets-the-devil-and-father-amorth",
"authors": [
"byline_arts_13830037"
],
"categories": [
"arts_74"
],
"tags": [
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13830038",
"label": "arts_137"
},
"arts_13829496": {
"type": "posts",
"id": "arts_13829496",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13829496",
"score": null,
"sort": [
1524236424000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1524236424,
"format": "standard",
"title": "In 'The Rider,' Chloé Zhao Tells an Intimate and Cautionary Tale",
"headTitle": "In ‘The Rider,’ Chloé Zhao Tells an Intimate and Cautionary Tale | KQED",
"content": "\u003cp>For her second feature, Chinese director Chloé Zhao returned to a place she first visited in 2015 – the South Dakota Badlands – to tell the (slightly fictionalized) story of a rodeo rider and horse trainer she’s now turned into a movie star. “Historically, people go West when they feel lost,” Zhao says in our interview. “I just took a trip there and the place immediately made sense to me.” \u003c/p>\n\u003cp>As she speaks about filming \u003ci>The Rider\u003c/i> on and off the Pine Ridge Indian Reservation, Brady Jandreau, her star, enters the room. Zhao voices her disapproval over the slim can of Red Bull he’s drinking. Throughout the interview, the director maintains a maternal stance toward the young man, at times even wagging her finger in his direction. \u003c/p>\n\u003cp>\u003cem>The Rider\u003c/em> runs parallel to that gesticulation, like a warning to young cowboys who risk their lives for the rush and the glory that comes from riding bulls and broncos. But the director’s approach is never that obvious or patronizing.\u003c/p>\n\u003cfigure id=\"attachment_13829499\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/16_Zhao.jpg\" alt=\"Writer/director Chloé Zhao on the set of 'The Rider.'\" width=\"2048\" height=\"1356\" class=\"size-full wp-image-13829499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/16_Zhao.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/16_Zhao-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/16_Zhao-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/16_Zhao-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/16_Zhao-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/16_Zhao-1200x795.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/16_Zhao-1920x1272.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/16_Zhao-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/16_Zhao-960x636.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/16_Zhao-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/16_Zhao-375x248.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/16_Zhao-520x344.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Writer/director Chloé Zhao on the set of ‘The Rider.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Zhao sets an early scene in darkness. Her camera takes in the expansive prairie landscape until it settles on four young men sitting around a campfire. Three of them are joking around with each other, starting to raise hell on a Friday night – they’ve barely grown past their boyhood selves. The fourth is Jandreau, playing a character named Brady Blackburn. \u003c/p>\n\u003cp>When the camera focuses on him, the downward tilt of his face as he stares into the fire suggests that he’s both in the moment with his friends but also standing outside of it, contemplating his fate. As his friends holler and chase each other into the moonless night, Blackburn stays behind, drawing the audience in close to his point of view.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>To sustain this sense of intimacy with him throughout the movie, Zhao says, “I was clean on him, and every time it goes to somebody else, it’s always dirtied by him in the foreground. It’s forever through Brady’s perspective.” \u003c/p>\n\u003cp>The director chose him for the role after meeting many other cowboys. “I was looking for somebody who truly believes in his way of life. He has to convince me, and you, and a lot of people who lived very differently than the way he did,” she says. “He believes in it, and he lives by it. It’s hard to come by with young people today.”\u003c/p>\n\u003cp>Zhao establishes the central tension of \u003cem>The Rider\u003c/em> early. We watch as Blackburn removes a bloodied bandage from his head. And then, without much delicacy, he also plucks out the staples that have been holding the wound closed. Blackburn is recovering from a rodeo fall that takes place before the film starts. \u003c/p>\n\u003cfigure id=\"attachment_13829501\" class=\"wp-caption aligncenter\" style=\"max-width: 1528px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/9_whitehorse.jpg\" alt=\"Brady Jandreau as Brady Blackburn.\" width=\"1528\" height=\"858\" class=\"size-full wp-image-13829501\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/9_whitehorse.jpg 1528w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/9_whitehorse-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/9_whitehorse-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/9_whitehorse-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/9_whitehorse-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/9_whitehorse-1200x674.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/9_whitehorse-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/9_whitehorse-960x539.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/9_whitehorse-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/9_whitehorse-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/9_whitehorse-520x292.jpg 520w\" sizes=\"(max-width: 1528px) 100vw, 1528px\">\u003cfigcaption class=\"wp-caption-text\">Brady Jandreau as Brady Blackburn. \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At one point during the interview, Zhao mentions Darren Aronofsky’s \u003cem>The Wrestler\u003c/em> as an analogous story. Mickey Rourke’s character risks his life when he returns to the ring; that irresistible pull back to something dangerous drives Zhao’s narrative as well.\u003c/p>\n\u003cp>Without being able to ride, Blackburn loses his connection to what makes him feel whole and alive. Jandreau, despite having suffered the same injury off-screen, says he still thinks about riding, even when Zhao raises her finger when the subject comes up. “I had a long break from rodeo even before the shooting began. I was thinking about maybe riding again once my bones even healed in my head,” he says. “I put a lot of thought into it, and it’s not about really whether I ride or not, it’s about the idea of doing it. It led me to almost everything I achieved today. I don’t know, just going to rodeos, it put a bad taste in my mouth anymore, because I miss it so bad.”\u003c/p>\n\u003cp>In a dream sequence, Blackburn imagines a stabled horse pacing back and forth, restless for a ride. Talking about the scene triggers a reaction in Jandreau. He recounts a dream he had while he was in a coma after his own real-life accident: “I was a horse being trained.” While the nurses and doctors intubated him, they cut off his clothes and fitted him with a neck brace. He felt as if he was being saddled. He remembers feeling scared. In the dream, one of the hospital staff occupied Jandreau’s own role as a horse trainer: “He was really calm, and pretty soon, he got on, and rode, and everything. I tried to buck him off. I remember it vividly. I had no control over myself. I had no sense that I was me.”\u003c/p>\n\u003cp>In \u003cem>The Rider\u003c/em>, Zhao captures a natural affinity between human and animal spirits. The film is an expression of Jandreau’s joy and his pain. “I feel like I can identify with horses better than I can identify with people,” he says.\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>\u003c/p>\n\u003cp>\u003cem>‘The Rider’ opens Friday, April 20 at Landmark Embarcadero in San Francisco.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 890,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 16
},
"modified": 1705028043,
"excerpt": "Real-life cowboy Brady Jandreau stars in a film based on his own experience after a rodeo injury.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Real-life cowboy Brady Jandreau stars in a film based on his own experience after a rodeo injury.",
"title": "In 'The Rider,' Chloé Zhao Tells an Intimate and Cautionary Tale | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "In 'The Rider,' Chloé Zhao Tells an Intimate and Cautionary Tale",
"datePublished": "2018-04-20T08:00:24-07:00",
"dateModified": "2024-01-11T18:54:03-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "chloe-zhao-the-rider-brady-blackburn",
"status": "publish",
"sticky": false,
"path": "/arts/13829496/chloe-zhao-the-rider-brady-blackburn",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For her second feature, Chinese director Chloé Zhao returned to a place she first visited in 2015 – the South Dakota Badlands – to tell the (slightly fictionalized) story of a rodeo rider and horse trainer she’s now turned into a movie star. “Historically, people go West when they feel lost,” Zhao says in our interview. “I just took a trip there and the place immediately made sense to me.” \u003c/p>\n\u003cp>As she speaks about filming \u003ci>The Rider\u003c/i> on and off the Pine Ridge Indian Reservation, Brady Jandreau, her star, enters the room. Zhao voices her disapproval over the slim can of Red Bull he’s drinking. Throughout the interview, the director maintains a maternal stance toward the young man, at times even wagging her finger in his direction. \u003c/p>\n\u003cp>\u003cem>The Rider\u003c/em> runs parallel to that gesticulation, like a warning to young cowboys who risk their lives for the rush and the glory that comes from riding bulls and broncos. But the director’s approach is never that obvious or patronizing.\u003c/p>\n\u003cfigure id=\"attachment_13829499\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/16_Zhao.jpg\" alt=\"Writer/director Chloé Zhao on the set of 'The Rider.'\" width=\"2048\" height=\"1356\" class=\"size-full wp-image-13829499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/16_Zhao.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/16_Zhao-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/16_Zhao-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/16_Zhao-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/16_Zhao-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/16_Zhao-1200x795.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/16_Zhao-1920x1272.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/16_Zhao-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/16_Zhao-960x636.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/16_Zhao-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/16_Zhao-375x248.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/16_Zhao-520x344.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Writer/director Chloé Zhao on the set of ‘The Rider.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Zhao sets an early scene in darkness. Her camera takes in the expansive prairie landscape until it settles on four young men sitting around a campfire. Three of them are joking around with each other, starting to raise hell on a Friday night – they’ve barely grown past their boyhood selves. The fourth is Jandreau, playing a character named Brady Blackburn. \u003c/p>\n\u003cp>When the camera focuses on him, the downward tilt of his face as he stares into the fire suggests that he’s both in the moment with his friends but also standing outside of it, contemplating his fate. As his friends holler and chase each other into the moonless night, Blackburn stays behind, drawing the audience in close to his point of view.\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>To sustain this sense of intimacy with him throughout the movie, Zhao says, “I was clean on him, and every time it goes to somebody else, it’s always dirtied by him in the foreground. It’s forever through Brady’s perspective.” \u003c/p>\n\u003cp>The director chose him for the role after meeting many other cowboys. “I was looking for somebody who truly believes in his way of life. He has to convince me, and you, and a lot of people who lived very differently than the way he did,” she says. “He believes in it, and he lives by it. It’s hard to come by with young people today.”\u003c/p>\n\u003cp>Zhao establishes the central tension of \u003cem>The Rider\u003c/em> early. We watch as Blackburn removes a bloodied bandage from his head. And then, without much delicacy, he also plucks out the staples that have been holding the wound closed. Blackburn is recovering from a rodeo fall that takes place before the film starts. \u003c/p>\n\u003cfigure id=\"attachment_13829501\" class=\"wp-caption aligncenter\" style=\"max-width: 1528px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/9_whitehorse.jpg\" alt=\"Brady Jandreau as Brady Blackburn.\" width=\"1528\" height=\"858\" class=\"size-full wp-image-13829501\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/9_whitehorse.jpg 1528w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/9_whitehorse-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/9_whitehorse-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/9_whitehorse-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/9_whitehorse-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/9_whitehorse-1200x674.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/9_whitehorse-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/9_whitehorse-960x539.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/9_whitehorse-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/9_whitehorse-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/9_whitehorse-520x292.jpg 520w\" sizes=\"(max-width: 1528px) 100vw, 1528px\">\u003cfigcaption class=\"wp-caption-text\">Brady Jandreau as Brady Blackburn. \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At one point during the interview, Zhao mentions Darren Aronofsky’s \u003cem>The Wrestler\u003c/em> as an analogous story. Mickey Rourke’s character risks his life when he returns to the ring; that irresistible pull back to something dangerous drives Zhao’s narrative as well.\u003c/p>\n\u003cp>Without being able to ride, Blackburn loses his connection to what makes him feel whole and alive. Jandreau, despite having suffered the same injury off-screen, says he still thinks about riding, even when Zhao raises her finger when the subject comes up. “I had a long break from rodeo even before the shooting began. I was thinking about maybe riding again once my bones even healed in my head,” he says. “I put a lot of thought into it, and it’s not about really whether I ride or not, it’s about the idea of doing it. It led me to almost everything I achieved today. I don’t know, just going to rodeos, it put a bad taste in my mouth anymore, because I miss it so bad.”\u003c/p>\n\u003cp>In a dream sequence, Blackburn imagines a stabled horse pacing back and forth, restless for a ride. Talking about the scene triggers a reaction in Jandreau. He recounts a dream he had while he was in a coma after his own real-life accident: “I was a horse being trained.” While the nurses and doctors intubated him, they cut off his clothes and fitted him with a neck brace. He felt as if he was being saddled. He remembers feeling scared. In the dream, one of the hospital staff occupied Jandreau’s own role as a horse trainer: “He was really calm, and pretty soon, he got on, and rode, and everything. I tried to buck him off. I remember it vividly. I had no control over myself. I had no sense that I was me.”\u003c/p>\n\u003cp>In \u003cem>The Rider\u003c/em>, Zhao captures a natural affinity between human and animal spirits. The film is an expression of Jandreau’s joy and his pain. “I feel like I can identify with horses better than I can identify with people,” he says.\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>\u003c/p>\n\u003cp>\u003cem>‘The Rider’ opens Friday, April 20 at Landmark Embarcadero in San Francisco.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13829496/chloe-zhao-the-rider-brady-blackburn",
"authors": [
"42"
],
"categories": [
"arts_74"
],
"featImg": "arts_13829498",
"label": "arts"
},
"arts_13829726": {
"type": "posts",
"id": "arts_13829726",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13829726",
"score": null,
"sort": [
1524063630000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1524063630,
"format": "image",
"title": "Out of the Past With Lucrecia Martel",
"headTitle": "Out of the Past With Lucrecia Martel | KQED",
"content": "\u003cp>Every now and then, there emerges a film director who seems almost helplessly original, for whom making movies means reinventing the most basic elements of film grammar. One thinks of Orson Welles, Chantal Ackerman, Stanley Kubrick, and, more recently, Lucrecia Martel. It may have taken the New Argentine Cinema luminary a decade to follow \u003cem>The Headless Woman\u003c/em> (2008), but her latest film \u003cem>Zama\u003c/em> marks a brilliant advance for one of contemporary cinema’s most distinctive stylists. She appears in person multiple times in the Bay Area this weekend, at BAMPFA in Berkeley (April 22) and YBCA in San Francisco (April 23).\u003c/p>\n\u003cp>Martel’s earlier films—all of which screen in 35mm at BAMPFA over the coming weeks—burrow deeply into the Argentine bourgeoisie’s psyche, with characters drifting through threshold states of adolescence and midlife crisis. Not since Michelangelo Antonioni’s prime has disaffection seemed so perilously seductive, with a pervasive sense of decay felt at every level of composition. Indeed, Martel displays an almost preternatural sense for the way sounds and images can be combined and pulled apart to activate and envelope the audience’s affective experience, such that story comes to seem ancillary to the raw stuff of curiosity, dread, confusion, and desire.\u003c/p>\n\u003cfigure id=\"attachment_13829729\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/ZAM-still-003-800x450.jpg\" alt=\"Daniel Giménez Cacho as Don Diego de Zama in Lucrecia Martel's 'Zama.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13829729\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-003-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-003-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-003-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-003-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-003-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-003.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-003-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-003-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-003-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-003-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-003-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Daniel Giménez Cacho as Don Diego de Zama in Lucrecia Martel’s ‘Zama.’ \u003ccite>(Strand Releasing )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a 2005 profile fittingly titled “In the Thick of It,” critic Kent Jones tempered his admiration for Martel’s filmmaking chops by noting that the self-contained quality of her first two films made it difficult to see her next move. As the 18th century-set \u003cem>Zama\u003c/em> amply demonstrates, however, the hermetic style lends itself to distant imaginings. More particularly, Martel’s poetics of dislocation are well suited to a corrosive historical account of colonialism.\u003c/p>\n\u003cp>The locus of this malaise is Don Diego de Zama, a magistrate for the Spanish crown pining to be transferred from his backwater post in present-day Paraguay. The plot is the unraveling of his plot, with Zama biding his time in a series of increasingly hopeless ploys for promotion. A supremely slippery antihero, by turns pathetic and tragic, reticent and cruel, morally compromised and most assuredly not “relatable” in the Hollywood style, actor Daniel Giménez Cacho nonetheless evokes the character’s all-too-human desperation. Marked as a voyeur from the first scene, Zama’s power is inseparable from his impotence.\u003c/p>\n\u003cp>Martel adapted the script from Antonio Di Benedetto’s 1953 novel, a modernist landmark only recently published in English translation. The novel would seem unpromising material for a film given its densely matted first-person narration (notions of unreliable narrators and dramatic irony don’t even begin to suggest the chasm that Di Benedetto opens between reader and character). Remarkably, though, Martel achieves the same kind of disjunctive effects in the eccentric framing and cryptic details that make every shot its own mystery.\u003c/p>\n\u003cfigure id=\"attachment_13829728\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/ZAM-still-002-800x450.jpg\" alt=\"A scene from Lucrecia Martel's 'Zama.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13829728\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-002-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-002-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-002-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-002-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-002-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-002.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-002-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-002-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-002-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-002-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-002-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Lucrecia Martel’s ‘Zama.’ \u003ccite>(Strand Releasing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>From a governor’s bright nail polish to a whining drone periodically heard on the soundtrack, Zama is freely anachronistic. In one scene, we unexpectedly find ourselves granted access to a minor character’s thoughts. In another, the camera is momentarily fixated on a horse’s mute gaze. As a result of these peculiar distancing effects, we are neither identified with Zama’s plight nor free of its foreboding. The character’s final descent is no less harrowing for its eerie calm, as if several Werner Herzog movies’ worth of lunacy had been distilled into a few spare sequences.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One wishes Hollywood’s revisionists might study \u003cem>Zama\u003c/em> for its implicit recognition that repudiating history’s myths requires a strong formal commitment. A period piece that seeks to redress past wrongs while maintaining clear lines of cause and effect—to say nothing of heroes and villains—can only take us so far. \u003cem>Zama\u003c/em> undermines teleology at every level, in the process suggesting that colonialism’s destiny is madness and that it enfolds us still. In this sense, Zama’s final line of dialogue insinuates the viewer as well: “I do for you what no one did for me. I say no to your hopes.”\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_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium 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>\u003c/p>\n\u003cp>\u003cem>Lucrecia Martel appears Sunday, April 22, at BAMPFA’s screenings of ‘Zama’ and ‘The Headless Woman’; \u003ca href=\"https://bampfa.org/program/anxiety-identity-films-lucrecia-martel\" rel=\"noopener\" target=\"_blank\">details here\u003c/a>. Martel also appears at the Yerba Buena Center for the Arts’ screening of ‘Zama’ in San Francisco on Monday, April 23; \u003ca href=\"https://www.ybca.org/whats-on/zama\" rel=\"noopener\" target=\"_blank\">details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 785,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 11
},
"modified": 1705028063,
"excerpt": "The Argentine director visits the Bay Area with her masterful new film, 'Zama.'",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The Argentine director visits the Bay Area with her masterful new film, 'Zama.'",
"title": "Out of the Past With Lucrecia Martel | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Out of the Past With Lucrecia Martel",
"datePublished": "2018-04-18T08:00:30-07:00",
"dateModified": "2024-01-11T18:54:23-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "out-of-the-past-with-lucrecia-martel",
"status": "publish",
"nprByline": "Max Goldberg",
"sticky": false,
"path": "/arts/13829726/out-of-the-past-with-lucrecia-martel",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Every now and then, there emerges a film director who seems almost helplessly original, for whom making movies means reinventing the most basic elements of film grammar. One thinks of Orson Welles, Chantal Ackerman, Stanley Kubrick, and, more recently, Lucrecia Martel. It may have taken the New Argentine Cinema luminary a decade to follow \u003cem>The Headless Woman\u003c/em> (2008), but her latest film \u003cem>Zama\u003c/em> marks a brilliant advance for one of contemporary cinema’s most distinctive stylists. She appears in person multiple times in the Bay Area this weekend, at BAMPFA in Berkeley (April 22) and YBCA in San Francisco (April 23).\u003c/p>\n\u003cp>Martel’s earlier films—all of which screen in 35mm at BAMPFA over the coming weeks—burrow deeply into the Argentine bourgeoisie’s psyche, with characters drifting through threshold states of adolescence and midlife crisis. Not since Michelangelo Antonioni’s prime has disaffection seemed so perilously seductive, with a pervasive sense of decay felt at every level of composition. Indeed, Martel displays an almost preternatural sense for the way sounds and images can be combined and pulled apart to activate and envelope the audience’s affective experience, such that story comes to seem ancillary to the raw stuff of curiosity, dread, confusion, and desire.\u003c/p>\n\u003cfigure id=\"attachment_13829729\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/ZAM-still-003-800x450.jpg\" alt=\"Daniel Giménez Cacho as Don Diego de Zama in Lucrecia Martel's 'Zama.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13829729\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-003-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-003-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-003-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-003-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-003-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-003.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-003-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-003-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-003-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-003-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-003-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Daniel Giménez Cacho as Don Diego de Zama in Lucrecia Martel’s ‘Zama.’ \u003ccite>(Strand Releasing )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a 2005 profile fittingly titled “In the Thick of It,” critic Kent Jones tempered his admiration for Martel’s filmmaking chops by noting that the self-contained quality of her first two films made it difficult to see her next move. As the 18th century-set \u003cem>Zama\u003c/em> amply demonstrates, however, the hermetic style lends itself to distant imaginings. More particularly, Martel’s poetics of dislocation are well suited to a corrosive historical account of colonialism.\u003c/p>\n\u003cp>The locus of this malaise is Don Diego de Zama, a magistrate for the Spanish crown pining to be transferred from his backwater post in present-day Paraguay. The plot is the unraveling of his plot, with Zama biding his time in a series of increasingly hopeless ploys for promotion. A supremely slippery antihero, by turns pathetic and tragic, reticent and cruel, morally compromised and most assuredly not “relatable” in the Hollywood style, actor Daniel Giménez Cacho nonetheless evokes the character’s all-too-human desperation. Marked as a voyeur from the first scene, Zama’s power is inseparable from his impotence.\u003c/p>\n\u003cp>Martel adapted the script from Antonio Di Benedetto’s 1953 novel, a modernist landmark only recently published in English translation. The novel would seem unpromising material for a film given its densely matted first-person narration (notions of unreliable narrators and dramatic irony don’t even begin to suggest the chasm that Di Benedetto opens between reader and character). Remarkably, though, Martel achieves the same kind of disjunctive effects in the eccentric framing and cryptic details that make every shot its own mystery.\u003c/p>\n\u003cfigure id=\"attachment_13829728\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/ZAM-still-002-800x450.jpg\" alt=\"A scene from Lucrecia Martel's 'Zama.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13829728\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-002-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-002-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-002-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-002-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-002-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-002.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-002-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-002-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-002-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-002-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-002-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Lucrecia Martel’s ‘Zama.’ \u003ccite>(Strand Releasing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>From a governor’s bright nail polish to a whining drone periodically heard on the soundtrack, Zama is freely anachronistic. In one scene, we unexpectedly find ourselves granted access to a minor character’s thoughts. In another, the camera is momentarily fixated on a horse’s mute gaze. As a result of these peculiar distancing effects, we are neither identified with Zama’s plight nor free of its foreboding. The character’s final descent is no less harrowing for its eerie calm, as if several Werner Herzog movies’ worth of lunacy had been distilled into a few spare sequences.\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 wishes Hollywood’s revisionists might study \u003cem>Zama\u003c/em> for its implicit recognition that repudiating history’s myths requires a strong formal commitment. A period piece that seeks to redress past wrongs while maintaining clear lines of cause and effect—to say nothing of heroes and villains—can only take us so far. \u003cem>Zama\u003c/em> undermines teleology at every level, in the process suggesting that colonialism’s destiny is madness and that it enfolds us still. In this sense, Zama’s final line of dialogue insinuates the viewer as well: “I do for you what no one did for me. I say no to your hopes.”\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_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium 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>\u003c/p>\n\u003cp>\u003cem>Lucrecia Martel appears Sunday, April 22, at BAMPFA’s screenings of ‘Zama’ and ‘The Headless Woman’; \u003ca href=\"https://bampfa.org/program/anxiety-identity-films-lucrecia-martel\" rel=\"noopener\" target=\"_blank\">details here\u003c/a>. Martel also appears at the Yerba Buena Center for the Arts’ screening of ‘Zama’ in San Francisco on Monday, April 23; \u003ca href=\"https://www.ybca.org/whats-on/zama\" rel=\"noopener\" target=\"_blank\">details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13829726/out-of-the-past-with-lucrecia-martel",
"authors": [
"byline_arts_13829726"
],
"categories": [
"arts_74"
],
"tags": [
"arts_2227",
"arts_1118",
"arts_596",
"arts_1040"
],
"featImg": "arts_13829730",
"label": "arts"
},
"arts_13829490": {
"type": "posts",
"id": "arts_13829490",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13829490",
"score": null,
"sort": [
1523905235000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1523905235,
"format": "standard",
"title": "Now Playing! Unflinching South African Cinema at MoAD",
"headTitle": "Now Playing! Unflinching South African Cinema at MoAD | KQED",
"content": "\u003cp>It’s hard to imagine that anyone in this time zone knows more about African cinema, past and present, than Cornelius Moore. So when the longtime co-director of the San Francisco distribution company \u003ca href=\"http://newsreel.org\" rel=\"noopener\" target=\"_blank\">California Newsreel\u003c/a> programs a series, you know you’re getting the straight dope. His latest survey, \u003ca href=\"https://www.moadsf.org/blog/born-free-film-looks-at-post-apartheid-south-africa-april-18-may-31/\" rel=\"noopener\" target=\"_blank\">\u003cem>Born Free: Film Looks at Post-Apartheid South Africa\u003c/em>\u003c/a>, commencing this Wednesday, April 18 at MOAD, delivers an exciting array of revelatory recent movies—fiction and docs—backed by a couple standouts from the turn of the century. \u003c/p>\n\u003cp>Moore cannily invites us to face the truth, and face the music, by beginning the series with \u003cem>Mama Africa: Miriam Makeba\u003c/em>, Finnish director Mika Kaurismaki’s 2011 biography of the gifted singer. A brave voice of revolutionary pride, Makeba’s passion for fairness and justice rattled the rafters far and wide, and echoes loudly in the present moment.\u003c/p>\n\u003cp>Looking ahead, and back, Oliver Schmitz’s 2000 drama \u003cem>Hijack Stories\u003c/em> (Apr. 26) explores the tensions between poor and middle-class black South Africans through an actor whose bright idea of preparing for a role by immersing himself in Soweto goes sideways. Ramadan Suleman’s 2004 \u003cem>Zulu Love Letter\u003c/em> (May 2) examines the painfully unresolved past through the story of a tormented journalist who sets out to find the grave of an activist murdered by the regime.\u003c/p>\n\u003cp>Moore’s kaleidoscope of hard truths continues through May 31, when Rehad Desai’s \u003cem>The Giant is Falling\u003c/em> (2016) rings down the curtain. Bringing the viewer up to the near-present, the documentary captures the people’s anger with the vaunted African National Congress for the party’s failure to fulfill Nelson Mandela’s promises. The gulf between lofty aspiration and daily life is painful to behold, yet \u003cem>Born Free: Film Looks at Post-Apartheid South Africa\u003c/em> doesn’t flinch from acknowledging the reality of the streets.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 326,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 6
},
"modified": 1705028077,
"excerpt": "Cornelius Moore's series 'Born Free: Film Looks at Post-Apartheid South Africa' captures the reality of South African streets.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Cornelius Moore's series 'Born Free: Film Looks at Post-Apartheid South Africa' captures the reality of South African streets.",
"title": "Now Playing! Unflinching South African Cinema at MoAD | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Now Playing! Unflinching South African Cinema at MoAD",
"datePublished": "2018-04-16T12:00:35-07:00",
"dateModified": "2024-01-11T18:54:37-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "now-playing-unflinching-south-african-cinema-at-moad",
"status": "publish",
"sticky": false,
"path": "/arts/13829490/now-playing-unflinching-south-african-cinema-at-moad",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s hard to imagine that anyone in this time zone knows more about African cinema, past and present, than Cornelius Moore. So when the longtime co-director of the San Francisco distribution company \u003ca href=\"http://newsreel.org\" rel=\"noopener\" target=\"_blank\">California Newsreel\u003c/a> programs a series, you know you’re getting the straight dope. His latest survey, \u003ca href=\"https://www.moadsf.org/blog/born-free-film-looks-at-post-apartheid-south-africa-april-18-may-31/\" rel=\"noopener\" target=\"_blank\">\u003cem>Born Free: Film Looks at Post-Apartheid South Africa\u003c/em>\u003c/a>, commencing this Wednesday, April 18 at MOAD, delivers an exciting array of revelatory recent movies—fiction and docs—backed by a couple standouts from the turn of the century. \u003c/p>\n\u003cp>Moore cannily invites us to face the truth, and face the music, by beginning the series with \u003cem>Mama Africa: Miriam Makeba\u003c/em>, Finnish director Mika Kaurismaki’s 2011 biography of the gifted singer. A brave voice of revolutionary pride, Makeba’s passion for fairness and justice rattled the rafters far and wide, and echoes loudly in the present moment.\u003c/p>\n\u003cp>Looking ahead, and back, Oliver Schmitz’s 2000 drama \u003cem>Hijack Stories\u003c/em> (Apr. 26) explores the tensions between poor and middle-class black South Africans through an actor whose bright idea of preparing for a role by immersing himself in Soweto goes sideways. Ramadan Suleman’s 2004 \u003cem>Zulu Love Letter\u003c/em> (May 2) examines the painfully unresolved past through the story of a tormented journalist who sets out to find the grave of an activist murdered by the regime.\u003c/p>\n\u003cp>Moore’s kaleidoscope of hard truths continues through May 31, when Rehad Desai’s \u003cem>The Giant is Falling\u003c/em> (2016) rings down the curtain. Bringing the viewer up to the near-present, the documentary captures the people’s anger with the vaunted African National Congress for the party’s failure to fulfill Nelson Mandela’s promises. The gulf between lofty aspiration and daily life is painful to behold, yet \u003cem>Born Free: Film Looks at Post-Apartheid South Africa\u003c/em> doesn’t flinch from acknowledging the reality of the streets.\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/13829490/now-playing-unflinching-south-african-cinema-at-moad",
"authors": [
"22"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_1987",
"arts_596"
],
"featImg": "arts_13829511",
"label": "arts"
},
"arts_13829484": {
"type": "posts",
"id": "arts_13829484",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13829484",
"score": null,
"sort": [
1523833954000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1523833954,
"format": "standard",
"title": "Milos Forman, 'One Flew Over The Cuckoo's Nest' Director, Dies At 86",
"headTitle": "Milos Forman, ‘One Flew Over The Cuckoo’s Nest’ Director, Dies At 86 | KQED",
"content": "\u003cp>Milos Forman, known for directing the classic films \u003cem>One Flew Over the Cuckoo’s Nest\u003c/em> and \u003cem>Amadeus,\u003c/em> has died at age 86, his manager tells NPR.\u003c/p>\n\u003cp>Forman’s wife Martina told the Czech news agency CTK that Forman died Friday in Connecticut after a short illness.\u003c/p>\n\u003cp>His manager, Dennis Aspland, confirmed his death was at a hospital near his home in Warren, Conn.\u003c/p>\n\u003cp>Forman was born in 1932 in what was then called Czechoslovakia. Both his mother and the man be thought was his father were killed at Auschwitz during World War II, he told \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=19048469\">NPR’s Fresh Air\u003c/a> in 1994.\u003c/p>\n\u003cp>Forman later learned his biological father was a man with whom his mother had an affair, according to \u003ca href=\"https://www.nytimes.com/2018/04/14/obituaries/milos-forman-dead.html\">The New York Times.\u003c/a> The man survived the war and was living in Peru by the time Forman found him.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Forman attended the Film Institute at the University of Prague in the 1950s, according to \u003ca href=\"https://www.hollywoodreporter.com/news/milos-forman-dead-cuckoos-nest-amadeus-director-was-86-861207\">The Hollywood Reporter.\u003c/a>\u003c/p>\n\u003cp>He was part of what became known as the “Czechoslovak new wave” of cinema in the 1960s, before Soviets invaded to crush the brief period of liberalization known as the Prague Spring in 1968.\u003c/p>\n\u003cp>Shortly after, Forman moved to the U.S.\u003c/p>\n\u003cp>It was there where he gained accolades for the 1975 film \u003cem>One Flew Over the Cuckoo’s Nest,\u003c/em> starring Jack Nicholson as a criminal in a mental institution. It won five Academy Awards, including best picture and best director for Forman.\u003c/p>\n\u003cp>Forman went on to win more awards as a director with the 1984 film \u003cem>Amadeus,\u003c/em> which told some of the story of famed composer Wolfgang Amadeus Mozart.\u003c/p>\n\u003cp>He was nominated again for the best director Oscar for the 1996 movie \u003cem>The People vs. Larry Flint,\u003c/em> though did not win.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>One of his last films was \u003cem>Goya’s Ghosts\u003c/em> in 2006, which was “an intricate examination of persecution in Spain in the era of religious persecution and Napoleonic conquest,” as the \u003cem>Times\u003c/em> described it. \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=Milos+Forman%2C+%27One+Flew+Over+The+Cuckoo%27s+Nest%27+Director%2C+Dies+At+86&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 345,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 14
},
"modified": 1705028079,
"excerpt": "The Czech director won awards for 1975's \u003cem>One Flew Over the Cuckoo's Nest\u003c/em> and 1984's \u003cem>Amadeus.\u003c/em>",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The Czech director won awards for 1975's One Flew Over the Cuckoo's Nest and 1984's Amadeus.",
"title": "Milos Forman, 'One Flew Over The Cuckoo's Nest' Director, Dies At 86 | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Milos Forman, 'One Flew Over The Cuckoo's Nest' Director, Dies At 86",
"datePublished": "2018-04-15T16:12:34-07:00",
"dateModified": "2024-01-11T18:54:39-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "milos-forman-one-flew-over-the-cuckoos-nest-director-dies-at-86",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=602434129&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "James Doubek",
"nprStoryDate": "Sat, 14 Apr 2018 07:28:00 -0400",
"nprLastModifiedDate": "Sat, 14 Apr 2018 07:31:38 -0400",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/sections/thetwo-way/2018/04/14/602434129/milos-forman-one-flew-over-the-cuckoo-s-nest-director-dies-at-86?ft=nprml&f=602434129",
"nprImageAgency": "Getty Images",
"nprImageCredit": "Ernesto S. Ruscio",
"nprStoryId": "602434129",
"nprRetrievedStory": "1",
"nprPubDate": "Sat, 14 Apr 2018 07:28:00 -0400",
"path": "/arts/13829484/milos-forman-one-flew-over-the-cuckoos-nest-director-dies-at-86",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Milos Forman, known for directing the classic films \u003cem>One Flew Over the Cuckoo’s Nest\u003c/em> and \u003cem>Amadeus,\u003c/em> has died at age 86, his manager tells NPR.\u003c/p>\n\u003cp>Forman’s wife Martina told the Czech news agency CTK that Forman died Friday in Connecticut after a short illness.\u003c/p>\n\u003cp>His manager, Dennis Aspland, confirmed his death was at a hospital near his home in Warren, Conn.\u003c/p>\n\u003cp>Forman was born in 1932 in what was then called Czechoslovakia. Both his mother and the man be thought was his father were killed at Auschwitz during World War II, he told \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=19048469\">NPR’s Fresh Air\u003c/a> in 1994.\u003c/p>\n\u003cp>Forman later learned his biological father was a man with whom his mother had an affair, according to \u003ca href=\"https://www.nytimes.com/2018/04/14/obituaries/milos-forman-dead.html\">The New York Times.\u003c/a> The man survived the war and was living in Peru by the time Forman found him.\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>Forman attended the Film Institute at the University of Prague in the 1950s, according to \u003ca href=\"https://www.hollywoodreporter.com/news/milos-forman-dead-cuckoos-nest-amadeus-director-was-86-861207\">The Hollywood Reporter.\u003c/a>\u003c/p>\n\u003cp>He was part of what became known as the “Czechoslovak new wave” of cinema in the 1960s, before Soviets invaded to crush the brief period of liberalization known as the Prague Spring in 1968.\u003c/p>\n\u003cp>Shortly after, Forman moved to the U.S.\u003c/p>\n\u003cp>It was there where he gained accolades for the 1975 film \u003cem>One Flew Over the Cuckoo’s Nest,\u003c/em> starring Jack Nicholson as a criminal in a mental institution. It won five Academy Awards, including best picture and best director for Forman.\u003c/p>\n\u003cp>Forman went on to win more awards as a director with the 1984 film \u003cem>Amadeus,\u003c/em> which told some of the story of famed composer Wolfgang Amadeus Mozart.\u003c/p>\n\u003cp>He was nominated again for the best director Oscar for the 1996 movie \u003cem>The People vs. Larry Flint,\u003c/em> though did not win.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>One of his last films was \u003cem>Goya’s Ghosts\u003c/em> in 2006, which was “an intricate examination of persecution in Spain in the era of religious persecution and Napoleonic conquest,” as the \u003cem>Times\u003c/em> described it. \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=Milos+Forman%2C+%27One+Flew+Over+The+Cuckoo%27s+Nest%27+Director%2C+Dies+At+86&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13829484/milos-forman-one-flew-over-the-cuckoos-nest-director-dies-at-86",
"authors": [
"byline_arts_13829484"
],
"categories": [
"arts_74",
"arts_235"
],
"tags": [
"arts_1118",
"arts_1091"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13829485",
"label": "arts_137"
},
"arts_13829336": {
"type": "posts",
"id": "arts_13829336",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13829336",
"score": null,
"sort": [
1523637744000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1523637744,
"format": "standard",
"title": "'Borg vs. McEnroe': Game, Set And An Unlikely Match",
"headTitle": "‘Borg vs. McEnroe’: Game, Set And An Unlikely Match | KQED",
"content": "\u003cp>Early in the Swedish-made sports movie \u003cem>Borg vs. McEnroe\u003c/em>, Bjorn Borg (Sverrir Gudnason) ducks into a Monaco bar to escape a pack of screaming girls after practicing for an especially tricky upcoming Wimbledon championship. The tennis star is without his wallet, so he helps out schlepping boxes in return for a free espresso and tries to convince the bartender that he’s an electrician by trade. The barkeep doesn’t buy it, and really, who would when confronted with those chiseled facial bones, maximally toned leg muscles, and blond curls improbably squashed under a baseball cap? \u003c/p>\n\u003cp>Lest you imagine, though, that all you’re about to see is the humble man of the people beneath the superstar, director Janus Metz and screenwriter Ronnie Sandahl have a different tale to tell about the legendary rivalry between Borg, a four-time Wimbledon winner, and John McEnroe, the brash American upstart with a killer backhand and truly awful manners.\u003c/p>\n\u003cp>Which is not to say that the smoothly crafted, satisfyingly earnest \u003cem>Borg vs. McEnroe\u003c/em> ventures far from the standard sports biopic template. There they are: the backstories full of heartache and deficit parenting; the intertitles insisting that sports are the ultimate metaphor for life; the separate narrative paths all inexorably leading to a Great Event — in this case the fabled 1980 Wimbledon game in which two stellar players bludgeoned one another into a seemingly endless run of match points before one came out on top. Nicely gussied-up with special effects and tennis-playing stand-ins intercut with actual footage, the finale is a riveting spectacle. The rest is biography, heavy on the flashbacks, of two radically different temperaments with more history in common than meets the eye. \u003c/p>\n\u003cp>Shia LaBeouf surely didn’t have to dig too deep within himself to come up with a terrific rendition of McEnroe, a curly-headed, ferocious competitor who is rude and aggressive on and off the court, prone to cheating even a close friend, a showy fighter with a killer left backhand. A player with more drive than finesse, McEnroe is equally unpopular with umpires and the crowd, and he pretends not to care that the crowd invariably roars for his graceful, focused opponent. \u003c/p>\n\u003cp>The twist is that Gudnason’s Borg comes off as his own species of psychological wreck. Shy, anxious and compulsive, he travels with umpteen tennis racquets whose precise tension he tests out by walking on them before every match. And though he is an elegant stylist on the court — a gentleman in a gentleman’s sport despite, or more likely \u003cem>because \u003c/em>of, his working-class background — Borg fails to attend to the mounting frustration of his patient, longtime girlfriend (Tuva Novotny). Both men, we learn, had troubled childhoods that scarred them with a load of rage and frustration and left them eternally incomplete, forever striving for elusive perfection. In the film one of them is rescued and steadied by a coach (Stellan Skarsgard) who has seen enough failure himself to understand that anger and pain must be channeled, not repressed, and that as in life, every game must be won point by point.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Their undernourished childhoods have made unhappy winners of both men. One of them has to lose this round; in this big-hearted movie, life is more than the sum of its victories and defeats. The finale has us rooting for it to be true that, in the nail-biting final stretch of the game, Borg murmured a few words to his opponent that defrosted some hard, undernourished place in both their hearts — and allowed them to grow into men, \u003cem>menschen,\u003c/em> and lifelong friends. \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=%27Borg+vs.+McEnroe%27%3A+Game%2C+Set+And+An+Unlikely+Match&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 627,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 8
},
"modified": 1705028090,
"excerpt": "This \"smoothly crafted, satisfyingly earnest\" film features many sports-movie clichés, but digs a bit deeper to find psychological affinities between the two very different athletes.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "This "smoothly crafted, satisfyingly earnest" film features many sports-movie clichés, but digs a bit deeper to find psychological affinities between the two very different athletes.",
"title": "'Borg vs. McEnroe': Game, Set And An Unlikely Match | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Borg vs. McEnroe': Game, Set And An Unlikely Match",
"datePublished": "2018-04-13T09:42:24-07:00",
"dateModified": "2024-01-11T18:54:50-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "borg-vs-mcenroe-game-set-and-an-unlikely-match",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=600948276&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Ella Taylor",
"nprStoryDate": "Thu, 12 Apr 2018 17:01:11 -0400",
"nprLastModifiedDate": "Thu, 12 Apr 2018 17:01:11 -0400",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/2018/04/12/600948276/borg-vs-mcenroe-game-set-and-an-unlikely-match?ft=nprml&f=600948276",
"nprImageAgency": "Neon ",
"nprStoryId": "600948276",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 12 Apr 2018 17:01:00 -0400",
"path": "/arts/13829336/borg-vs-mcenroe-game-set-and-an-unlikely-match",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Early in the Swedish-made sports movie \u003cem>Borg vs. McEnroe\u003c/em>, Bjorn Borg (Sverrir Gudnason) ducks into a Monaco bar to escape a pack of screaming girls after practicing for an especially tricky upcoming Wimbledon championship. The tennis star is without his wallet, so he helps out schlepping boxes in return for a free espresso and tries to convince the bartender that he’s an electrician by trade. The barkeep doesn’t buy it, and really, who would when confronted with those chiseled facial bones, maximally toned leg muscles, and blond curls improbably squashed under a baseball cap? \u003c/p>\n\u003cp>Lest you imagine, though, that all you’re about to see is the humble man of the people beneath the superstar, director Janus Metz and screenwriter Ronnie Sandahl have a different tale to tell about the legendary rivalry between Borg, a four-time Wimbledon winner, and John McEnroe, the brash American upstart with a killer backhand and truly awful manners.\u003c/p>\n\u003cp>Which is not to say that the smoothly crafted, satisfyingly earnest \u003cem>Borg vs. McEnroe\u003c/em> ventures far from the standard sports biopic template. There they are: the backstories full of heartache and deficit parenting; the intertitles insisting that sports are the ultimate metaphor for life; the separate narrative paths all inexorably leading to a Great Event — in this case the fabled 1980 Wimbledon game in which two stellar players bludgeoned one another into a seemingly endless run of match points before one came out on top. Nicely gussied-up with special effects and tennis-playing stand-ins intercut with actual footage, the finale is a riveting spectacle. The rest is biography, heavy on the flashbacks, of two radically different temperaments with more history in common than meets the eye. \u003c/p>\n\u003cp>Shia LaBeouf surely didn’t have to dig too deep within himself to come up with a terrific rendition of McEnroe, a curly-headed, ferocious competitor who is rude and aggressive on and off the court, prone to cheating even a close friend, a showy fighter with a killer left backhand. A player with more drive than finesse, McEnroe is equally unpopular with umpires and the crowd, and he pretends not to care that the crowd invariably roars for his graceful, focused opponent. \u003c/p>\n\u003cp>The twist is that Gudnason’s Borg comes off as his own species of psychological wreck. Shy, anxious and compulsive, he travels with umpteen tennis racquets whose precise tension he tests out by walking on them before every match. And though he is an elegant stylist on the court — a gentleman in a gentleman’s sport despite, or more likely \u003cem>because \u003c/em>of, his working-class background — Borg fails to attend to the mounting frustration of his patient, longtime girlfriend (Tuva Novotny). Both men, we learn, had troubled childhoods that scarred them with a load of rage and frustration and left them eternally incomplete, forever striving for elusive perfection. In the film one of them is rescued and steadied by a coach (Stellan Skarsgard) who has seen enough failure himself to understand that anger and pain must be channeled, not repressed, and that as in life, every game must be won point by point.\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>Their undernourished childhoods have made unhappy winners of both men. One of them has to lose this round; in this big-hearted movie, life is more than the sum of its victories and defeats. The finale has us rooting for it to be true that, in the nail-biting final stretch of the game, Borg murmured a few words to his opponent that defrosted some hard, undernourished place in both their hearts — and allowed them to grow into men, \u003cem>menschen,\u003c/em> and lifelong friends. \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=%27Borg+vs.+McEnroe%27%3A+Game%2C+Set+And+An+Unlikely+Match&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13829336/borg-vs-mcenroe-game-set-and-an-unlikely-match",
"authors": [
"byline_arts_13829336"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13829337",
"label": "arts_137"
},
"arts_13828836": {
"type": "posts",
"id": "arts_13828836",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13828836",
"score": null,
"sort": [
1523019622000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1523019622,
"format": "standard",
"title": "'A Quiet Place' Will Leave You Shhhhhhaken",
"headTitle": "‘A Quiet Place’ Will Leave You Shhhhhhaken | KQED",
"content": "\u003cp>Limitations are a horror filmmaker’s best friend, whether it’s confining characters to a haunted house, constructing a forest menace out of shaky “found footage,” waiting until the third act to show the shark, or starving the senses in order to heighten them. \u003cem>A Quiet Place\u003c/em> is about a wave of blind, deadly arachnid creatures that are sensitive to sound — imagine if the aliens in the Vin Diesel film \u003cem>Pitch Black \u003c/em>were deposited on earth, more or less — but it’s really about isolating an effect and custom-fitting a story around it. When a single utterance or unintended noise means quick and certain death, the audience will hang on every bump of the soundtrack, like a heart patient eyeing an EKG. \u003c/p>\n\u003cp>There are high-minded ways to interpret \u003cem>A Quiet Place\u003c/em>, which develops into a affecting metaphor for the perils of parenthood, but it’s effective primarily as a back-to-basics statement of genre fundamentals. We’re so accustomed to being pummeled into submission by studio soundtracks that the deprivation here has a clarifying effect, reminding us of what’s possible when sound and music is carefully placed. That the film comes from Platinum Dunes, the production company of \u003cem>Transformers\u003c/em> director Michael Bay, feels like an act of penance from Hollywood’s chief supplier of ear-splitting rackets. \u003c/p>\n\u003cp>The unlikely frightmaster responsible for \u003cem>A Quiet Place\u003c/em> is John Krasinski, best known as Jim from \u003cem>The Office \u003c/em>and less well-known for \u003cem>Brief Interviews with Hideous Men\u003c/em> and \u003cem>The Hollars\u003c/em>, his mediocre forays into independent filmmaking. Krasinski starred in Bay’s thriller \u003cem>13 Hours: The Secret Soldiers of Benghazi\u003c/em>, and Bay has returned the favor by allowing him to merge the quiet, character-driven qualities of his indie films with the sledgehammer impact of a mainstream shocker. Krasinski lands on a loud-quiet-loud formula akin to ’90s alternative rock: When the chorus kicks in, the jump-scares really pop. \u003c/p>\n\u003cp>https://youtu.be/WR7cc5t7tv8\u003c/p>\n\u003cp>By Day 89 of the invasion, an entire planet of loudmouths has seemingly been winnowed down to one family wandering through a Cormac McCarthy apocalypse. The Abbotts—Lee (Krasinski), Evelyn (Emily Blunt), and their three children — are first shown tiptoeing around a general store in bare feet, culling medications and other essentials they need for their journey. (Sorting through pills bottles, in this context, is like dangling your toes in piranha-infested waters.) After a deadly encounter, the film cuts to roughly a year later, when the family is holed up in a farmhouse and expecting a new addition. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bringing a newborn into a world where noise can kill brings another dimension to the phrase “planned parenthood,” and there will no doubt be arguments over the wisdom of Lee and Evelyn’s decision, just as there are over victims running \u003cem>up\u003c/em> the stairs in a slasher film. Rest assured, the Abbotts have thought it through completely, but even the best-laid plans can’t account for, say, an errant nail on the basement stairs or an ill-timed plumbing issue. And once the creatures’ attention is roused, they have a tendency to stick around until they find the source and tear it to shreds. \u003c/p>\n\u003cp>\u003cem>A Quiet Place\u003c/em> operates like a more wide-open version of \u003cem>Don’t Breathe\u003c/em>, the superb Fede Álvarez thriller from two years ago about three robbers invading the home of a blind veteran. Krasinski doesn’t have Álvarez’s penchant for atmosphere and calculated aggression, but he comes close enough, and the performances make up much of the difference. Blunt is particularly good as an expectant mother turned reluctant warrior, but the entire cast works hard to humanize characters who could just as easily be waved around as flesh-colored arachnid bait. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Embedded in the film’s story is a touching truth about how the parental instinct to protect children from the dangers of the world don’t always square with reality. As much as Lee and Evelyn fret over the logistics of a new baby —common questions like “Bottle or formula?” or “Cloth diapers or disposable?” are not as pressing here — they also have to deal with two older kids who are pushing the boundaries and testing their independence. We may not recognize the monsters that lurk around every errant peep in \u003cem>A Quiet Place\u003c/em>, but the world outside the theater has plenty of its own. \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=%27A+Quiet+Place%27+Will+Leave+You+Shhhhhhaken&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 773,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 9
},
"modified": 1705028115,
"excerpt": "Director John Krasinki's tense, well-acted horror film is about a family attempting to survive an invasion by terrifying creatures who hunt via sound.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Director John Krasinki's tense, well-acted horror film is about a family attempting to survive an invasion by terrifying creatures who hunt via sound.",
"title": "'A Quiet Place' Will Leave You Shhhhhhaken | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'A Quiet Place' Will Leave You Shhhhhhaken",
"datePublished": "2018-04-06T06:00:22-07:00",
"dateModified": "2024-01-11T18:55:15-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "a-quiet-place-will-leave-you-shhhhhhaken",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=598796456&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Scott Tobias",
"nprStoryDate": "Thu, 05 Apr 2018 17:01:06 -0400",
"nprLastModifiedDate": "Thu, 05 Apr 2018 17:01:06 -0400",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/2018/04/05/598796456/a-quiet-place-will-leave-you-shhhhhhaken?ft=nprml&f=598796456",
"nprImageAgency": "Paramount Pictures",
"nprImageCredit": "Jonny Cournoyer",
"nprStoryId": "598796456",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 05 Apr 2018 17:01:00 -0400",
"path": "/arts/13828836/a-quiet-place-will-leave-you-shhhhhhaken",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Limitations are a horror filmmaker’s best friend, whether it’s confining characters to a haunted house, constructing a forest menace out of shaky “found footage,” waiting until the third act to show the shark, or starving the senses in order to heighten them. \u003cem>A Quiet Place\u003c/em> is about a wave of blind, deadly arachnid creatures that are sensitive to sound — imagine if the aliens in the Vin Diesel film \u003cem>Pitch Black \u003c/em>were deposited on earth, more or less — but it’s really about isolating an effect and custom-fitting a story around it. When a single utterance or unintended noise means quick and certain death, the audience will hang on every bump of the soundtrack, like a heart patient eyeing an EKG. \u003c/p>\n\u003cp>There are high-minded ways to interpret \u003cem>A Quiet Place\u003c/em>, which develops into a affecting metaphor for the perils of parenthood, but it’s effective primarily as a back-to-basics statement of genre fundamentals. We’re so accustomed to being pummeled into submission by studio soundtracks that the deprivation here has a clarifying effect, reminding us of what’s possible when sound and music is carefully placed. That the film comes from Platinum Dunes, the production company of \u003cem>Transformers\u003c/em> director Michael Bay, feels like an act of penance from Hollywood’s chief supplier of ear-splitting rackets. \u003c/p>\n\u003cp>The unlikely frightmaster responsible for \u003cem>A Quiet Place\u003c/em> is John Krasinski, best known as Jim from \u003cem>The Office \u003c/em>and less well-known for \u003cem>Brief Interviews with Hideous Men\u003c/em> and \u003cem>The Hollars\u003c/em>, his mediocre forays into independent filmmaking. Krasinski starred in Bay’s thriller \u003cem>13 Hours: The Secret Soldiers of Benghazi\u003c/em>, and Bay has returned the favor by allowing him to merge the quiet, character-driven qualities of his indie films with the sledgehammer impact of a mainstream shocker. Krasinski lands on a loud-quiet-loud formula akin to ’90s alternative rock: When the chorus kicks in, the jump-scares really pop. \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/WR7cc5t7tv8'\n title='//www.youtube.com/embed/WR7cc5t7tv8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>By Day 89 of the invasion, an entire planet of loudmouths has seemingly been winnowed down to one family wandering through a Cormac McCarthy apocalypse. The Abbotts—Lee (Krasinski), Evelyn (Emily Blunt), and their three children — are first shown tiptoeing around a general store in bare feet, culling medications and other essentials they need for their journey. (Sorting through pills bottles, in this context, is like dangling your toes in piranha-infested waters.) After a deadly encounter, the film cuts to roughly a year later, when the family is holed up in a farmhouse and expecting a new addition. \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>Bringing a newborn into a world where noise can kill brings another dimension to the phrase “planned parenthood,” and there will no doubt be arguments over the wisdom of Lee and Evelyn’s decision, just as there are over victims running \u003cem>up\u003c/em> the stairs in a slasher film. Rest assured, the Abbotts have thought it through completely, but even the best-laid plans can’t account for, say, an errant nail on the basement stairs or an ill-timed plumbing issue. And once the creatures’ attention is roused, they have a tendency to stick around until they find the source and tear it to shreds. \u003c/p>\n\u003cp>\u003cem>A Quiet Place\u003c/em> operates like a more wide-open version of \u003cem>Don’t Breathe\u003c/em>, the superb Fede Álvarez thriller from two years ago about three robbers invading the home of a blind veteran. Krasinski doesn’t have Álvarez’s penchant for atmosphere and calculated aggression, but he comes close enough, and the performances make up much of the difference. Blunt is particularly good as an expectant mother turned reluctant warrior, but the entire cast works hard to humanize characters who could just as easily be waved around as flesh-colored arachnid bait. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Embedded in the film’s story is a touching truth about how the parental instinct to protect children from the dangers of the world don’t always square with reality. As much as Lee and Evelyn fret over the logistics of a new baby —common questions like “Bottle or formula?” or “Cloth diapers or disposable?” are not as pressing here — they also have to deal with two older kids who are pushing the boundaries and testing their independence. We may not recognize the monsters that lurk around every errant peep in \u003cem>A Quiet Place\u003c/em>, but the world outside the theater has plenty of its own. \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=%27A+Quiet+Place%27+Will+Leave+You+Shhhhhhaken&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13828836/a-quiet-place-will-leave-you-shhhhhhaken",
"authors": [
"byline_arts_13828836"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_977"
],
"featImg": "arts_13828837",
"label": "arts"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"radioSearchSegmentsReducer": {},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?category=movies": {
"isFetching": false,
"latestQuery": {
"from": 1584,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 3244,
"relation": "eq"
},
"items": [
"arts_13830688",
"arts_13829313",
"arts_13830280",
"arts_13830237",
"arts_13830154",
"arts_13830037",
"arts_13829496",
"arts_13829726",
"arts_13829490",
"arts_13829484",
"arts_13829336",
"arts_13828836"
],
"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_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_1845": {
"type": "terms",
"id": "arts_1845",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1845",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Grateful Dead",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Grateful Dead Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1857,
"slug": "grateful-dead",
"isLoading": false,
"link": "/arts/tag/grateful-dead"
},
"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_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_69": {
"type": "terms",
"id": "arts_69",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "69",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Music",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 70,
"slug": "music",
"isLoading": false,
"link": "/arts/category/music"
},
"arts_831": {
"type": "terms",
"id": "arts_831",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "831",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Hip Hop",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"socialTitle": "Fresh Off the Streets: Get Amped by the Bay's Hottest Hip-Hop Stories",
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": "Discover rising stars, hidden gems, and live events that'll keep your head nodding. Find your next favorite local hip hop artist right here.",
"metaRobotsNoIndex": "index",
"title": "Fresh Off the Streets: Get Amped by the Bay's Hottest Hip-Hop Stories",
"ogDescription": null
},
"ttid": 849,
"slug": "hip-hop",
"isLoading": false,
"link": "/arts/tag/hip-hop"
},
"arts_235": {
"type": "terms",
"id": "arts_235",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "235",
"found": true
},
"relationships": {},
"featImg": null,
"name": "News",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "News Archives | KQED Arts",
"ogDescription": null
},
"ttid": 236,
"slug": "news",
"isLoading": false,
"link": "/arts/category/news"
},
"arts_3670": {
"type": "terms",
"id": "arts_3670",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3670",
"found": true
},
"relationships": {},
"featImg": null,
"name": "castro theater",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "castro theater Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3682,
"slug": "castro-theater",
"isLoading": false,
"link": "/arts/tag/castro-theater"
},
"arts_769": {
"type": "terms",
"id": "arts_769",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "769",
"found": true
},
"relationships": {},
"featImg": null,
"name": "review",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "review Archives | KQED Arts",
"ogDescription": null
},
"ttid": 787,
"slug": "review",
"isLoading": false,
"link": "/arts/tag/review"
},
"arts_137": {
"type": "terms",
"id": "arts_137",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "137",
"found": true
},
"relationships": {},
"featImg": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/logo-npr-lg1.png",
"name": "NPR",
"description": null,
"taxonomy": "affiliate",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "NPR Archives | KQED Arts",
"ogDescription": null
},
"ttid": 138,
"slug": "npr",
"isLoading": false,
"link": "/arts/affiliate/npr"
},
"arts_2227": {
"type": "terms",
"id": "arts_2227",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2227",
"found": true
},
"relationships": {},
"featImg": null,
"name": "BAMPFA",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "BAMPFA Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2239,
"slug": "bampfa",
"isLoading": false,
"link": "/arts/tag/bampfa"
},
"arts_1040": {
"type": "terms",
"id": "arts_1040",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1040",
"found": true
},
"relationships": {},
"featImg": null,
"name": "YBCA",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "YBCA Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1057,
"slug": "ybca",
"isLoading": false,
"link": "/arts/tag/ybca"
},
"arts_1987": {
"type": "terms",
"id": "arts_1987",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1987",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Museum of the African Diaspora",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Museum of the African Diaspora Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1999,
"slug": "museum-of-the-african-diaspora",
"isLoading": false,
"link": "/arts/tag/museum-of-the-african-diaspora"
},
"arts_1091": {
"type": "terms",
"id": "arts_1091",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1091",
"found": true
},
"relationships": {},
"featImg": null,
"name": "obit",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "obit Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1108,
"slug": "obit",
"isLoading": false,
"link": "/arts/tag/obit"
}
},
"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
}
}
