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_13823107": {
"type": "attachments",
"id": "arts_13823107",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13823107",
"found": true
},
"parent": 13823098,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/Rogers-Hanks-520x276.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 276
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/Rogers-Hanks-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/Rogers-Hanks-160x85.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 85
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/Rogers-Hanks-960x510.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 510
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/Rogers-Hanks-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/Rogers-Hanks-375x199.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 199
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/Rogers-Hanks.jpg",
"width": 1920,
"height": 1020
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/Rogers-Hanks-1020x542.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 542
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/Rogers-Hanks-1180x627.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 627
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/Rogers-Hanks-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/Rogers-Hanks-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/Rogers-Hanks-800x425.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 425
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/Rogers-Hanks-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/Rogers-Hanks-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/Rogers-Hanks-1920x1020.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1020
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/Rogers-Hanks-1180x627.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 627
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/Rogers-Hanks-1920x1020.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1020
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/Rogers-Hanks-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/Rogers-Hanks-768x408.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 408
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/Rogers-Hanks-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/Rogers-Hanks-240x128.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1517272371,
"modified": 1517272929,
"caption": "Left: Fred Rogers, The Host Of The Children's Television Series, \"Mr. Rogers' Neighborhood,\" Sits For A Promotional Portrait In This Picture From The 1980's. \n\nRight: Tom Hanks attends the 'The Post' premiere on January 15, 2018 in Milan, Italy",
"description": "Left: Fred Rogers, The Host Of The Children's Television Series, \"Mr. Rogers' Neighborhood,\" Sits For A Promotional Portrait In This Picture From The 1980's. \n\nRight: Tom Hanks attends the 'The Post' premiere on January 15, 2018 in Milan, Italy",
"title": "Fred Rogers The Host Of The Children's Television Series Mr Rogers' Neig",
"credit": "Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13820349": {
"type": "attachments",
"id": "arts_13820349",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13820349",
"found": true
},
"parent": 13820341,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/mgyg7michelletea_COVER-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/mgyg7michelletea_COVER-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/mgyg7michelletea_COVER-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/mgyg7michelletea_COVER-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/mgyg7michelletea_COVER-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/mgyg7michelletea_COVER.jpg",
"width": 1000,
"height": 563
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/mgyg7michelletea_COVER-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/mgyg7michelletea_COVER-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/mgyg7michelletea_COVER-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/mgyg7michelletea_COVER-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/mgyg7michelletea_COVER-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/mgyg7michelletea_COVER-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/mgyg7michelletea_COVER-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/mgyg7michelletea_COVER-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/mgyg7michelletea_COVER-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1517257148,
"modified": 1517257475,
"caption": "Michelle Tea presenting 'By Hook or Crook' at the second-ever my gaze///yr gaze screening, in Oakland.",
"description": "Michelle Tea presenting 'By Hook or Crook' at the second-ever my gaze///yr gaze screening, in Oakland.",
"title": "mgyg7michelletea_COVER",
"credit": "Courtesy of Irwin Swirnoff",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13820332": {
"type": "attachments",
"id": "arts_13820332",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13820332",
"found": true
},
"parent": 13820326,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/Let-the-Sunshine-In-COVER-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/Let-the-Sunshine-In-COVER-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/Let-the-Sunshine-In-COVER-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/Let-the-Sunshine-In-COVER-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/Let-the-Sunshine-In-COVER-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/Let-the-Sunshine-In-COVER-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/Let-the-Sunshine-In-COVER.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/Let-the-Sunshine-In-COVER-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/Let-the-Sunshine-In-COVER-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/Let-the-Sunshine-In-COVER-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/Let-the-Sunshine-In-COVER-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/Let-the-Sunshine-In-COVER-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/Let-the-Sunshine-In-COVER-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/Let-the-Sunshine-In-COVER-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/Let-the-Sunshine-In-COVER-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/Let-the-Sunshine-In-COVER-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/Let-the-Sunshine-In-COVER-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/Let-the-Sunshine-In-COVER-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/Let-the-Sunshine-In-COVER-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/Let-the-Sunshine-In-COVER-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/Let-the-Sunshine-In-COVER-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1517242009,
"modified": 1517242059,
"caption": "Still from Claire Denis' 'Let the Sunshine In.'",
"description": "Still from Claire Denis' 'Let the Sunshine In.'",
"title": "Let the Sunshine In COVER",
"credit": "Courtesy of SFFILM",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13820069": {
"type": "attachments",
"id": "arts_13820069",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13820069",
"found": true
},
"parent": 13820068,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/insultstill1_wide-c90de3f1eec2cbfba9bc2d79e8bc577539d5c1d0-520x292.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 292
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/insultstill1_wide-c90de3f1eec2cbfba9bc2d79e8bc577539d5c1d0-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/insultstill1_wide-c90de3f1eec2cbfba9bc2d79e8bc577539d5c1d0-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/insultstill1_wide-c90de3f1eec2cbfba9bc2d79e8bc577539d5c1d0-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/insultstill1_wide-c90de3f1eec2cbfba9bc2d79e8bc577539d5c1d0-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/insultstill1_wide-c90de3f1eec2cbfba9bc2d79e8bc577539d5c1d0-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/insultstill1_wide-c90de3f1eec2cbfba9bc2d79e8bc577539d5c1d0.jpg",
"width": 2048,
"height": 1152
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/insultstill1_wide-c90de3f1eec2cbfba9bc2d79e8bc577539d5c1d0-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/insultstill1_wide-c90de3f1eec2cbfba9bc2d79e8bc577539d5c1d0-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/insultstill1_wide-c90de3f1eec2cbfba9bc2d79e8bc577539d5c1d0-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/insultstill1_wide-c90de3f1eec2cbfba9bc2d79e8bc577539d5c1d0-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/insultstill1_wide-c90de3f1eec2cbfba9bc2d79e8bc577539d5c1d0-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/insultstill1_wide-c90de3f1eec2cbfba9bc2d79e8bc577539d5c1d0-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/insultstill1_wide-c90de3f1eec2cbfba9bc2d79e8bc577539d5c1d0-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/insultstill1_wide-c90de3f1eec2cbfba9bc2d79e8bc577539d5c1d0-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/insultstill1_wide-c90de3f1eec2cbfba9bc2d79e8bc577539d5c1d0-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/insultstill1_wide-c90de3f1eec2cbfba9bc2d79e8bc577539d5c1d0-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/insultstill1_wide-c90de3f1eec2cbfba9bc2d79e8bc577539d5c1d0-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/insultstill1_wide-c90de3f1eec2cbfba9bc2d79e8bc577539d5c1d0-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/insultstill1_wide-c90de3f1eec2cbfba9bc2d79e8bc577539d5c1d0-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/insultstill1_wide-c90de3f1eec2cbfba9bc2d79e8bc577539d5c1d0-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1516919080,
"modified": 1516921549,
"caption": "In 'The Insult,' a minor argument between a Lebanese Christian named Toni (Adel Karam, left) and a Palestinian refugee named Yasser (Kamel El Basha) spirals out of control.",
"description": "In 'The Insult,' a minor argument between a Lebanese Christian named Toni (Adel Karam, left) and a Palestinian refugee named Yasser (Kamel El Basha) spirals out of control.",
"title": "In The Insult, a minor argument between a Lebanese Christian named Toni (Adel Karam, left) and a Palestinian refugee named Yasser (Kamel El Basha) spirals out of control.",
"credit": "Courtesy of Cohen Media Group",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13844965": {
"type": "attachments",
"id": "arts_13844965",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13844965",
"found": true
},
"parent": 13820054,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/PeteNicks_BTL_Thumbnail-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/PeteNicks_BTL_Thumbnail-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/PeteNicks_BTL_Thumbnail-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/PeteNicks_BTL_Thumbnail-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/PeteNicks_BTL_Thumbnail-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/PeteNicks_BTL_Thumbnail-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/PeteNicks_BTL_Thumbnail.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/PeteNicks_BTL_Thumbnail-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/PeteNicks_BTL_Thumbnail-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/PeteNicks_BTL_Thumbnail-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/PeteNicks_BTL_Thumbnail-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/PeteNicks_BTL_Thumbnail-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/PeteNicks_BTL_Thumbnail-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/PeteNicks_BTL_Thumbnail-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/PeteNicks_BTL_Thumbnail-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/PeteNicks_BTL_Thumbnail-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/PeteNicks_BTL_Thumbnail-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/PeteNicks_BTL_Thumbnail-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/PeteNicks_BTL_Thumbnail-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/PeteNicks_BTL_Thumbnail-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/PeteNicks_BTL_Thumbnail-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/PeteNicks_BTL_Thumbnail-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1542247824,
"modified": 1542247824,
"caption": null,
"description": null,
"title": "PeteNicks_BTL_Thumbnail",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13819822": {
"type": "attachments",
"id": "arts_13819822",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13819822",
"found": true
},
"parent": 0,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/JordanPeele-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/JordanPeele-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/JordanPeele-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/JordanPeele-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/JordanPeele-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/JordanPeele-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/JordanPeele.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/JordanPeele-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/JordanPeele-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/JordanPeele-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/JordanPeele-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/JordanPeele-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/JordanPeele-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/JordanPeele-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/JordanPeele-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/JordanPeele-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/JordanPeele-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/JordanPeele-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/JordanPeele-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/JordanPeele-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/JordanPeele-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1516739715,
"modified": 1516739793,
"caption": "Filmmaker Jordan Peele attends the 24th Annual Screen Actors Guild Awards at The Shrine Auditorium on Jan. 21, 2018 in Los Angeles. ",
"description": "Filmmaker Jordan Peele attends the 24th Annual Screen Actors Guild Awards at The Shrine Auditorium on Jan. 21, 2018 in Los Angeles. ",
"title": "JordanPeele",
"credit": "Emma McIntyre/Getty Images for Turner Image",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13819712": {
"type": "attachments",
"id": "arts_13819712",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13819712",
"found": true
},
"parent": 13819496,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/the-man-who-cheated-himself_COVER-520x292.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 292
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/the-man-who-cheated-himself_COVER-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/the-man-who-cheated-himself_COVER-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/the-man-who-cheated-himself_COVER-960x539.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 539
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/the-man-who-cheated-himself_COVER-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/the-man-who-cheated-himself_COVER-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/the-man-who-cheated-himself_COVER.jpg",
"width": 1372,
"height": 771
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/the-man-who-cheated-himself_COVER-1020x573.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 573
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/the-man-who-cheated-himself_COVER-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/the-man-who-cheated-himself_COVER-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/the-man-who-cheated-himself_COVER-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/the-man-who-cheated-himself_COVER-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/the-man-who-cheated-himself_COVER-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/the-man-who-cheated-himself_COVER-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/the-man-who-cheated-himself_COVER-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/the-man-who-cheated-himself_COVER-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/the-man-who-cheated-himself_COVER-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/the-man-who-cheated-himself_COVER-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/the-man-who-cheated-himself_COVER-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1516647951,
"modified": 1516648132,
"caption": "Michael Curtiz, 'The Man Who Cheated Himself,' 1950.",
"description": null,
"title": "the man who cheated himself_COVER",
"credit": "Courtesy of Film Noir Foundation",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13819516": {
"type": "attachments",
"id": "arts_13819516",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13819516",
"found": true
},
"parent": 13819512,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/1_COVER-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/1_COVER-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/1_COVER-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/1_COVER-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/1_COVER-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/1_COVER-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/1_COVER.jpg",
"width": 1152,
"height": 648
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/1_COVER-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/1_COVER-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/1_COVER-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/1_COVER-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/1_COVER-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/1_COVER-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/1_COVER-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/1_COVER-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/1_COVER-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/1_COVER-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1516320607,
"modified": 1516320657,
"caption": "President Barack Obama, Secretary of State John Kerry, UN Ambassador Samantha Power, and Deputy National Security Adviser Ben Rhodes in 'The Final Year.' ",
"description": "President Barack Obama, Secretary of State John Kerry, UN Ambassador Samantha Power, and Deputy National Security Adviser Ben Rhodes in 'The Final Year.' ",
"title": "U.S. President Barack Obama holds a bilateral meeting with Ethiopia's Prime Minister Hailemariam Desalegn in New York",
"credit": "Courtesy of Magnolia Pictures",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13819465": {
"type": "attachments",
"id": "arts_13819465",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13819465",
"found": true
},
"parent": 13819451,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/Eames.MAIN_.TDL_-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/Eames.MAIN_.TDL_-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/Eames.MAIN_.TDL_-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/Eames.MAIN_.TDL_-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/Eames.MAIN_.TDL_-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/Eames.MAIN_.TDL_-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/Eames.MAIN_.TDL_.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/Eames.MAIN_.TDL_-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/Eames.MAIN_.TDL_-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/Eames.MAIN_.TDL_-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/Eames.MAIN_.TDL_-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/Eames.MAIN_.TDL_-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/Eames.MAIN_.TDL_-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/Eames.MAIN_.TDL_-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/Eames.MAIN_.TDL_-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/Eames.MAIN_.TDL_-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/Eames.MAIN_.TDL_-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/Eames.MAIN_.TDL_-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/Eames.MAIN_.TDL_-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/Eames.MAIN_.TDL_-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/Eames.MAIN_.TDL_-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1516242141,
"modified": 1516242190,
"caption": "Dancers from Kristin Damrow's production of 'Eames.'",
"description": null,
"title": "Eames.MAIN.TDL",
"credit": "George E. Baker",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13819441": {
"type": "attachments",
"id": "arts_13819441",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13819441",
"found": true
},
"parent": 13819427,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/NoirCity-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/NoirCity-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/NoirCity-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/NoirCity-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/NoirCity-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/NoirCity-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/NoirCity.jpg",
"width": 1200,
"height": 675
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/NoirCity-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/NoirCity-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/NoirCity-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/NoirCity-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/NoirCity-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/NoirCity-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/NoirCity-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/NoirCity-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/NoirCity-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/NoirCity-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/NoirCity-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/NoirCity-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1516237008,
"modified": 1516237038,
"caption": "Lee J. Cobb and Jane Wyatt in 'The Man Who Cheated Himself.'",
"description": "Lee J. Cobb and Jane Wyatt in 'The Man Who Cheated Himself.'",
"title": "NoirCity",
"credit": "Noir City",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13819276": {
"type": "attachments",
"id": "arts_13819276",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13819276",
"found": true
},
"parent": 13819217,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/STC-John-Hawkes-2-Credit-Saban-Films_COVER-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/STC-John-Hawkes-2-Credit-Saban-Films_COVER-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/STC-John-Hawkes-2-Credit-Saban-Films_COVER-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/STC-John-Hawkes-2-Credit-Saban-Films_COVER-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/STC-John-Hawkes-2-Credit-Saban-Films_COVER-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/STC-John-Hawkes-2-Credit-Saban-Films_COVER-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/STC-John-Hawkes-2-Credit-Saban-Films_COVER.jpg",
"width": 1152,
"height": 648
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/STC-John-Hawkes-2-Credit-Saban-Films_COVER-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/STC-John-Hawkes-2-Credit-Saban-Films_COVER-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/STC-John-Hawkes-2-Credit-Saban-Films_COVER-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/STC-John-Hawkes-2-Credit-Saban-Films_COVER-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/STC-John-Hawkes-2-Credit-Saban-Films_COVER-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/STC-John-Hawkes-2-Credit-Saban-Films_COVER-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/STC-John-Hawkes-2-Credit-Saban-Films_COVER-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/STC-John-Hawkes-2-Credit-Saban-Films_COVER-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/STC-John-Hawkes-2-Credit-Saban-Films_COVER-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/STC-John-Hawkes-2-Credit-Saban-Films_COVER-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1516146033,
"modified": 1516146281,
"caption": "John Hawkes stars in 'Small Town Crime.'",
"description": "John Hawkes stars in 'Small Town Crime.'",
"title": "STC - John Hawkes 2 - Credit Saban Films_COVER",
"credit": "Courtesy Saban Films",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13818957": {
"type": "attachments",
"id": "arts_13818957",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13818957",
"found": true
},
"parent": 13818910,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/FilmStars5_COVER-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/FilmStars5_COVER-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/FilmStars5_COVER-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/FilmStars5_COVER-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/FilmStars5_COVER-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/FilmStars5_COVER-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/FilmStars5_COVER.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/FilmStars5_COVER-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/FilmStars5_COVER-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/FilmStars5_COVER-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/FilmStars5_COVER-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/FilmStars5_COVER-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/FilmStars5_COVER-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/FilmStars5_COVER-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/FilmStars5_COVER-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/FilmStars5_COVER-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/FilmStars5_COVER-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/FilmStars5_COVER-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/FilmStars5_COVER-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/FilmStars5_COVER-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/FilmStars5_COVER-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1515705584,
"modified": 1515705697,
"caption": "Jamie Bell as Peter Turner and Annette Bening as Gloria Grahame in 'Film Stars Don't Die in Liverpool.'",
"description": null,
"title": "FS-27.dng",
"credit": "Photo by Susie Allnutt, Courtesy of Sony Pictures Classics",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"byline_arts_13823098": {
"type": "authors",
"id": "byline_arts_13823098",
"meta": {
"override": true
},
"slug": "byline_arts_13823098",
"name": "Jake Coyle, Associated Press",
"isLoading": false
},
"byline_arts_13820068": {
"type": "authors",
"id": "byline_arts_13820068",
"meta": {
"override": true
},
"slug": "byline_arts_13820068",
"name": "Bilal Qureshi",
"isLoading": false
},
"byline_arts_13819512": {
"type": "authors",
"id": "byline_arts_13819512",
"meta": {
"override": true
},
"slug": "byline_arts_13819512",
"name": "Mark Jenkins",
"isLoading": false
},
"mfox": {
"type": "authors",
"id": "22",
"meta": {
"index": "authors_1716337520",
"id": "22",
"found": true
},
"name": "Michael Fox",
"firstName": "Michael",
"lastName": "Fox",
"slug": "mfox",
"email": "foxonfilm@yahoo.com",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "Michael Fox has written about film for dozens of publications since 1987. He is a founding member of the San Francisco Bay Area Film Critics Circle.",
"avatar": "https://secure.gravatar.com/avatar/d9849d6c659c41414795c471d907bb97b396e2a32b88e20e6ff66f65fbdd6dcd?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"contributor"
]
}
],
"headData": {
"title": "Michael Fox | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/d9849d6c659c41414795c471d907bb97b396e2a32b88e20e6ff66f65fbdd6dcd?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/d9849d6c659c41414795c471d907bb97b396e2a32b88e20e6ff66f65fbdd6dcd?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/mfox"
},
"jedalatpour": {
"type": "authors",
"id": "42",
"meta": {
"index": "authors_1716337520",
"id": "42",
"found": true
},
"name": "Jeffrey Edalatpour",
"firstName": "Jeffrey",
"lastName": "Edalatpour",
"slug": "jedalatpour",
"email": "jedalatpour@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "Jeffrey Edalatpour's first published article was a 1999 film review of Pedro Almodovar’s \u003ci>All About My Mother. \u003c/i>Since then, his writing about arts, food and culture has appeared in a variety of print and online publications, including: KQED Arts, \u003ci>Metro Silicon Valley, Interview Magazine, \u003c/i>Berkeleyside.com, The Rumpus and \u003ci>SF Weekly. \u003c/i>His favorite Iris Murdoch novels (in no particular order) are \u003ci>The Bell, An Unofficial Rose \u003c/i>and\u003ci>The Black Prince\u003c/i>\u003ci>. \u003c/i>In other words, his home library is an anglophile’s dream.",
"avatar": "https://secure.gravatar.com/avatar/ed59ec60f4980f3a45d0c3758c17a4d4?s=600&d=blank&r=g",
"twitter": "jsedalatpour",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"contributor"
]
},
{
"site": "about",
"roles": [
"contributor"
]
},
{
"site": "bayareabites",
"roles": [
"author"
]
}
],
"headData": {
"title": "Jeffrey Edalatpour | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/ed59ec60f4980f3a45d0c3758c17a4d4?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/ed59ec60f4980f3a45d0c3758c17a4d4?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/jedalatpour"
},
"shotchkiss": {
"type": "authors",
"id": "61",
"meta": {
"index": "authors_1716337520",
"id": "61",
"found": true
},
"name": "Sarah Hotchkiss",
"firstName": "Sarah",
"lastName": "Hotchkiss",
"slug": "shotchkiss",
"email": "shotchkiss@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Senior Editor",
"bio": "Sarah Hotchkiss is a San Francisco \u003ca href=\"http://www.sarahhotchkiss.com\">artist\u003c/a> and arts writer. In 2019, she received the Dorothea & Leo Rabkin Foundation grant for visual art journalism and in 2020 she received a Society of Professional Journalists, Northern California award for excellence in arts and culture reporting.",
"avatar": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"Contributor",
"administrator"
]
},
{
"site": "artschool",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"administrator"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "spark",
"roles": [
"editor"
]
},
{
"site": "checkplease",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Sarah Hotchkiss | KQED",
"description": "Senior Editor",
"ogImgSrc": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/shotchkiss"
},
"gmeline": {
"type": "authors",
"id": "185",
"meta": {
"index": "authors_1716337520",
"id": "185",
"found": true
},
"name": "Gabe Meline",
"firstName": "Gabe",
"lastName": "Meline",
"slug": "gmeline",
"email": "gmeline@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Senior Editor, KQED Arts & Culture",
"bio": "Gabe Meline entered journalism at age 15 making photocopied zines, and has since earned awards from the Edward R. Murrow Awards, the Society for Professional Journalists, the Online Journalism Awards, the Association of Alternative Newsweeklies and the California Newspaper Publishers Association. Prior to KQED, he was the editor of the \u003cem>North Bay Bohemian\u003c/em> and a touring musician. He lives with his wife and daughter in his hometown of Santa Rosa, CA.",
"avatar": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "artschool",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"author"
]
},
{
"site": "pop",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "food",
"roles": [
"editor"
]
},
{
"site": "forum",
"roles": [
"administrator"
]
},
{
"site": "liveblog",
"roles": [
"editor"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Gabe Meline | KQED",
"description": "Senior Editor, KQED Arts & Culture",
"ogImgSrc": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/gmeline"
},
"kwhalen": {
"type": "authors",
"id": "3248",
"meta": {
"index": "authors_1716337520",
"id": "3248",
"found": true
},
"name": "Kelly Whalen",
"firstName": "Kelly",
"lastName": "Whalen",
"slug": "kwhalen",
"email": "kwhalen@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": "Senior Video Producer",
"bio": "Kelly Whalen is a filmmaker and educator who directs and produces social justice documentaries and award-winning arts and culture web series. She is the creator of KQED Arts’ three-time Webby Award-winning YouTube series \u003cem>If Cities Could Dance\u003c/em>, featuring dancers across the country representing their cities’ signature moves, and the director of \u003cem>When the Waters Get Deep\u003c/em>, a documentary about Oakland-based artists SOL Development and their work toward healing their communities’ trauma from gun violence.",
"avatar": "https://secure.gravatar.com/avatar/1a2b57e8a13abdcfc3d4966d9c0e1512?s=600&d=blank&r=g",
"twitter": "kellyfilmmaker",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"subscriber"
]
}
],
"headData": {
"title": "Kelly Whalen | KQED",
"description": "Senior Video Producer",
"ogImgSrc": "https://secure.gravatar.com/avatar/1a2b57e8a13abdcfc3d4966d9c0e1512?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/1a2b57e8a13abdcfc3d4966d9c0e1512?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/kwhalen"
}
},
"pagesReducer": {
"arts_category_movies": {
"type": "terms",
"id": "arts_74",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "74",
"score": 12.562538
},
"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": 141
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=movies",
"seeMore": false,
"paginated": true,
"page": 141
}
},
{
"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_13823098": {
"type": "posts",
"id": "arts_13823098",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13823098",
"score": null,
"sort": [
1517272970000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1517272970,
"format": "standard",
"title": "Won't You be his Neighbor? Tom Hanks to Play Mister Rogers",
"headTitle": "Won’t You be his Neighbor? Tom Hanks to Play Mister Rogers | KQED",
"content": "\u003cp>It’s a beautiful day in this neighborhood for Tom Hanks, who’ll star as Mister Rogers in the upcoming biopic \u003cem>You Are My Friend\u003c/em>.\u003c/p>\n\u003cp>TriStar Pictures announced Monday it has acquired worldwide rights to the film, to be directed by \u003cem>The Diary of a Teenage Girl\u003c/em> filmmaker Marielle Heller.\u003c/p>\n\u003cp>The film will focus on the friendship between the host of \u003cem>Mister Rogers’ Neighborhood\u003c/em> and journalist Tom Junod. Junod reluctantly agreed to profile Fred Rogers only to find “his perspective on life transformed.”\u003c/p>\n\u003cp>Production will begin in September, with a 2019 release expected.\u003c/p>\n\u003cp>The role will surely add to the America’s Dad image of Hanks, who gave a very Rogers-like opening monologue while hosting \u003cem>Saturday Night Live\u003c/em> before the 2016 presidential election, swapping his jacket for a sweater and giving America a pep talk.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Rogers died in 2003 at age 74.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 151,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 8
},
"modified": 1705028657,
"excerpt": null,
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "It's a beautiful day in this neighborhood for Tom Hanks, who'll star as Mister Rogers in the upcoming biopic You Are My Friend. TriStar Pictures announced Monday it has acquired worldwide rights to the film, to be directed by The Diary of a Teenage Girl filmmaker Marielle Heller. The film will focus on the friendship",
"title": "Won't You be his Neighbor? Tom Hanks to Play Mister Rogers | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Won't You be his Neighbor? Tom Hanks to Play Mister Rogers",
"datePublished": "2018-01-29T16:42:50-08:00",
"dateModified": "2024-01-11T19:04:17-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "wont-you-be-his-neighbor-tom-hanks-to-play-mister-rogers",
"status": "publish",
"nprByline": "Jake Coyle, Associated Press",
"sticky": false,
"path": "/arts/13823098/wont-you-be-his-neighbor-tom-hanks-to-play-mister-rogers",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s a beautiful day in this neighborhood for Tom Hanks, who’ll star as Mister Rogers in the upcoming biopic \u003cem>You Are My Friend\u003c/em>.\u003c/p>\n\u003cp>TriStar Pictures announced Monday it has acquired worldwide rights to the film, to be directed by \u003cem>The Diary of a Teenage Girl\u003c/em> filmmaker Marielle Heller.\u003c/p>\n\u003cp>The film will focus on the friendship between the host of \u003cem>Mister Rogers’ Neighborhood\u003c/em> and journalist Tom Junod. Junod reluctantly agreed to profile Fred Rogers only to find “his perspective on life transformed.”\u003c/p>\n\u003cp>Production will begin in September, with a 2019 release expected.\u003c/p>\n\u003cp>The role will surely add to the America’s Dad image of Hanks, who gave a very Rogers-like opening monologue while hosting \u003cem>Saturday Night Live\u003c/em> before the 2016 presidential election, swapping his jacket for a sweater and giving America a pep talk.\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>Rogers died in 2003 at age 74.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13823098/wont-you-be-his-neighbor-tom-hanks-to-play-mister-rogers",
"authors": [
"byline_arts_13823098"
],
"categories": [
"arts_74",
"arts_235"
],
"tags": [
"arts_1448",
"arts_3785",
"arts_596",
"arts_2882"
],
"featImg": "arts_13823107",
"label": "arts"
},
"arts_13820341": {
"type": "posts",
"id": "arts_13820341",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13820341",
"score": null,
"sort": [
1517260554000
]
},
"guestAuthors": [],
"slug": "queer-film-my-gaze-yr-gaze-alley-cat-books-irwin-swirnoff",
"title": "Projecting the Fight Against Queer Erasure, Film by Film",
"publishDate": 1517260554,
"format": "standard",
"headTitle": "Projecting the Fight Against Queer Erasure, Film by Film | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>The free raffle is causing uproarious laughter in the back room of San Francisco’s Alley Cat Books. Irwin Swirnoff, organizer of the queer film series \u003ca href=\"https://www.facebook.com/events/2002696679948371/\" rel=\"noopener\" target=\"_blank\">my gaze///yr gaze\u003c/a>, dips his hand into a bag to select the next lucky audience member. The items up for grabs include Queen Latifah’s 2000 autobiography \u003ci>Ladies First\u003c/i>, a 45 of Gloria Gaynor singing “I Will Survive,” and a cassette of British R&B group Soul II Soul, featuring their 1989 single “Keep on Movin.’” \u003c/p>\n\u003cp>“And the winner is… ‘More desperate than Taylor Swift’!” he announces. A young woman sheepishly raises her hand and accepts the bundle of prizes to cheers and applause. \u003c/p>\n\u003cp>Over the course of the night, Swirnoff raffles away four more collections of odds and ends, setting a convivial tone for the night’s main event — a screening of director Tony Richardson’s 1961 film \u003ci>\u003ca href=\"https://en.wikipedia.org/wiki/A_Taste_of_Honey_(film)\" rel=\"noopener\" target=\"_blank\">A Taste of Honey\u003c/a>\u003c/i>. On the first Sunday of every month (barring travel or sickness on the part of Swirnoff), a small crowd gathers in the back room of \u003ca href=\"http://www.alleycatbookshop.com/\" rel=\"noopener\" target=\"_blank\">Alley Cat Books\u003c/a> to watch and discuss a film chosen by a guest selector. \u003c/p>\n\u003cfigure id=\"attachment_13820343\" class=\"wp-caption aligncenter\" style=\"max-width: 675px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/mgyg5irwinross.jpg\" alt=\"Irwin Swirnoff raffling off a Diana Ross LP in Oakland.\" width=\"675\" height=\"586\" class=\"size-full wp-image-13820343\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg5irwinross.jpg 675w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg5irwinross-160x139.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg5irwinross-240x208.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg5irwinross-375x326.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg5irwinross-520x451.jpg 520w\" sizes=\"(max-width: 675px) 100vw, 675px\">\u003cfigcaption class=\"wp-caption-text\">Irwin Swirnoff raffling off a Diana Ross LP in Oakland. \u003ccite>(Courtesy of Irwin Swirnoff)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>January’s film pick comes courtesy of \u003ca href=\"https://ww2.kqed.org/arts/2015/10/23/alive-and-well-and-right-where-he-wants-to-be/\" rel=\"noopener\" target=\"_blank\">Brontez Purnell\u003c/a>, choreographer, dancer, writer, filmmaker and performance artist with a deep and abiding love for \u003ci>A Taste of Honey\u003c/i>. “Next to \u003ci>The Color Purple\u003c/i>,” Purnell says, “this is is one of my favorite films.” \u003c/p>\n\u003cp>After the movie — a gritty depiction of a young woman in working-class Manchester — the conversation in the room is broad and energetic. Imagine returning to the best college film course you never took: discussions of queer theory punctuated by personal exclamations of “I loved it when—!” Swirnoff, a multidisciplinary artist and \u003ca href=\"http://kxsf.fm/shows\" rel=\"noopener\" target=\"_blank\">longtime DJ\u003c/a>, also teaches film courses at Cal State Monterey Bay and USF; he occupies the role of seminar leader with ease.\u003c/p>\n\u003cfigure id=\"attachment_13820347\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/mgygtasteofbrontez.jpg\" alt=\"The event flyer for the my gaze///yr gaze screening of 'A Taste of Honey.'\" width=\"900\" height=\"684\" class=\"size-full wp-image-13820347\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgygtasteofbrontez.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgygtasteofbrontez-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgygtasteofbrontez-800x608.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgygtasteofbrontez-768x584.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgygtasteofbrontez-240x182.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgygtasteofbrontez-375x285.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgygtasteofbrontez-520x395.jpg 520w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">The event flyer for the my gaze///yr gaze screening of ‘A Taste of Honey.’ \u003ccite>(Courtesy of Irwin Swirnoff)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This post-screening conversation is just as important to Swirnoff as the opportunity to watch interesting and often hard-to-find films. For him, it’s all about gathering a diverse group of people who wouldn’t normally bump into one another. “One of the most exciting parts of the series has been the intergenerational crowds,” he says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“For an entire decade plus, there was no bandwidth in the queer community beyond ‘How am I going to help my loved one stay alive another day,’” Swirnoff says. “We’re no longer in crisis, and that’s allowed us to be able to have these other conversations and think about progressive things like gender identity and fluidity.”\u003c/p>\n\u003cfigure id=\"attachment_13820344\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/mgyg2jaipink.jpg\" alt=\"Film selector Jai Carillo holding his choice, James Bidgood's 1971 'Pink Narcissus.'\" width=\"750\" height=\"689\" class=\"size-full wp-image-13820344\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg2jaipink.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg2jaipink-160x147.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg2jaipink-240x220.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg2jaipink-375x345.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg2jaipink-520x478.jpg 520w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Film selector Jai Carillo holding his choice, James Bidgood’s 1971 ‘Pink Narcissus.’ \u003ccite>(Courtesy of Irwin Swirnoff)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Swirnoff moved the series to Alley Cat in 2015 (it started in 2013 at the now-defunct Oakland gallery n/a), the same year the Lexington, San Francisco’s last lesbian bar, closed its doors. Against this backdrop of community erasure, Swirnoff says, “It felt doubly important to create this space.” And while bars and clubs are crucial hubs of queer culture, he saw the value in fostering different kinds of interactions — not just dancing and drinking — without the involvement of money or commerce. When there’s an admission price, he notes, an event immediately excludes certain members of the community. \u003c/p>\n\u003cp>Past screenings range from major motion pictures (John Carpenter’s 1988 horror flick \u003ci>They Live\u003c/i>) and art house favorites (Gregg Araki’s 2004 film \u003ci>Mysterious Skin\u003c/i>) to experimental films (Charles Atlas’ 1994 \u003ci>Superhoney\u003c/i>) and foreign LGBTQ cinema. Guest selectors include Bay Area luminaries like Michelle Tea, Sophia Wang and Davia Spain.\u003c/p>\n\u003cfigure id=\"attachment_13820348\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/mgyglawofdesire.jpg\" alt=\"The flyer for the upcoming my gaze///yr gaze screening of 'La Ley Del Deseo (Law Of Desire).'\" width=\"600\" height=\"666\" class=\"size-full wp-image-13820348\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyglawofdesire.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyglawofdesire-160x178.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyglawofdesire-240x266.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyglawofdesire-375x416.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyglawofdesire-520x577.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">The flyer for the upcoming my gaze///yr gaze screening of ‘La Ley Del Deseo (Law Of Desire).’ \u003ccite>(Courtesy of Irwin Swirnoff)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The next my gaze///yr gaze screening takes place Sunday, Feb. 4, with \u003ca href=\"http://www.darkentriesrecords.com/\" rel=\"noopener\" target=\"_blank\">Dark Entries Records\u003c/a> founder Josh Cheon introducing Pedro Almodóvar’s 1987 film ‘La Ley Del Deseo (Law of Desire).’ According to the event announcement: “Using melodrama to perfection, the film is a sizzling exploration of passion and desire.”\u003c/p>\n\u003cp>“One month it might be super challenging avant garde, super campy and playful, serious, or a weird sci-fi,” Swirnoff says. “It takes us to different places each month and brings a different audience each time.”\u003c/p>\n\u003cfigure id=\"attachment_13820346\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/mgyg44rotimiwindow.jpg\" alt=\"A my gaze///yr gaze flyer in the window of Alley Cat Books for the first San Francisco screening in 2015.\" width=\"1200\" height=\"987\" class=\"size-full wp-image-13820346\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg44rotimiwindow.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg44rotimiwindow-160x132.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg44rotimiwindow-800x658.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg44rotimiwindow-768x632.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg44rotimiwindow-1020x839.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg44rotimiwindow-1180x971.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg44rotimiwindow-960x790.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg44rotimiwindow-240x197.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg44rotimiwindow-375x308.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg44rotimiwindow-520x428.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A my gaze///yr gaze flyer in the window of Alley Cat Books for the first San Francisco screening in 2015. \u003ccite>(Courtesy of Irwin Swirnoff)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And if the post-screening conversation proves too lengthy and energetic for Alley Cat’s back room, there’s always Taqueria Vallarta. “Sometimes people carry on across the street — they’re really fun nights,” Tedesco says.\u003c/p>\n\u003cp>After \u003ci>A Taste of Honey\u003c/i> and a conversation about sexual politics in 1960s England, Swirnoff asks the room if anyone has any events coming up. It’s his way of broadening the connections created over the course of the night.\u003c/p>\n\u003cp>Talking about what’s been lost in the queer community — and in the Bay Area at large — isn’t enough, he says. “What are we doing to maintain what’s great about San Francisco?” Swirnoff asks. “It’s easy to mourn things when they’ve gone, but I try to emphasize that we have to support and champion the things that we still love here. Because if we don’t, they’ll be taken away.”\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>\u003ci>The next my gaze///yr gaze screening, of Pedro Almodóvar’s 1987 film ‘La Ley Del Deseo (Law of Desire),’ takes place Sunday, Feb. 4, 6pm at San Francisco’s Alley Cat Books (3036 24th St). For more information, \u003ca href=\"https://www.facebook.com/events/2002696679948371/\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i> \u003c/p>\n\n",
"blocks": [],
"excerpt": "Each month, Irwin Swirnoff invites a guest to screen and discuss a film in the back room of San Francisco's Alley Cat Books as part of the free series my gaze///yr gaze.",
"status": "publish",
"parent": 0,
"modified": 1726781897,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 18,
"wordCount": 1042
},
"headData": {
"title": "Projecting the Fight Against Queer Erasure, Film by Film | KQED",
"description": "Each month, Irwin Swirnoff invites a guest to screen and discuss a film in the back room of San Francisco's Alley Cat Books as part of the free series my gaze///yr gaze.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Projecting the Fight Against Queer Erasure, Film by Film",
"datePublished": "2018-01-29T13:15:54-08:00",
"dateModified": "2024-09-19T14:38:17-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/13820341/queer-film-my-gaze-yr-gaze-alley-cat-books-irwin-swirnoff",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The free raffle is causing uproarious laughter in the back room of San Francisco’s Alley Cat Books. Irwin Swirnoff, organizer of the queer film series \u003ca href=\"https://www.facebook.com/events/2002696679948371/\" rel=\"noopener\" target=\"_blank\">my gaze///yr gaze\u003c/a>, dips his hand into a bag to select the next lucky audience member. The items up for grabs include Queen Latifah’s 2000 autobiography \u003ci>Ladies First\u003c/i>, a 45 of Gloria Gaynor singing “I Will Survive,” and a cassette of British R&B group Soul II Soul, featuring their 1989 single “Keep on Movin.’” \u003c/p>\n\u003cp>“And the winner is… ‘More desperate than Taylor Swift’!” he announces. A young woman sheepishly raises her hand and accepts the bundle of prizes to cheers and applause. \u003c/p>\n\u003cp>Over the course of the night, Swirnoff raffles away four more collections of odds and ends, setting a convivial tone for the night’s main event — a screening of director Tony Richardson’s 1961 film \u003ci>\u003ca href=\"https://en.wikipedia.org/wiki/A_Taste_of_Honey_(film)\" rel=\"noopener\" target=\"_blank\">A Taste of Honey\u003c/a>\u003c/i>. On the first Sunday of every month (barring travel or sickness on the part of Swirnoff), a small crowd gathers in the back room of \u003ca href=\"http://www.alleycatbookshop.com/\" rel=\"noopener\" target=\"_blank\">Alley Cat Books\u003c/a> to watch and discuss a film chosen by a guest selector. \u003c/p>\n\u003cfigure id=\"attachment_13820343\" class=\"wp-caption aligncenter\" style=\"max-width: 675px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/mgyg5irwinross.jpg\" alt=\"Irwin Swirnoff raffling off a Diana Ross LP in Oakland.\" width=\"675\" height=\"586\" class=\"size-full wp-image-13820343\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg5irwinross.jpg 675w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg5irwinross-160x139.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg5irwinross-240x208.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg5irwinross-375x326.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg5irwinross-520x451.jpg 520w\" sizes=\"(max-width: 675px) 100vw, 675px\">\u003cfigcaption class=\"wp-caption-text\">Irwin Swirnoff raffling off a Diana Ross LP in Oakland. \u003ccite>(Courtesy of Irwin Swirnoff)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>January’s film pick comes courtesy of \u003ca href=\"https://ww2.kqed.org/arts/2015/10/23/alive-and-well-and-right-where-he-wants-to-be/\" rel=\"noopener\" target=\"_blank\">Brontez Purnell\u003c/a>, choreographer, dancer, writer, filmmaker and performance artist with a deep and abiding love for \u003ci>A Taste of Honey\u003c/i>. “Next to \u003ci>The Color Purple\u003c/i>,” Purnell says, “this is is one of my favorite films.” \u003c/p>\n\u003cp>After the movie — a gritty depiction of a young woman in working-class Manchester — the conversation in the room is broad and energetic. Imagine returning to the best college film course you never took: discussions of queer theory punctuated by personal exclamations of “I loved it when—!” Swirnoff, a multidisciplinary artist and \u003ca href=\"http://kxsf.fm/shows\" rel=\"noopener\" target=\"_blank\">longtime DJ\u003c/a>, also teaches film courses at Cal State Monterey Bay and USF; he occupies the role of seminar leader with ease.\u003c/p>\n\u003cfigure id=\"attachment_13820347\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/mgygtasteofbrontez.jpg\" alt=\"The event flyer for the my gaze///yr gaze screening of 'A Taste of Honey.'\" width=\"900\" height=\"684\" class=\"size-full wp-image-13820347\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgygtasteofbrontez.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgygtasteofbrontez-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgygtasteofbrontez-800x608.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgygtasteofbrontez-768x584.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgygtasteofbrontez-240x182.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgygtasteofbrontez-375x285.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgygtasteofbrontez-520x395.jpg 520w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">The event flyer for the my gaze///yr gaze screening of ‘A Taste of Honey.’ \u003ccite>(Courtesy of Irwin Swirnoff)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This post-screening conversation is just as important to Swirnoff as the opportunity to watch interesting and often hard-to-find films. For him, it’s all about gathering a diverse group of people who wouldn’t normally bump into one another. “One of the most exciting parts of the series has been the intergenerational crowds,” he says.\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>“For an entire decade plus, there was no bandwidth in the queer community beyond ‘How am I going to help my loved one stay alive another day,’” Swirnoff says. “We’re no longer in crisis, and that’s allowed us to be able to have these other conversations and think about progressive things like gender identity and fluidity.”\u003c/p>\n\u003cfigure id=\"attachment_13820344\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/mgyg2jaipink.jpg\" alt=\"Film selector Jai Carillo holding his choice, James Bidgood's 1971 'Pink Narcissus.'\" width=\"750\" height=\"689\" class=\"size-full wp-image-13820344\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg2jaipink.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg2jaipink-160x147.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg2jaipink-240x220.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg2jaipink-375x345.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg2jaipink-520x478.jpg 520w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Film selector Jai Carillo holding his choice, James Bidgood’s 1971 ‘Pink Narcissus.’ \u003ccite>(Courtesy of Irwin Swirnoff)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Swirnoff moved the series to Alley Cat in 2015 (it started in 2013 at the now-defunct Oakland gallery n/a), the same year the Lexington, San Francisco’s last lesbian bar, closed its doors. Against this backdrop of community erasure, Swirnoff says, “It felt doubly important to create this space.” And while bars and clubs are crucial hubs of queer culture, he saw the value in fostering different kinds of interactions — not just dancing and drinking — without the involvement of money or commerce. When there’s an admission price, he notes, an event immediately excludes certain members of the community. \u003c/p>\n\u003cp>Past screenings range from major motion pictures (John Carpenter’s 1988 horror flick \u003ci>They Live\u003c/i>) and art house favorites (Gregg Araki’s 2004 film \u003ci>Mysterious Skin\u003c/i>) to experimental films (Charles Atlas’ 1994 \u003ci>Superhoney\u003c/i>) and foreign LGBTQ cinema. Guest selectors include Bay Area luminaries like Michelle Tea, Sophia Wang and Davia Spain.\u003c/p>\n\u003cfigure id=\"attachment_13820348\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/mgyglawofdesire.jpg\" alt=\"The flyer for the upcoming my gaze///yr gaze screening of 'La Ley Del Deseo (Law Of Desire).'\" width=\"600\" height=\"666\" class=\"size-full wp-image-13820348\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyglawofdesire.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyglawofdesire-160x178.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyglawofdesire-240x266.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyglawofdesire-375x416.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyglawofdesire-520x577.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">The flyer for the upcoming my gaze///yr gaze screening of ‘La Ley Del Deseo (Law Of Desire).’ \u003ccite>(Courtesy of Irwin Swirnoff)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The next my gaze///yr gaze screening takes place Sunday, Feb. 4, with \u003ca href=\"http://www.darkentriesrecords.com/\" rel=\"noopener\" target=\"_blank\">Dark Entries Records\u003c/a> founder Josh Cheon introducing Pedro Almodóvar’s 1987 film ‘La Ley Del Deseo (Law of Desire).’ According to the event announcement: “Using melodrama to perfection, the film is a sizzling exploration of passion and desire.”\u003c/p>\n\u003cp>“One month it might be super challenging avant garde, super campy and playful, serious, or a weird sci-fi,” Swirnoff says. “It takes us to different places each month and brings a different audience each time.”\u003c/p>\n\u003cfigure id=\"attachment_13820346\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/mgyg44rotimiwindow.jpg\" alt=\"A my gaze///yr gaze flyer in the window of Alley Cat Books for the first San Francisco screening in 2015.\" width=\"1200\" height=\"987\" class=\"size-full wp-image-13820346\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg44rotimiwindow.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg44rotimiwindow-160x132.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg44rotimiwindow-800x658.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg44rotimiwindow-768x632.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg44rotimiwindow-1020x839.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg44rotimiwindow-1180x971.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg44rotimiwindow-960x790.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg44rotimiwindow-240x197.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg44rotimiwindow-375x308.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg44rotimiwindow-520x428.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A my gaze///yr gaze flyer in the window of Alley Cat Books for the first San Francisco screening in 2015. \u003ccite>(Courtesy of Irwin Swirnoff)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And if the post-screening conversation proves too lengthy and energetic for Alley Cat’s back room, there’s always Taqueria Vallarta. “Sometimes people carry on across the street — they’re really fun nights,” Tedesco says.\u003c/p>\n\u003cp>After \u003ci>A Taste of Honey\u003c/i> and a conversation about sexual politics in 1960s England, Swirnoff asks the room if anyone has any events coming up. It’s his way of broadening the connections created over the course of the night.\u003c/p>\n\u003cp>Talking about what’s been lost in the queer community — and in the Bay Area at large — isn’t enough, he says. “What are we doing to maintain what’s great about San Francisco?” Swirnoff asks. “It’s easy to mourn things when they’ve gone, but I try to emphasize that we have to support and champion the things that we still love here. Because if we don’t, they’ll be taken away.”\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>\u003ci>The next my gaze///yr gaze screening, of Pedro Almodóvar’s 1987 film ‘La Ley Del Deseo (Law of Desire),’ takes place Sunday, Feb. 4, 6pm at San Francisco’s Alley Cat Books (3036 24th St). For more information, \u003ca href=\"https://www.facebook.com/events/2002696679948371/\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i> \u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13820341/queer-film-my-gaze-yr-gaze-alley-cat-books-irwin-swirnoff",
"authors": [
"61"
],
"categories": [
"arts_74",
"arts_235"
],
"tags": [
"arts_928",
"arts_1118",
"arts_977",
"arts_5849",
"arts_596"
],
"featImg": "arts_13820349",
"label": "arts"
},
"arts_13820326": {
"type": "posts",
"id": "arts_13820326",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13820326",
"score": null,
"sort": [
1517242130000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1517242130,
"format": "standard",
"title": "Now Playing! Modern Cinema Crosses Borders with Claire Denis",
"headTitle": "Now Playing! Modern Cinema Crosses Borders with Claire Denis | KQED",
"content": "\u003cp>The French director Claire Denis grew up in colonial West Africa, where she learned what it’s like being privileged, resented and an outsider. She sensuously evoked that hothouse of emotions in her semi-autobiographical 1988 debut, \u003cem>Chocolat\u003c/em>, one of several Africa-set films she’s made over the course of her career. But even in the heart of Paris, where the protagonist of \u003cem>Friday Night\u003c/em> (2002) is locked in a symphonic traffic jam at a pivotal juncture in her relationship, Denis can convey passion along with the sense of being utterly alone.\u003c/p>\n\u003cp>\u003cem>Friday Night\u003c/em> (Feb. 1) and \u003cem>Chocolat\u003c/em> (Feb. 2) are the perfect openers for \u003ca href=\"https://www.sfmoma.org/event/series/modern-cinema-claire-denis/#more-upcoming-events-89117\" rel=\"noopener\" target=\"_blank\">Claire Denis: Seeing Is Believing\u003c/a> (Feb. 1–18 at SFMOMA), the latest and most profound of the Modern Cinema programs curated by the museum and SFFILM. Each series explores one contemporary director across three weekends through several works as well as those of influential predecessors (Ozu, Godard, Fassbinder, Cassavetes and Djibril Diop Mambety, among others, in this case).\u003c/p>\n\u003cfigure id=\"attachment_13820331\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Chocolat-1200.jpg\" alt=\"Still from Claire Denis' 'Chocolat.'\" width=\"1200\" height=\"806\" class=\"size-full wp-image-13820331\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Chocolat-1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Chocolat-1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Chocolat-1200-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Chocolat-1200-768x516.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Chocolat-1200-1020x685.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Chocolat-1200-1180x793.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Chocolat-1200-960x645.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Chocolat-1200-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Chocolat-1200-375x252.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Chocolat-1200-520x349.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Claire Denis’ ‘Chocolat.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The lineup is brilliantly chosen from beginning to end, though I am surprised at the omission of the late Maurice Pialat, the unflinching, unsentimental French director whom Denis seems most akin to. Her films are about people trying to cross over, to find a home of their own, to connect with another human being, in a world devised around baser motivations. The opening weekend includes Denis’ entry in last year’s Cannes Film Festival, \u003cem>Let the Sunshine In\u003c/em> (Feb. 3), an intimate study of a new divorcee (Juliette Binoche) assiduously embracing her freedom. Like so many of Denis’ characters, she’s willing to take exceptional risks to get what she needs.\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": 295,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 6
},
"modified": 1705028671,
"excerpt": "The unflinching French filmmaker's characters take exceptional risks carving out homes of their own, and connecting with other human beings.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The unflinching French filmmaker's characters take exceptional risks carving out homes of their own, and connecting with other human beings.",
"title": "Now Playing! Modern Cinema Crosses Borders with Claire Denis | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Now Playing! Modern Cinema Crosses Borders with Claire Denis",
"datePublished": "2018-01-29T08:08:50-08:00",
"dateModified": "2024-01-11T19:04:31-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "now-playing-crossing-borders-with-claire-denis",
"status": "publish",
"sticky": false,
"path": "/arts/13820326/now-playing-crossing-borders-with-claire-denis",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The French director Claire Denis grew up in colonial West Africa, where she learned what it’s like being privileged, resented and an outsider. She sensuously evoked that hothouse of emotions in her semi-autobiographical 1988 debut, \u003cem>Chocolat\u003c/em>, one of several Africa-set films she’s made over the course of her career. But even in the heart of Paris, where the protagonist of \u003cem>Friday Night\u003c/em> (2002) is locked in a symphonic traffic jam at a pivotal juncture in her relationship, Denis can convey passion along with the sense of being utterly alone.\u003c/p>\n\u003cp>\u003cem>Friday Night\u003c/em> (Feb. 1) and \u003cem>Chocolat\u003c/em> (Feb. 2) are the perfect openers for \u003ca href=\"https://www.sfmoma.org/event/series/modern-cinema-claire-denis/#more-upcoming-events-89117\" rel=\"noopener\" target=\"_blank\">Claire Denis: Seeing Is Believing\u003c/a> (Feb. 1–18 at SFMOMA), the latest and most profound of the Modern Cinema programs curated by the museum and SFFILM. Each series explores one contemporary director across three weekends through several works as well as those of influential predecessors (Ozu, Godard, Fassbinder, Cassavetes and Djibril Diop Mambety, among others, in this case).\u003c/p>\n\u003cfigure id=\"attachment_13820331\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Chocolat-1200.jpg\" alt=\"Still from Claire Denis' 'Chocolat.'\" width=\"1200\" height=\"806\" class=\"size-full wp-image-13820331\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Chocolat-1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Chocolat-1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Chocolat-1200-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Chocolat-1200-768x516.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Chocolat-1200-1020x685.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Chocolat-1200-1180x793.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Chocolat-1200-960x645.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Chocolat-1200-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Chocolat-1200-375x252.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Chocolat-1200-520x349.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Claire Denis’ ‘Chocolat.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The lineup is brilliantly chosen from beginning to end, though I am surprised at the omission of the late Maurice Pialat, the unflinching, unsentimental French director whom Denis seems most akin to. Her films are about people trying to cross over, to find a home of their own, to connect with another human being, in a world devised around baser motivations. The opening weekend includes Denis’ entry in last year’s Cannes Film Festival, \u003cem>Let the Sunshine In\u003c/em> (Feb. 3), an intimate study of a new divorcee (Juliette Binoche) assiduously embracing her freedom. Like so many of Denis’ characters, she’s willing to take exceptional risks to get what she needs.\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/13820326/now-playing-crossing-borders-with-claire-denis",
"authors": [
"22"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_977",
"arts_1006",
"arts_596",
"arts_3772",
"arts_1381"
],
"featImg": "arts_13820332",
"label": "arts"
},
"arts_13820068": {
"type": "posts",
"id": "arts_13820068",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13820068",
"score": null,
"sort": [
1516982413000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1516982413,
"format": "standard",
"title": "In 'The Insult,' All Politics Is A Local Neighborhood Squabble",
"headTitle": "In ‘The Insult,’ All Politics Is A Local Neighborhood Squabble | KQED",
"content": "\u003cp>Can something as simple as saying “I’m sorry” stop a looming war in the Middle East?\u003c/p>\n\u003cp>That’s the premise of a new film called \u003cem>The Insult\u003c/em> — it’s Lebanon’s entry to the Oscars. In it, a neighborhood spat pushes the city of Beirut to the brink of chaos.\u003c/p>\n\u003cp>Filmmaker Ziad Doueiri says he was inspired by a real-life incident. He was watering his plants on the balcony of his home in Beirut, when the water spilled out onto a construction worker below.\u003c/p>\n\u003cp>“So I leaned on the balcony — I yelled at him, he yelled back, he says, ‘You’re a dog,'” Doueiri says. “And then this thing led to a bigger insult, which — I threw an insult at him. Joelle [Touma], the co-screenwriter, was standing behind me that day, and she says, ‘How could you insult a Palestinian as you said. This is so bad, what you just said.’ I said, ‘You’re right.’ So I came down to apologize and then the guy refused my apology because he was very hurt.” \u003c/p>\n\u003cp>That argument is pushed to its extreme in Doueiri’s new film. Water leaks off a Christian man’s balcony onto a Palestinian construction worker below. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Arguments ensue. Insults are thrown. Neither man is willing to apologize.\u003c/p>\n\u003cfigure id=\"attachment_13820074\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/InsultStill3_1200.jpg\" alt=\"Adel Karam in 'The Insult.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13820074\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill3_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill3_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill3_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill3_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill3_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill3_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill3_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill3_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill3_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill3_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Adel Karam in ‘The Insult.’ \u003ccite>(Courtesy of Cohen Media Group)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s very rare in my culture where you can have somebody who does something and he comes face-to-face, says, ‘Look, I really apologize,'” Doueiri says. “It’s not part of our culture. Sometime the simplest thing can be the beginning of resolving a much bigger problem. So that’s why this guy in the film, he wants an apology. All he wants is an apology and then later we start finding out why.”\u003c/p>\n\u003cp>The why has to do with Lebanon’s past — the religious and ethnic divisions that tore the country into warring factions. From 1975-1990, the Lebanese Civil War killed more than a hundred thousand people.\u003c/p>\n\u003cp>“Lebanon, in spite of its smallness — it’s only 4 million people — it’s still extremely rich because it’s one of those places that has all the religions in it,” Doueiri says. “You have Christians, Shiites, Sunnis, Catholics, Protestants, Armenians, Turks. All of it. You know, you have 16 religions that are all recognized by the government. It’s what it made it diversified, complex and fiery.”\u003c/p>\n\u003cp>And it remains flammable, says Lebanese-born arts journalist Nana Asfour. She says what has kept those communities together since the Civil War is only a shaky peace.\u003c/p>\n\u003cp>“The theme that Ziad is taking on, which is this whole idea that the war ended abruptly without any national conciliation — you know, we need to address what happened and take it head-on — it’s something that a lot of Lebanese filmmakers and artists and writers of his generation have been sort of pushing for in their own works,” Asfour says. “That idea that there has been what they call a historical amnesia that has happened in Lebanon where everybody thinks, ‘Let’s look forward and not look back,’ and how problematic that is because all the problems that led to the war have not been dealt with appropriately and anything can happen to bring them back.”\u003c/p>\n\u003cfigure id=\"attachment_13820075\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/InsultStill4_1200.jpg\" alt=\"Rita Hayek and Adel Karam in 'The Insult.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13820075\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill4_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill4_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill4_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill4_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill4_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill4_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill4_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill4_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill4_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill4_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Rita Hayek and Adel Karam in ‘The Insult.’ \u003ccite>(Courtesy of Cohen Media Group)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003cem>The Insult\u003c/em> the argument over leaking water goes to trial. The proceedings go viral. Palestinians and Christians start fighting on the streets.\u003c/p>\n\u003cp>The politics on screen are still so sensitive that Ziad Doueiri’s previous film was banned in the Arab world. It was called \u003cem>The Attack\u003c/em> and it was about Arab citizens of Israel. Doueiri filmed part of the story in Israel, which is against Lebanese law.\u003c/p>\n\u003cp>The director says artists have to be free to explore other points of view.\u003c/p>\n\u003cp>“I grew up all my life considering the other side as the ultimate enemy but I am still curious,” Doueiri says. “I want to know who are those people. I am for dialogue. I am for bridging gaps. This is how I am. This is what we do for living. Crossing borders is what we do for a living.\u003c/p>\n\u003cp>“So whether we talk about tolerance or we want to look at the other side of the rock just to see what is their narrative, what is their discourse, those people you grew up all your life hating so much. But they must have a point of view. \u003cem>The Insult\u003c/em> is a response to that.”\u003c/p>\n\u003cp>\u003cem>The Insult\u003c/em> is also facing protests, led by the BDS movement, which calls for boycotts, divestment and sanctions against Israel. Activists have accused Doueiri of being pro-Israeli and have launched a social media campaign accusing him of acquiescing to Israeli occupation.\u003c/p>\n\u003cfigure id=\"attachment_13820073\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/InsultStill2_1200.jpg\" alt=\"Nadim Hobeika, Kamel El Basha and Diamand Bou Abboud in 'The Insult.'\" width=\"1200\" height=\"504\" class=\"size-full wp-image-13820073\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill2_1200-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill2_1200-800x336.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill2_1200-768x323.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill2_1200-1020x428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill2_1200-1180x496.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill2_1200-960x403.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill2_1200-240x101.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill2_1200-375x158.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill2_1200-520x218.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Nadim Hobeika, Kamel El Basha and Diamand Bou Abboud in ‘The Insult.’ \u003ccite>(Courtesy of Cohen Media Group)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After \u003cem>The Insult\u003c/em> premiered at the Venice Film Festival, Doueiri was detained at the Beirut airport. The film’s premiere in the West Bank was cancelled. \u003c/p>\n\u003cp>“The BDS purpose is what?” Doueiri says. “Defend Palestine. When you go and you forbid a film where the main actor, a Palestinian guy [Kamel El Basha], won best [actor] award at Venice Film Festival — first time in history that a Palestinian actor win in Venice or anywhere else in the world, first time! — when the BDS, who are supposed to be protecting Palestinian rights, stop this Palestinian actor to present his movies in Ramallah, basically you’re screwing yourself in the head. It doesn’t make any logic.”\u003c/p>\n\u003cp>Ziad Doueri says he won’t apologize. And given the firestorm around his work, Doueiri says he was shocked that Lebanon chose \u003cem>The Insult\u003c/em> as its entry to this year’s Oscars.\u003c/p>\n\u003cp>“That was my award,” he says. “I already got my award. Nobody believed that it would happen. I mean Lebanon does take you by surprise from time to time.”\u003c/p>\n\u003cp>Ziad Doueiri says his cinema takes him by surprise too.\u003c/p>\n\u003cp>His default setting is angry and cynical. He’s been known to throw insults. But he says it’s through his films that he calms down.\u003c/p>\n\u003cp>“In my film, I try to tap into the moderate part of me,” Doueiri says. “Otherwise you lose your mind. But if you let me out there, I can be a lot angrier. If you hear what I really think, I would be the subject of a different interview.”\u003c/p>\n\u003cp>Ziad Doueiri says his films are his way of healing the scars that still divide Beirut — and his way of pouring water over the insults that inflame so easily.\u003c/p>\n\u003cp>https://youtu.be/QEQDZL6bAXo\u003c/p>\n\u003cp>[ad floatright]\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\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1202,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 28
},
"modified": 1705028685,
"excerpt": "Ziad Doueiri's new Oscar-nominated film is about the religious and tribal divisions in contemporary Lebanon -- and how a small altercation in Beirut can spiral out of control.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Ziad Doueiri's new Oscar-nominated film is about the religious and tribal divisions in contemporary Lebanon -- and how a small altercation in Beirut can spiral out of control.",
"title": "In 'The Insult,' All Politics Is A Local Neighborhood Squabble | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "In 'The Insult,' All Politics Is A Local Neighborhood Squabble",
"datePublished": "2018-01-26T08:00:13-08:00",
"dateModified": "2024-01-11T19:04:45-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "in-the-insult-all-politics-is-a-local-neighborhood-squabble",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=577741958&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Bilal Qureshi",
"nprStoryDate": "Mon, 15 Jan 2018 16:19:00 -0500",
"nprLastModifiedDate": "Tue, 16 Jan 2018 07:23:34 -0500",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/2018/01/15/577741958/in-the-insult-all-politics-is-a-local-neighborhood-squabble?ft=nprml&f=577741958",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2018/01/20180115_atc_in_the_insult_all_politics_is_a_local_neighborhood_squabble.mp3?orgId=1&topicId=1045&d=350&p=2&story=577741958&ft=nprml&f=577741958",
"nprImageAgency": "Courtesy of the Cohen Media Group",
"nprAudioM3u": "http://api.npr.org/m3u/1578172804-7ca30c.m3u?orgId=1&topicId=1045&d=350&p=2&story=577741958&ft=nprml&f=577741958",
"nprStoryId": "577741958",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 15 Jan 2018 20:33:00 -0500",
"path": "/arts/13820068/in-the-insult-all-politics-is-a-local-neighborhood-squabble",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2018/01/20180115_atc_in_the_insult_all_politics_is_a_local_neighborhood_squabble.mp3?orgId=1&topicId=1045&d=350&p=2&story=577741958&ft=nprml&f=577741958",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Can something as simple as saying “I’m sorry” stop a looming war in the Middle East?\u003c/p>\n\u003cp>That’s the premise of a new film called \u003cem>The Insult\u003c/em> — it’s Lebanon’s entry to the Oscars. In it, a neighborhood spat pushes the city of Beirut to the brink of chaos.\u003c/p>\n\u003cp>Filmmaker Ziad Doueiri says he was inspired by a real-life incident. He was watering his plants on the balcony of his home in Beirut, when the water spilled out onto a construction worker below.\u003c/p>\n\u003cp>“So I leaned on the balcony — I yelled at him, he yelled back, he says, ‘You’re a dog,'” Doueiri says. “And then this thing led to a bigger insult, which — I threw an insult at him. Joelle [Touma], the co-screenwriter, was standing behind me that day, and she says, ‘How could you insult a Palestinian as you said. This is so bad, what you just said.’ I said, ‘You’re right.’ So I came down to apologize and then the guy refused my apology because he was very hurt.” \u003c/p>\n\u003cp>That argument is pushed to its extreme in Doueiri’s new film. Water leaks off a Christian man’s balcony onto a Palestinian construction worker below. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Arguments ensue. Insults are thrown. Neither man is willing to apologize.\u003c/p>\n\u003cfigure id=\"attachment_13820074\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/InsultStill3_1200.jpg\" alt=\"Adel Karam in 'The Insult.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13820074\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill3_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill3_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill3_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill3_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill3_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill3_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill3_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill3_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill3_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill3_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Adel Karam in ‘The Insult.’ \u003ccite>(Courtesy of Cohen Media Group)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s very rare in my culture where you can have somebody who does something and he comes face-to-face, says, ‘Look, I really apologize,'” Doueiri says. “It’s not part of our culture. Sometime the simplest thing can be the beginning of resolving a much bigger problem. So that’s why this guy in the film, he wants an apology. All he wants is an apology and then later we start finding out why.”\u003c/p>\n\u003cp>The why has to do with Lebanon’s past — the religious and ethnic divisions that tore the country into warring factions. From 1975-1990, the Lebanese Civil War killed more than a hundred thousand people.\u003c/p>\n\u003cp>“Lebanon, in spite of its smallness — it’s only 4 million people — it’s still extremely rich because it’s one of those places that has all the religions in it,” Doueiri says. “You have Christians, Shiites, Sunnis, Catholics, Protestants, Armenians, Turks. All of it. You know, you have 16 religions that are all recognized by the government. It’s what it made it diversified, complex and fiery.”\u003c/p>\n\u003cp>And it remains flammable, says Lebanese-born arts journalist Nana Asfour. She says what has kept those communities together since the Civil War is only a shaky peace.\u003c/p>\n\u003cp>“The theme that Ziad is taking on, which is this whole idea that the war ended abruptly without any national conciliation — you know, we need to address what happened and take it head-on — it’s something that a lot of Lebanese filmmakers and artists and writers of his generation have been sort of pushing for in their own works,” Asfour says. “That idea that there has been what they call a historical amnesia that has happened in Lebanon where everybody thinks, ‘Let’s look forward and not look back,’ and how problematic that is because all the problems that led to the war have not been dealt with appropriately and anything can happen to bring them back.”\u003c/p>\n\u003cfigure id=\"attachment_13820075\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/InsultStill4_1200.jpg\" alt=\"Rita Hayek and Adel Karam in 'The Insult.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13820075\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill4_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill4_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill4_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill4_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill4_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill4_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill4_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill4_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill4_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill4_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Rita Hayek and Adel Karam in ‘The Insult.’ \u003ccite>(Courtesy of Cohen Media Group)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003cem>The Insult\u003c/em> the argument over leaking water goes to trial. The proceedings go viral. Palestinians and Christians start fighting on the streets.\u003c/p>\n\u003cp>The politics on screen are still so sensitive that Ziad Doueiri’s previous film was banned in the Arab world. It was called \u003cem>The Attack\u003c/em> and it was about Arab citizens of Israel. Doueiri filmed part of the story in Israel, which is against Lebanese law.\u003c/p>\n\u003cp>The director says artists have to be free to explore other points of view.\u003c/p>\n\u003cp>“I grew up all my life considering the other side as the ultimate enemy but I am still curious,” Doueiri says. “I want to know who are those people. I am for dialogue. I am for bridging gaps. This is how I am. This is what we do for living. Crossing borders is what we do for a living.\u003c/p>\n\u003cp>“So whether we talk about tolerance or we want to look at the other side of the rock just to see what is their narrative, what is their discourse, those people you grew up all your life hating so much. But they must have a point of view. \u003cem>The Insult\u003c/em> is a response to that.”\u003c/p>\n\u003cp>\u003cem>The Insult\u003c/em> is also facing protests, led by the BDS movement, which calls for boycotts, divestment and sanctions against Israel. Activists have accused Doueiri of being pro-Israeli and have launched a social media campaign accusing him of acquiescing to Israeli occupation.\u003c/p>\n\u003cfigure id=\"attachment_13820073\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/InsultStill2_1200.jpg\" alt=\"Nadim Hobeika, Kamel El Basha and Diamand Bou Abboud in 'The Insult.'\" width=\"1200\" height=\"504\" class=\"size-full wp-image-13820073\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill2_1200-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill2_1200-800x336.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill2_1200-768x323.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill2_1200-1020x428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill2_1200-1180x496.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill2_1200-960x403.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill2_1200-240x101.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill2_1200-375x158.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill2_1200-520x218.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Nadim Hobeika, Kamel El Basha and Diamand Bou Abboud in ‘The Insult.’ \u003ccite>(Courtesy of Cohen Media Group)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After \u003cem>The Insult\u003c/em> premiered at the Venice Film Festival, Doueiri was detained at the Beirut airport. The film’s premiere in the West Bank was cancelled. \u003c/p>\n\u003cp>“The BDS purpose is what?” Doueiri says. “Defend Palestine. When you go and you forbid a film where the main actor, a Palestinian guy [Kamel El Basha], won best [actor] award at Venice Film Festival — first time in history that a Palestinian actor win in Venice or anywhere else in the world, first time! — when the BDS, who are supposed to be protecting Palestinian rights, stop this Palestinian actor to present his movies in Ramallah, basically you’re screwing yourself in the head. It doesn’t make any logic.”\u003c/p>\n\u003cp>Ziad Doueri says he won’t apologize. And given the firestorm around his work, Doueiri says he was shocked that Lebanon chose \u003cem>The Insult\u003c/em> as its entry to this year’s Oscars.\u003c/p>\n\u003cp>“That was my award,” he says. “I already got my award. Nobody believed that it would happen. I mean Lebanon does take you by surprise from time to time.”\u003c/p>\n\u003cp>Ziad Doueiri says his cinema takes him by surprise too.\u003c/p>\n\u003cp>His default setting is angry and cynical. He’s been known to throw insults. But he says it’s through his films that he calms down.\u003c/p>\n\u003cp>“In my film, I try to tap into the moderate part of me,” Doueiri says. “Otherwise you lose your mind. But if you let me out there, I can be a lot angrier. If you hear what I really think, I would be the subject of a different interview.”\u003c/p>\n\u003cp>Ziad Doueiri says his films are his way of healing the scars that still divide Beirut — and his way of pouring water over the insults that inflame so easily.\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/QEQDZL6bAXo'\n title='//www.youtube.com/embed/QEQDZL6bAXo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13820068/in-the-insult-all-politics-is-a-local-neighborhood-squabble",
"authors": [
"byline_arts_13820068"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_977",
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13820069",
"label": "arts_137"
},
"arts_13820054": {
"type": "posts",
"id": "arts_13820054",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13820054",
"score": null,
"sort": [
1516921517000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 3500
},
"blocks": [],
"publishDate": 1516921517,
"format": "video",
"title": "Filmmaker Peter Nicks Navigates Opposing Worlds in 'The Force'",
"headTitle": "Filmmaker Peter Nicks Navigates Opposing Worlds in ‘The Force’ | KQED",
"content": "\u003cp>\u003cem>Editor’s Note: \u003ca href=\"https://www.kqed.org/arts/series/behind-the-lens\" target=\"_blank\" rel=\"noopener noreferrer\">Behind the Lens\u003c/a> is a digital video series featuring bold California indie filmmakers pushing the boundaries of their craft. Each episode captures the personal experiences that inform a filmmaker’s work and the risks they take to bring stories to the screen.\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Documentary filmmaker Peter Nicks doesn’t hold any illusions that his work will save the world. For him, filmmaking is just one element of culture that slowly propels humanity forward, together.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So when Nicks directed \u003cem>The Force\u003c/em> — the story of two turbulent years in the Oakland Police Department, filmed while embedded in its ranks — he did so with a stridently objective eye. The film premiered in 2017 at Sundance, where Nicks was awarded the Directing Award for U.S. Documentary, and broadcasts nationally this week on \u003ca href=\"http://www.pbs.org/independentlens/films/the-force/.\" target=\"_blank\" rel=\"noopener noreferrer\">PBS’ \u003c/a>\u003cem>Independent Lens.\u003c/em> \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The documentary is the second in a trilogy of films examining the city of Oakland through its public institutions, produced by Nick’s nonprofit\u003ca href=\"http://www.openhood.org/\" target=\"_blank\" rel=\"noopener noreferrer\"> Open’hood\u003c/a> and inspired in part by the HBO series \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Wire. \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">(Nicks’ critically acclaimed \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Waiting Room,\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> told from inside Oakland’s Highland Hospital, was the first in the trilogy; he plans to embed in the city’s schools for the third.)\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As filmmakers, Nicks and his team had unprecedented access to the OPD during filming, which began in 2014 as the Black Lives Matter movement emerged. “The department was trying to confront this problem of implicit bias,” Nicks says, “and at the same time trying to keep a city safe.” \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“One of the things I noticed right away was the feeling of being in a police car,” Nicks says. People automatically look at the police with antagonism and mistrust, he noted, and the officers internalized that. But just as easily understood, Nicks says, is the perspective of community members who feel profiled and harassed by the police.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Bridging rather than widening that divide is one Nicks’ primary goals. “As a filmmaker I want to try to bring people into another point of view,” he says. His own personal story, including encounters with the criminal justice system, he says, helped him approach complex matters with sensitivity and authenticity. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Watch our latest \u003cem>Behind the Lens\u003c/em> spotlight on local filmmakers, as Nicks and his team capture Black Lives Matter protests, OPD trainees, community vigils, and police missteps, all the way up to the documentary’s explosive coda: a sex scandal involving over a dozen members of the department. – \u003cem>Text by Sarah Hotchkiss\u003c/em>\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Force is \u003ca href=\"http://www.pbs.org/independentlens/films/the-force/\" target=\"_blank\" rel=\"noopener noreferrer\">available for free streaming\u003c/a> on PBS until Feb. 4, 2018, and then available on Netflix. \u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 461,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 11
},
"modified": 1705028688,
"excerpt": "The Director, who spent two years embedded with the Oakland Police Department, explains why we ‘have to learn how to hold multiple truths simultaneously.’",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The Director, who spent two years embedded with the Oakland Police Department, explains why we ‘have to learn how to hold multiple truths simultaneously.’",
"title": "Filmmaker Peter Nicks Navigates Opposing Worlds in 'The Force' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Filmmaker Peter Nicks Navigates Opposing Worlds in 'The Force'",
"datePublished": "2018-01-25T15:05:17-08:00",
"dateModified": "2024-01-11T19:04:48-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "filmmaker-peter-nicks-embraces-complexity-in-oakland-pd-doc-the-force",
"status": "publish",
"videoEmbed": "https://vimeo.com/252782727",
"excludeFromSiteSearch": "Include",
"pbsMediaId": "3018259612",
"sticky": false,
"path": "/arts/13820054/filmmaker-peter-nicks-embraces-complexity-in-oakland-pd-doc-the-force",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Editor’s Note: \u003ca href=\"https://www.kqed.org/arts/series/behind-the-lens\" target=\"_blank\" rel=\"noopener noreferrer\">Behind the Lens\u003c/a> is a digital video series featuring bold California indie filmmakers pushing the boundaries of their craft. Each episode captures the personal experiences that inform a filmmaker’s work and the risks they take to bring stories to the screen.\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Documentary filmmaker Peter Nicks doesn’t hold any illusions that his work will save the world. For him, filmmaking is just one element of culture that slowly propels humanity forward, together.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So when Nicks directed \u003cem>The Force\u003c/em> — the story of two turbulent years in the Oakland Police Department, filmed while embedded in its ranks — he did so with a stridently objective eye. The film premiered in 2017 at Sundance, where Nicks was awarded the Directing Award for U.S. Documentary, and broadcasts nationally this week on \u003ca href=\"http://www.pbs.org/independentlens/films/the-force/.\" target=\"_blank\" rel=\"noopener noreferrer\">PBS’ \u003c/a>\u003cem>Independent Lens.\u003c/em> \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The documentary is the second in a trilogy of films examining the city of Oakland through its public institutions, produced by Nick’s nonprofit\u003ca href=\"http://www.openhood.org/\" target=\"_blank\" rel=\"noopener noreferrer\"> Open’hood\u003c/a> and inspired in part by the HBO series \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Wire. \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">(Nicks’ critically acclaimed \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Waiting Room,\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> told from inside Oakland’s Highland Hospital, was the first in the trilogy; he plans to embed in the city’s schools for the third.)\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As filmmakers, Nicks and his team had unprecedented access to the OPD during filming, which began in 2014 as the Black Lives Matter movement emerged. “The department was trying to confront this problem of implicit bias,” Nicks says, “and at the same time trying to keep a city safe.” \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“One of the things I noticed right away was the feeling of being in a police car,” Nicks says. People automatically look at the police with antagonism and mistrust, he noted, and the officers internalized that. But just as easily understood, Nicks says, is the perspective of community members who feel profiled and harassed by the police.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Bridging rather than widening that divide is one Nicks’ primary goals. “As a filmmaker I want to try to bring people into another point of view,” he says. His own personal story, including encounters with the criminal justice system, he says, helped him approach complex matters with sensitivity and authenticity. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Watch our latest \u003cem>Behind the Lens\u003c/em> spotlight on local filmmakers, as Nicks and his team capture Black Lives Matter protests, OPD trainees, community vigils, and police missteps, all the way up to the documentary’s explosive coda: a sex scandal involving over a dozen members of the department. – \u003cem>Text by Sarah Hotchkiss\u003c/em>\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Force is \u003ca href=\"http://www.pbs.org/independentlens/films/the-force/\" target=\"_blank\" rel=\"noopener noreferrer\">available for free streaming\u003c/a> on PBS until Feb. 4, 2018, and then available on Netflix. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13820054/filmmaker-peter-nicks-embraces-complexity-in-oakland-pd-doc-the-force",
"authors": [
"3248"
],
"series": [
"arts_3500"
],
"categories": [
"arts_74"
],
"tags": [
"arts_2771",
"arts_3156",
"arts_1118",
"arts_977",
"arts_4205",
"arts_596",
"arts_4730",
"arts_4204",
"arts_1007"
],
"featImg": "arts_13844965",
"label": "arts_3500"
},
"arts_13819809": {
"type": "posts",
"id": "arts_13819809",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13819809",
"score": null,
"sort": [
1516740549000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1516740549,
"format": "standard",
"title": "After #OscarsSoWhite and #MeToo, the Academy Finally Listens",
"headTitle": "After #OscarsSoWhite and #MeToo, the Academy Finally Listens | KQED",
"content": "\u003cp>Each year’s \u003ca href=\"http://oscar.go.com/nominees\" target=\"_blank\" rel=\"noopener\">Oscar nominations\u003c/a> provoke both cheers and eye rolls, and 2018 is no exception. Directing and Original Screenplay nods to Jordan Peele for \u003cem>Get Out\u003c/em>, \u003cem>and\u003c/em> Best Picture plus Best Actor nominations for Daniel Kaluuya? Cool. A Best Picture slot for \u003cem>The Post\u003c/em> despite zero recognition in the technical categories, or anywhere other than Meryl Streep’s expected nomination? Weird. Best Director nods for two first-timers (Peele and Greta Gerwig)? A terrific boost for their careers. A Best Actor nomination for Denzel Washington? Clearly, given \u003cem>Roman J. Israel, Esq.’s\u003c/em> low box office numbers, more Academy members saw his performance than did paying customers.\u003c/p>\n\u003cp>[contextly_sidebar id=”q6YX94zNcMmSuj84pLo2IFtDSguMtsRz”]\u003c/p>\n\u003cp>The most encouraging news to be gleaned from this year’s nominations is that the industry appears to have turned a corner after the \u003ca href=\"https://ww2.kqed.org/arts/2016/02/26/the-bay-area-talks-back-to-hollywood/\" target=\"_blank\" rel=\"noopener\">#OscarsSoWhite\u003c/a> debacle. With Mary J. Blige (\u003cem>Mudbound\u003c/em>) and Octavia Spencer (\u003cem>The Shape of Water\u003c/em>) in the Supporting Actress category (along with Kaluuya and Washington in Best Actor), a fifth of the 20 nominated actors are black. Nominations don’t tell the whole story, of course, but you can’t get nominated if you don’t get cast. If the visibility and heat brought to bear by #OscarsSoWhite is resulting in more roles for actors of color, well, keep the pressure on.\u003c/p>\n\u003cp>From a gender-equality perspective, the nomination of Rachel Morrison (\u003cem>Mudbound\u003c/em>) in the Cinematography category — the first woman to be so recognized — is a huge development. Director Dee Rees (along with co-writer and producer Virgil Williams) was recognized for the adapted screenplay for \u003cem>Mudbound\u003c/em>, while Greta Gerwig (\u003cem>Lady Bird\u003c/em>) and Emily V. Gordon (\u003cem>The Big Sick\u003c/em>, co-written with Kumail Najiani) were, as expected, nominated for Original Screenplay.\u003c/p>\n\u003cfigure id=\"attachment_13819821\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819821\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/GretaGerwig-800x563.jpg\" alt=\"Director Greta Gerwig attends the 24th Annual Screen Actors Guild Awards at The Shrine Auditorium on Jan. 21, 2018 in Los Angeles.\" width=\"800\" height=\"563\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GretaGerwig-800x563.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GretaGerwig-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GretaGerwig-768x540.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GretaGerwig-1020x718.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GretaGerwig.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GretaGerwig-1180x830.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GretaGerwig-960x676.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GretaGerwig-240x169.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GretaGerwig-375x264.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GretaGerwig-520x366.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Director Greta Gerwig attends the 24th Annual Screen Actors Guild Awards at The Shrine Auditorium on Jan. 21, 2018 in Los Angeles. \u003ccite>(Christopher Polk/Getty Images for Turner Image)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Last year’s movies were made in 2016 and don’t address the Trump effect, but the voting took place amid the ongoing #MeToo revelations. It’s conceivable that some Academy members didn’t watch perennial fave Kate Winslet’s performance in \u003cem>Wonder Wheel\u003c/em> because there was no way they were going to endorse a Woody Allen movie. (To be clear, the charges leveled against him remain allegations.) But the nominations include an implicit acknowledgement of Hollywood’s sexual abuse scandals.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Christopher Plummer, who received a surprise nomination in the Supporting Actor category, was hired to replace the disgraced Kevin Spacey after \u003cem>All the Money in the World\u003c/em> was finished, and to reshoot numerous scenes. Even if not a single presenter or winner mentions sexual harassment on Oscar Night — an unlikely scenario — we’ll be reminded of Spacey’s (and Weinstein’s) transgressions every time the camera focuses on Plummer.\u003c/p>\n\u003cp>Several other Academy Award-nominated films feature explorations of sexuality that would upset Mike Pence: the coming-of-age romance \u003cem>Call Me by Your Name\u003c/em> (Best Picture, Actor: Timothee Chalemet; Adapted Screenplay: James Ivory, and Original Song) and the Chilean drama about a grieving transgender woman, \u003cem>A Fantastic Woman\u003c/em> (Foreign Language).\u003c/p>\n\u003cfigure id=\"attachment_13819820\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819820\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/CallMeByYourName-800x450.jpg\" alt=\"Timothée Chalamet and Armie Hammer in 'Call Me By Your Name,' nominated for four Academy Awards.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/CallMeByYourName-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/CallMeByYourName-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/CallMeByYourName-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/CallMeByYourName-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/CallMeByYourName.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/CallMeByYourName-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/CallMeByYourName-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/CallMeByYourName-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/CallMeByYourName-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/CallMeByYourName-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Timothée Chalamet and Armie Hammer in ‘Call Me By Your Name,’ nominated for four Academy Awards. \u003ccite>(Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, the aforementioned \u003cem>Mudbound\u003c/em> (Netflix) and \u003cem>The Big Sick\u003c/em> (Amazon) represent the Oscars’ highest-profile feature films from the major streaming services, who increasingly fancy themselves as mini-studios (with mammoth budgets). Netflix also scored with \u003cem>Icarus\u003c/em> and \u003cem>Strong Island\u003c/em> (both Documentary Feature) and \u003cem>Heroin(e)\u003c/em> (Documentary Short), three prestigious nominations that should bolster the company’s longstanding embrace of quality nonfiction. (While offsetting Netflix’s bottomless inventory of lackluster true-crime series and docs.)\u003c/p>\n\u003cp>Speaking of docs, Bay Area filmmakers were shut out in categories where they frequently contend. Indeed, the only locals who will need to rent tuxedos are the sound artists and visual effects experts who worked on \u003cem>Star Wars: The Last Jedi\u003c/em>.\u003c/p>\n\u003cp>It is customary, at this point, to expertly and decisively handicap the nominees and predict the winners. Actually, that’s sport for every moviegoer. I will just say that this year feels a lot like the last few, with several films attracting devoted constituencies — with each film’s fans lukewarm toward the others. We can only count on two things for certain: a few new faces stepping into the spotlight and seizing their moment, and every star of any stature denouncing the current administration’s policies.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 772,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 13
},
"modified": 1705028720,
"excerpt": "This year's nominations feature the diversity audiences have demanded for the past several years.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "This year's nominations feature the diversity audiences have demanded for the past several years.",
"title": "After #OscarsSoWhite and #MeToo, the Academy Finally Listens | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "After #OscarsSoWhite and #MeToo, the Academy Finally Listens",
"datePublished": "2018-01-23T12:49:09-08:00",
"dateModified": "2024-01-11T19:05:20-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "after-oscarssowhite-and-metoo-the-academy-finally-listens",
"status": "publish",
"sticky": false,
"path": "/arts/13819809/after-oscarssowhite-and-metoo-the-academy-finally-listens",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Each year’s \u003ca href=\"http://oscar.go.com/nominees\" target=\"_blank\" rel=\"noopener\">Oscar nominations\u003c/a> provoke both cheers and eye rolls, and 2018 is no exception. Directing and Original Screenplay nods to Jordan Peele for \u003cem>Get Out\u003c/em>, \u003cem>and\u003c/em> Best Picture plus Best Actor nominations for Daniel Kaluuya? Cool. A Best Picture slot for \u003cem>The Post\u003c/em> despite zero recognition in the technical categories, or anywhere other than Meryl Streep’s expected nomination? Weird. Best Director nods for two first-timers (Peele and Greta Gerwig)? A terrific boost for their careers. A Best Actor nomination for Denzel Washington? Clearly, given \u003cem>Roman J. Israel, Esq.’s\u003c/em> low box office numbers, more Academy members saw his performance than did paying customers.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The most encouraging news to be gleaned from this year’s nominations is that the industry appears to have turned a corner after the \u003ca href=\"https://ww2.kqed.org/arts/2016/02/26/the-bay-area-talks-back-to-hollywood/\" target=\"_blank\" rel=\"noopener\">#OscarsSoWhite\u003c/a> debacle. With Mary J. Blige (\u003cem>Mudbound\u003c/em>) and Octavia Spencer (\u003cem>The Shape of Water\u003c/em>) in the Supporting Actress category (along with Kaluuya and Washington in Best Actor), a fifth of the 20 nominated actors are black. Nominations don’t tell the whole story, of course, but you can’t get nominated if you don’t get cast. If the visibility and heat brought to bear by #OscarsSoWhite is resulting in more roles for actors of color, well, keep the pressure on.\u003c/p>\n\u003cp>From a gender-equality perspective, the nomination of Rachel Morrison (\u003cem>Mudbound\u003c/em>) in the Cinematography category — the first woman to be so recognized — is a huge development. Director Dee Rees (along with co-writer and producer Virgil Williams) was recognized for the adapted screenplay for \u003cem>Mudbound\u003c/em>, while Greta Gerwig (\u003cem>Lady Bird\u003c/em>) and Emily V. Gordon (\u003cem>The Big Sick\u003c/em>, co-written with Kumail Najiani) were, as expected, nominated for Original Screenplay.\u003c/p>\n\u003cfigure id=\"attachment_13819821\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819821\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/GretaGerwig-800x563.jpg\" alt=\"Director Greta Gerwig attends the 24th Annual Screen Actors Guild Awards at The Shrine Auditorium on Jan. 21, 2018 in Los Angeles.\" width=\"800\" height=\"563\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GretaGerwig-800x563.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GretaGerwig-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GretaGerwig-768x540.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GretaGerwig-1020x718.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GretaGerwig.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GretaGerwig-1180x830.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GretaGerwig-960x676.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GretaGerwig-240x169.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GretaGerwig-375x264.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GretaGerwig-520x366.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Director Greta Gerwig attends the 24th Annual Screen Actors Guild Awards at The Shrine Auditorium on Jan. 21, 2018 in Los Angeles. \u003ccite>(Christopher Polk/Getty Images for Turner Image)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Last year’s movies were made in 2016 and don’t address the Trump effect, but the voting took place amid the ongoing #MeToo revelations. It’s conceivable that some Academy members didn’t watch perennial fave Kate Winslet’s performance in \u003cem>Wonder Wheel\u003c/em> because there was no way they were going to endorse a Woody Allen movie. (To be clear, the charges leveled against him remain allegations.) But the nominations include an implicit acknowledgement of Hollywood’s sexual abuse scandals.\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>Christopher Plummer, who received a surprise nomination in the Supporting Actor category, was hired to replace the disgraced Kevin Spacey after \u003cem>All the Money in the World\u003c/em> was finished, and to reshoot numerous scenes. Even if not a single presenter or winner mentions sexual harassment on Oscar Night — an unlikely scenario — we’ll be reminded of Spacey’s (and Weinstein’s) transgressions every time the camera focuses on Plummer.\u003c/p>\n\u003cp>Several other Academy Award-nominated films feature explorations of sexuality that would upset Mike Pence: the coming-of-age romance \u003cem>Call Me by Your Name\u003c/em> (Best Picture, Actor: Timothee Chalemet; Adapted Screenplay: James Ivory, and Original Song) and the Chilean drama about a grieving transgender woman, \u003cem>A Fantastic Woman\u003c/em> (Foreign Language).\u003c/p>\n\u003cfigure id=\"attachment_13819820\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819820\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/CallMeByYourName-800x450.jpg\" alt=\"Timothée Chalamet and Armie Hammer in 'Call Me By Your Name,' nominated for four Academy Awards.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/CallMeByYourName-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/CallMeByYourName-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/CallMeByYourName-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/CallMeByYourName-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/CallMeByYourName.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/CallMeByYourName-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/CallMeByYourName-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/CallMeByYourName-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/CallMeByYourName-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/CallMeByYourName-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Timothée Chalamet and Armie Hammer in ‘Call Me By Your Name,’ nominated for four Academy Awards. \u003ccite>(Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, the aforementioned \u003cem>Mudbound\u003c/em> (Netflix) and \u003cem>The Big Sick\u003c/em> (Amazon) represent the Oscars’ highest-profile feature films from the major streaming services, who increasingly fancy themselves as mini-studios (with mammoth budgets). Netflix also scored with \u003cem>Icarus\u003c/em> and \u003cem>Strong Island\u003c/em> (both Documentary Feature) and \u003cem>Heroin(e)\u003c/em> (Documentary Short), three prestigious nominations that should bolster the company’s longstanding embrace of quality nonfiction. (While offsetting Netflix’s bottomless inventory of lackluster true-crime series and docs.)\u003c/p>\n\u003cp>Speaking of docs, Bay Area filmmakers were shut out in categories where they frequently contend. Indeed, the only locals who will need to rent tuxedos are the sound artists and visual effects experts who worked on \u003cem>Star Wars: The Last Jedi\u003c/em>.\u003c/p>\n\u003cp>It is customary, at this point, to expertly and decisively handicap the nominees and predict the winners. Actually, that’s sport for every moviegoer. I will just say that this year feels a lot like the last few, with several films attracting devoted constituencies — with each film’s fans lukewarm toward the others. We can only count on two things for certain: a few new faces stepping into the spotlight and seizing their moment, and every star of any stature denouncing the current administration’s policies.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13819809/after-oscarssowhite-and-metoo-the-academy-finally-listens",
"authors": [
"22"
],
"categories": [
"arts_74"
],
"tags": [
"arts_3701",
"arts_1118",
"arts_977",
"arts_12322",
"arts_596",
"arts_3698"
],
"featImg": "arts_13819822",
"label": "arts"
},
"arts_13819496": {
"type": "posts",
"id": "arts_13819496",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13819496",
"score": null,
"sort": [
1516651235000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1516651235,
"format": "standard",
"title": "Now Playing! Noir City Keeps Things Dark and Twisty at the Castro",
"headTitle": "Now Playing! Noir City Keeps Things Dark and Twisty at the Castro | KQED",
"content": "\u003cp>Michael Curtiz, the Hungarian-born director of \u003cem>Casablanca\u003c/em>, \u003cem>Mildred Pierce\u003c/em> and dozens and dozens of other Warner Brothers films from the 1920s to the ’50s, remains the most perplexing major figure of the studio era. A volatile tyrant who helmed numerous great films, he made an even larger number of duds. Was he a great artist or just an expert technician who triumphed with grade-A scripts and actors but couldn’t transcend the subpar material he was assigned before and after his prime? If that question holds any meaning for you, seek out Alan K. Rode’s massive new biography, \u003cem>\u003ca href=\"https://www.amazon.com/Michael-Curtiz-Life-Screen-Classics/dp/0813173914\" rel=\"noopener\" target=\"_blank\">Michael Curtiz: A Life in Film\u003c/a>\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13819713\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Unsuspected-ClaudeRains-JoanCaulfield.jpg\" alt=\"Scene from 'The Unsuspected' with Joan Caulfield and Claude Rains, 1947.\" width=\"1600\" height=\"1139\" class=\"size-full wp-image-13819713\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Unsuspected-ClaudeRains-JoanCaulfield.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Unsuspected-ClaudeRains-JoanCaulfield-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Unsuspected-ClaudeRains-JoanCaulfield-800x570.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Unsuspected-ClaudeRains-JoanCaulfield-768x547.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Unsuspected-ClaudeRains-JoanCaulfield-1020x726.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Unsuspected-ClaudeRains-JoanCaulfield-1180x840.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Unsuspected-ClaudeRains-JoanCaulfield-960x683.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Unsuspected-ClaudeRains-JoanCaulfield-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Unsuspected-ClaudeRains-JoanCaulfield-375x267.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Unsuspected-ClaudeRains-JoanCaulfield-520x370.jpg 520w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Scene from ‘The Unsuspected’ with Joan Caulfield and Claude Rains, 1947. \u003ccite>(Courtesy of Film Noir Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Or arrange to be at the Castro the night of Jan. 31, when Rode signs his admirably researched tome on the mezzanine after introducing Curtiz’s lesser-known murder mystery, \u003cem>The Unsuspected\u003c/em> (with Claude Rains, best known as Capt. Louis Renault), at the 16th annual edition of \u003ca href=\"http://www.noircity.com/index.html\" rel=\"noopener\" target=\"_blank\">Noir City\u003c/a> (Jan. 26—Feb. 4). The other half of the 1947 double bill, the Film Noir Foundation-funded restoration of \u003cem>High Tide\u003c/em>, is a nifty, twisty tale recounted in flashback from the low-budget studio Monogram Pictures. Only hardcore noirists will recognize the actors’ names, quite unlike the cast of the Warners’ movie.\u003c/p>\n\u003cp>Up and down the lineup, Noir City barkeep Eddie Muller has rounded up some of the usual suspects — \u003cem>I Wake Up Screaming\u003c/em>, \u003cem>This Gun For Hire\u003c/em>, \u003cem>Shadow of a Doubt\u003c/em>, \u003cem>The Black Dahlia\u003c/em>, \u003cem>The Big Heat\u003c/em> — and paired them with gritty, offbeat B movies. From his little fiefdom in heaven, Michael Curtiz claps his hands, calls for rain and directs you to pack a flask.\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": 302,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 6
},
"modified": 1705028729,
"excerpt": "The 16th edition of Noir City covers the waterfront, from outright nobodies to the legendary Michael Curtiz.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The 16th edition of Noir City covers the waterfront, from outright nobodies to the legendary Michael Curtiz.",
"title": "Now Playing! Noir City Keeps Things Dark and Twisty at the Castro | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Now Playing! Noir City Keeps Things Dark and Twisty at the Castro",
"datePublished": "2018-01-22T12:00:35-08:00",
"dateModified": "2024-01-11T19:05:29-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "now-playing-noir-city-keeps-things-dark-and-twisty-at-the-castro",
"status": "publish",
"sticky": false,
"path": "/arts/13819496/now-playing-noir-city-keeps-things-dark-and-twisty-at-the-castro",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Michael Curtiz, the Hungarian-born director of \u003cem>Casablanca\u003c/em>, \u003cem>Mildred Pierce\u003c/em> and dozens and dozens of other Warner Brothers films from the 1920s to the ’50s, remains the most perplexing major figure of the studio era. A volatile tyrant who helmed numerous great films, he made an even larger number of duds. Was he a great artist or just an expert technician who triumphed with grade-A scripts and actors but couldn’t transcend the subpar material he was assigned before and after his prime? If that question holds any meaning for you, seek out Alan K. Rode’s massive new biography, \u003cem>\u003ca href=\"https://www.amazon.com/Michael-Curtiz-Life-Screen-Classics/dp/0813173914\" rel=\"noopener\" target=\"_blank\">Michael Curtiz: A Life in Film\u003c/a>\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13819713\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Unsuspected-ClaudeRains-JoanCaulfield.jpg\" alt=\"Scene from 'The Unsuspected' with Joan Caulfield and Claude Rains, 1947.\" width=\"1600\" height=\"1139\" class=\"size-full wp-image-13819713\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Unsuspected-ClaudeRains-JoanCaulfield.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Unsuspected-ClaudeRains-JoanCaulfield-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Unsuspected-ClaudeRains-JoanCaulfield-800x570.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Unsuspected-ClaudeRains-JoanCaulfield-768x547.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Unsuspected-ClaudeRains-JoanCaulfield-1020x726.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Unsuspected-ClaudeRains-JoanCaulfield-1180x840.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Unsuspected-ClaudeRains-JoanCaulfield-960x683.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Unsuspected-ClaudeRains-JoanCaulfield-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Unsuspected-ClaudeRains-JoanCaulfield-375x267.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Unsuspected-ClaudeRains-JoanCaulfield-520x370.jpg 520w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Scene from ‘The Unsuspected’ with Joan Caulfield and Claude Rains, 1947. \u003ccite>(Courtesy of Film Noir Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Or arrange to be at the Castro the night of Jan. 31, when Rode signs his admirably researched tome on the mezzanine after introducing Curtiz’s lesser-known murder mystery, \u003cem>The Unsuspected\u003c/em> (with Claude Rains, best known as Capt. Louis Renault), at the 16th annual edition of \u003ca href=\"http://www.noircity.com/index.html\" rel=\"noopener\" target=\"_blank\">Noir City\u003c/a> (Jan. 26—Feb. 4). The other half of the 1947 double bill, the Film Noir Foundation-funded restoration of \u003cem>High Tide\u003c/em>, is a nifty, twisty tale recounted in flashback from the low-budget studio Monogram Pictures. Only hardcore noirists will recognize the actors’ names, quite unlike the cast of the Warners’ movie.\u003c/p>\n\u003cp>Up and down the lineup, Noir City barkeep Eddie Muller has rounded up some of the usual suspects — \u003cem>I Wake Up Screaming\u003c/em>, \u003cem>This Gun For Hire\u003c/em>, \u003cem>Shadow of a Doubt\u003c/em>, \u003cem>The Black Dahlia\u003c/em>, \u003cem>The Big Heat\u003c/em> — and paired them with gritty, offbeat B movies. From his little fiefdom in heaven, Michael Curtiz claps his hands, calls for rain and directs you to pack a flask.\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/13819496/now-playing-noir-city-keeps-things-dark-and-twisty-at-the-castro",
"authors": [
"22"
],
"categories": [
"arts_74"
],
"tags": [
"arts_3547",
"arts_1118",
"arts_977",
"arts_596"
],
"featImg": "arts_13819712",
"label": "arts"
},
"arts_13819512": {
"type": "posts",
"id": "arts_13819512",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13819512",
"score": null,
"sort": [
1516370420000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1516370420,
"format": "standard",
"title": "Documentary 'The Final Year' Offers Behind-The-Scenes Look At Obama's Foreign Policy",
"headTitle": "Documentary ‘The Final Year’ Offers Behind-The-Scenes Look At Obama’s Foreign Policy | KQED",
"content": "\u003cp>The first half hour of \u003cem>The Final Year\u003c/em> is as pointlessly hectic as one of those action movies that’s all incidents and no plot. But gradually documentarian Greg Barker’s look at Barack Obama’s foreign policy team comes into focus, thanks in large part to the counterpoint played by the Trump campaign. \u003c/p>\n\u003cp>Shot over a bit more than a year in 2015-16, Barker’s film primarily follows Secretary of State John Kerry, United Nations Ambassador Samantha Power and Deputy National Security Advisor and speechwriter Ben Rhodes. National Security Advisor Susan Rice appears occasionally, although she has a smaller role than Obama himself. The president is glimpsed in the West Wing and other locations that are usually off-camera, but is seen mostly while making official appearances overseas.\u003c/p>\n\u003cp>The movie is neither an in-depth analysis of Obama’s foreign policy nor a candid depiction of the internal tensions of the policy makers. Viewers who didn’t follow world news at the time might not even be able to tell that the president favored a less aggressive approach to international crises than Kerry and especially Power.\u003c/p>\n\u003cfigure id=\"attachment_13819518\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Rhodes_1200.jpg\" alt=\"Ben Rhodes in 'The Final Year.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13819518\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rhodes_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rhodes_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rhodes_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rhodes_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rhodes_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rhodes_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rhodes_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rhodes_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rhodes_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rhodes_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ben Rhodes in ‘The Final Year.’ \u003ccite>(Courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Somewhere toward the middle is Rhodes, said to have a “mind-meld” with Obama. Rhodes supported stronger U.S. intervention in Syria, but came to agree with his top boss that it would be a mistake, much like the 2003 invasion of Iraq. Frustratingly, viewers don’t get to see conversations that led Rhodes to change his mind, or even to hear if any Obama staffer drew the distinction between starting a war in Iraq and interceding in one the U.S. didn’t cause in Syria. \u003c/p>\n\u003cp>Rather than detail such complicated discussions, \u003cem>The Final Year\u003c/em> is keyed to emotional moments. The Irish-born Power extols the importance of immigration to the U.S. in a speech at her nanny’s naturalization ceremony, and in Nigeria sympathizes with families whose daughters were abducted by Boko Haram. Obama hugs an A-bomb survivor during his unprecedented visit to Hiroshima, and is the first American president to visit Laos, where unexploded U.S. bombs remain a constant hazard. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>American power’s potential to injure innocents is encapsulated by off-screen mishaps on a much smaller scale than the Iraq War: A young boy is hit by a car in Power’s motorcade, and a U.N. convoy carrying humanitarian aid in Syria is accidentally shelled by U.S. bombs. The staffers’ reactions to these incidents give a sense of the burden of making geopolitical strategy. \u003c/p>\n\u003cp>https://youtu.be/4UUpnqvIwF4 \u003c/p>\n\u003cp>Less telling are the movie’s occasional flashbacks, which include a section on Kerry’s opposition to the Vietnam War and a montage of Obama’s visits to ancient monuments in Britain, Greece, Egypt, and Jordan. The arc of history is long, but in these sequences it doesn’t bend toward anything in particular. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The film’s most sobering element is not the Obama administration’s obligation to great bygone civilizations, but the historical fluke named Donald Trump. While the narrative doesn’t end until inauguration day, it climaxes with election-night TV-watching parties during which the Obama camp’s hope ebbs and finally crumbles. Barack Obama may have aspired to Olympian detachment, but \u003cem>The Final Year\u003c/em>‘s most compelling moments reveal chagrin, regret, and shock.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 589,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 10
},
"modified": 1705028741,
"excerpt": "Greg Barker's film favors candid emotional moments over a meaningful examination of how key policy initiatives were shaped in the closing months of the Obama presidency.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Greg Barker's film favors candid emotional moments over a meaningful examination of how key policy initiatives were shaped in the closing months of the Obama presidency.",
"title": "Documentary 'The Final Year' Offers Behind-The-Scenes Look At Obama's Foreign Policy | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Documentary 'The Final Year' Offers Behind-The-Scenes Look At Obama's Foreign Policy",
"datePublished": "2018-01-19T06:00:20-08:00",
"dateModified": "2024-01-11T19:05:41-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "documentary-the-final-year-offers-behind-the-scenes-look-at-obamas-foreign-policy",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=577486974&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Mark Jenkins",
"nprStoryDate": "Thu, 18 Jan 2018 17:00:52 -0500",
"nprLastModifiedDate": "Thu, 18 Jan 2018 17:32:42 -0500",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/2018/01/18/577486974/documentary-the-final-year-offers-behind-the-scenes-look-at-obama-s-foreign-poli?ft=nprml&f=577486974",
"nprStoryId": "577486974",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 18 Jan 2018 17:32:00 -0500",
"path": "/arts/13819512/documentary-the-final-year-offers-behind-the-scenes-look-at-obamas-foreign-policy",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first half hour of \u003cem>The Final Year\u003c/em> is as pointlessly hectic as one of those action movies that’s all incidents and no plot. But gradually documentarian Greg Barker’s look at Barack Obama’s foreign policy team comes into focus, thanks in large part to the counterpoint played by the Trump campaign. \u003c/p>\n\u003cp>Shot over a bit more than a year in 2015-16, Barker’s film primarily follows Secretary of State John Kerry, United Nations Ambassador Samantha Power and Deputy National Security Advisor and speechwriter Ben Rhodes. National Security Advisor Susan Rice appears occasionally, although she has a smaller role than Obama himself. The president is glimpsed in the West Wing and other locations that are usually off-camera, but is seen mostly while making official appearances overseas.\u003c/p>\n\u003cp>The movie is neither an in-depth analysis of Obama’s foreign policy nor a candid depiction of the internal tensions of the policy makers. Viewers who didn’t follow world news at the time might not even be able to tell that the president favored a less aggressive approach to international crises than Kerry and especially Power.\u003c/p>\n\u003cfigure id=\"attachment_13819518\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Rhodes_1200.jpg\" alt=\"Ben Rhodes in 'The Final Year.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13819518\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rhodes_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rhodes_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rhodes_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rhodes_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rhodes_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rhodes_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rhodes_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rhodes_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rhodes_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rhodes_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ben Rhodes in ‘The Final Year.’ \u003ccite>(Courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Somewhere toward the middle is Rhodes, said to have a “mind-meld” with Obama. Rhodes supported stronger U.S. intervention in Syria, but came to agree with his top boss that it would be a mistake, much like the 2003 invasion of Iraq. Frustratingly, viewers don’t get to see conversations that led Rhodes to change his mind, or even to hear if any Obama staffer drew the distinction between starting a war in Iraq and interceding in one the U.S. didn’t cause in Syria. \u003c/p>\n\u003cp>Rather than detail such complicated discussions, \u003cem>The Final Year\u003c/em> is keyed to emotional moments. The Irish-born Power extols the importance of immigration to the U.S. in a speech at her nanny’s naturalization ceremony, and in Nigeria sympathizes with families whose daughters were abducted by Boko Haram. Obama hugs an A-bomb survivor during his unprecedented visit to Hiroshima, and is the first American president to visit Laos, where unexploded U.S. bombs remain a constant hazard. \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>American power’s potential to injure innocents is encapsulated by off-screen mishaps on a much smaller scale than the Iraq War: A young boy is hit by a car in Power’s motorcade, and a U.N. convoy carrying humanitarian aid in Syria is accidentally shelled by U.S. bombs. The staffers’ reactions to these incidents give a sense of the burden of making geopolitical strategy. \u003c/p>\n\u003cp>https://youtu.be/4UUpnqvIwF4 \u003c/p>\n\u003cp>Less telling are the movie’s occasional flashbacks, which include a section on Kerry’s opposition to the Vietnam War and a montage of Obama’s visits to ancient monuments in Britain, Greece, Egypt, and Jordan. The arc of history is long, but in these sequences it doesn’t bend toward anything in particular. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The film’s most sobering element is not the Obama administration’s obligation to great bygone civilizations, but the historical fluke named Donald Trump. While the narrative doesn’t end until inauguration day, it climaxes with election-night TV-watching parties during which the Obama camp’s hope ebbs and finally crumbles. Barack Obama may have aspired to Olympian detachment, but \u003cem>The Final Year\u003c/em>‘s most compelling moments reveal chagrin, regret, and shock.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13819512/documentary-the-final-year-offers-behind-the-scenes-look-at-obamas-foreign-policy",
"authors": [
"byline_arts_13819512"
],
"categories": [
"arts_74"
],
"tags": [
"arts_3675",
"arts_1118",
"arts_596",
"arts_5826",
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13819516",
"label": "arts_137"
},
"arts_13819451": {
"type": "posts",
"id": "arts_13819451",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13819451",
"score": null,
"sort": [
1516244424000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1516244424,
"format": "audio",
"title": "On The Air: Suzie and Gabe's Picks for Jan. 19, 2018",
"headTitle": "On The Air: Suzie and Gabe’s Picks for Jan. 19, 2018 | KQED",
"content": "\u003cp>Our main squeeze Cy Musiker is away, which means Suzie Racho is the orange juice to my Champagne for this week’s Do List. We’re talking about three erstwhile traditions in San Francisco — Noir City, Sketchfest and Noise Pop — and a few outliers that caught our eye. All are smooth as a morning cocktail.\u003c/p>\n\u003cp>On with the show!\u003c/p>\n\u003cp>\u003cstrong>Now through Jan. 28\u003c/strong>: There’s some \u003ca href=\"https://ww2.kqed.org/arts/2018/01/17/80s-movies-cabaret-jazz-and-made-up-musicals/\" rel=\"noopener\" target=\"_blank\">offbeat musical mayhem happening at Sketchfest\u003c/a> this year, with Jeff Goldblum, Kevin McDonald and more.\u003c/p>\n\u003cp>\u003cstrong>Jan. 24\u003c/strong>: He sings. He plays. He rambles about aliens. \u003ca href=\"https://ww2.kqed.org/arts/2018/01/17/the-glittery-space-obsessed-reggae-producer-ahead-of-his-time/\" rel=\"noopener\" target=\"_blank\">He’s Lee “Scratch” Perry, and he’s the most innovative thing to happen to the studio remix\u003c/a>. \u003c/p>\n\u003cp>\u003cstrong>Jan. 25–28\u003c/strong>: How does one choreograph a show about midcentury modern furniture? For Kristin Damrow, \u003ca href=\"https://ww2.kqed.org/arts/2018/01/17/a-new-dance-show-about-ray-and-charles-eames/\" rel=\"noopener\" target=\"_blank\">Ray and Charles Eames serve as perfect inspiration\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Jan. 26–Feb. 4\u003c/strong>: You ain’t seen nothin’ ’til you’ve seen a film at \u003ca href=\"https://ww2.kqed.org/arts/2018/01/17/on-the-big-screen-noir-tales-from-the-cold-hard-streets/\" rel=\"noopener\" target=\"_blank\">Noir City, the grittiest little long-running film noir festival in town\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb 19–25\u003c/strong>: Bending with the zeitgeist, \u003ca href=\"https://ww2.kqed.org/arts/2018/01/05/complete-noise-pop-lineup-is-here-now-with-extra-rap-and-rb/\" rel=\"noopener\" target=\"_blank\">Noise Pop has added some rappers and R&B artists\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-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\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 197,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 10
},
"modified": 1705028746,
"excerpt": "This week on the Do List, we're talking about Sketchfest, Noise Pop, Noir City, Lee \"Scratch\" Perry, and an intriguing new dance show based on Ray and Charles Eames.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "This week on the Do List, we're talking about Sketchfest, Noise Pop, Noir City, Lee "Scratch" Perry, and an intriguing new dance show based on Ray and Charles Eames.",
"title": "On The Air: Suzie and Gabe's Picks for Jan. 19, 2018 | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "On The Air: Suzie and Gabe's Picks for Jan. 19, 2018",
"datePublished": "2018-01-17T19:00:24-08:00",
"dateModified": "2024-01-11T19:05:46-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "on-the-air-suzie-and-gabes-picks-for-jan-19-2018",
"status": "publish",
"audioUrl": "https://www.kqed.org/.stream/anon/radio/thedolist/2018/01/TDL20180119.mp3",
"sticky": false,
"path": "/arts/13819451/on-the-air-suzie-and-gabes-picks-for-jan-19-2018",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Our main squeeze Cy Musiker is away, which means Suzie Racho is the orange juice to my Champagne for this week’s Do List. We’re talking about three erstwhile traditions in San Francisco — Noir City, Sketchfest and Noise Pop — and a few outliers that caught our eye. All are smooth as a morning cocktail.\u003c/p>\n\u003cp>On with the show!\u003c/p>\n\u003cp>\u003cstrong>Now through Jan. 28\u003c/strong>: There’s some \u003ca href=\"https://ww2.kqed.org/arts/2018/01/17/80s-movies-cabaret-jazz-and-made-up-musicals/\" rel=\"noopener\" target=\"_blank\">offbeat musical mayhem happening at Sketchfest\u003c/a> this year, with Jeff Goldblum, Kevin McDonald and more.\u003c/p>\n\u003cp>\u003cstrong>Jan. 24\u003c/strong>: He sings. He plays. He rambles about aliens. \u003ca href=\"https://ww2.kqed.org/arts/2018/01/17/the-glittery-space-obsessed-reggae-producer-ahead-of-his-time/\" rel=\"noopener\" target=\"_blank\">He’s Lee “Scratch” Perry, and he’s the most innovative thing to happen to the studio remix\u003c/a>. \u003c/p>\n\u003cp>\u003cstrong>Jan. 25–28\u003c/strong>: How does one choreograph a show about midcentury modern furniture? For Kristin Damrow, \u003ca href=\"https://ww2.kqed.org/arts/2018/01/17/a-new-dance-show-about-ray-and-charles-eames/\" rel=\"noopener\" target=\"_blank\">Ray and Charles Eames serve as perfect inspiration\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Jan. 26–Feb. 4\u003c/strong>: You ain’t seen nothin’ ’til you’ve seen a film at \u003ca href=\"https://ww2.kqed.org/arts/2018/01/17/on-the-big-screen-noir-tales-from-the-cold-hard-streets/\" rel=\"noopener\" target=\"_blank\">Noir City, the grittiest little long-running film noir festival in town\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb 19–25\u003c/strong>: Bending with the zeitgeist, \u003ca href=\"https://ww2.kqed.org/arts/2018/01/05/complete-noise-pop-lineup-is-here-now-with-extra-rap-and-rb/\" rel=\"noopener\" target=\"_blank\">Noise Pop has added some rappers and R&B artists\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-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\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13819451/on-the-air-suzie-and-gabes-picks-for-jan-19-2018",
"authors": [
"185"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_968",
"arts_966",
"arts_74",
"arts_69"
],
"tags": [
"arts_3670",
"arts_549",
"arts_1118",
"arts_977",
"arts_1022",
"arts_596",
"arts_1406"
],
"featImg": "arts_13819465",
"label": "arts_140"
},
"arts_13819427": {
"type": "posts",
"id": "arts_13819427",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13819427",
"score": null,
"sort": [
1516237179000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1516237179,
"format": "standard",
"title": "On the Big Screen, Noir Tales From the Cold, Hard Streets",
"headTitle": "On the Big Screen, Noir Tales From the Cold, Hard Streets | KQED",
"content": "\u003cp>One of our favorite events in San Francisco is an annual celebration of mystery and intrigue: the Noir City festival, getting underway this year on Jan. 26 at the Castro Theater. This year’s lineup of film noir includes \u003cem>The Big Heat\u003c/em> with Glenn Ford & Gloria Grahame; \u003cem>The Underworld Story\u003c/em>, about a small-town newspaper; and Veronica Lake and Alan Ladd in a terrific pair of films, \u003cem>Blue Dahlia\u003c/em> and \u003cem>This Gun for Hire\u003c/em>.\u003c/p>\n\u003cp>Noir City is one of those festivals that you almost can’t go to just once. The screenings are full of backstory and context from presenters, and there are always movies that even the most hardcore film buff hasn’t ever seen. Of course, the familiar movies are fun to watch too; I love \u003cem>Shadow of a Doubt\u003c/em>, filmed in my hometown, Santa Rosa, in the 1940s. With so many changes going on in Santa Rosa lately — the Courthouse Square reunification, the SMART Train, and of course the fires — it’s a fantastic capture of what the city used to be like in 1943, dark underbelly and all. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HHEu5vXUusc\u003c/p>\n\u003cp>But Noir City is really all about the obscure noir films that slipped through the cracks – the festival organizers even fund restorations of 35mm prints. This year brings the debut of a restoration of \u003cem>The Man Who Cheated Himself\u003c/em>, with Lee J. Cobb and Jane Wyatt, from 1950 (above). The 16th annual Noir City Festival runs Jan. 26–Feb. 4 at the Castro Theatre. \u003ca href=\"http://www.noircity.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 266,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 5
},
"modified": 1705028750,
"excerpt": "The Noir City festival returns to the Castro with gritty tales of dashing dames and deals gone bad.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The Noir City festival returns to the Castro with gritty tales of dashing dames and deals gone bad.",
"title": "On the Big Screen, Noir Tales From the Cold, Hard Streets | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "On the Big Screen, Noir Tales From the Cold, Hard Streets",
"datePublished": "2018-01-17T16:59:39-08:00",
"dateModified": "2024-01-11T19:05:50-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "on-the-big-screen-noir-tales-from-the-cold-hard-streets",
"status": "publish",
"sticky": false,
"path": "/arts/13819427/on-the-big-screen-noir-tales-from-the-cold-hard-streets",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of our favorite events in San Francisco is an annual celebration of mystery and intrigue: the Noir City festival, getting underway this year on Jan. 26 at the Castro Theater. This year’s lineup of film noir includes \u003cem>The Big Heat\u003c/em> with Glenn Ford & Gloria Grahame; \u003cem>The Underworld Story\u003c/em>, about a small-town newspaper; and Veronica Lake and Alan Ladd in a terrific pair of films, \u003cem>Blue Dahlia\u003c/em> and \u003cem>This Gun for Hire\u003c/em>.\u003c/p>\n\u003cp>Noir City is one of those festivals that you almost can’t go to just once. The screenings are full of backstory and context from presenters, and there are always movies that even the most hardcore film buff hasn’t ever seen. Of course, the familiar movies are fun to watch too; I love \u003cem>Shadow of a Doubt\u003c/em>, filmed in my hometown, Santa Rosa, in the 1940s. With so many changes going on in Santa Rosa lately — the Courthouse Square reunification, the SMART Train, and of course the fires — it’s a fantastic capture of what the city used to be like in 1943, dark underbelly and all. \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/HHEu5vXUusc'\n title='//www.youtube.com/embed/HHEu5vXUusc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But Noir City is really all about the obscure noir films that slipped through the cracks – the festival organizers even fund restorations of 35mm prints. This year brings the debut of a restoration of \u003cem>The Man Who Cheated Himself\u003c/em>, with Lee J. Cobb and Jane Wyatt, from 1950 (above). The 16th annual Noir City Festival runs Jan. 26–Feb. 4 at the Castro Theatre. \u003ca href=\"http://www.noircity.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13819427/on-the-big-screen-noir-tales-from-the-cold-hard-streets",
"authors": [
"185"
],
"programs": [
"arts_140"
],
"categories": [
"arts_74"
],
"tags": [
"arts_3669",
"arts_3670",
"arts_977",
"arts_596"
],
"featImg": "arts_13819441",
"label": "arts_140"
},
"arts_13819217": {
"type": "posts",
"id": "arts_13819217",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13819217",
"score": null,
"sort": [
1516150804000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1516150804,
"format": "standard",
"title": "Now Playing! John Hawkes Wades into ‘Small Town Crime’",
"headTitle": "Now Playing! John Hawkes Wades into ‘Small Town Crime’ | KQED",
"content": "\u003cp>The quintessential protagonist of modern movie morality plays is the fatalistic, borderline unethical private eye. From Sam Spade to J.J. Gittes, from Philip Marlowe to Easy Rawlins, they fit a certain mold: Cynical, self-reliant guys whose daily immersion in the world of vice has eroded their belief in justice. Then a case comes along, inevitably involving a female client, that lights their honest path back to civilization.\u003c/p>\n\u003cp>Ex-cop Mike Kendall (John Hawkes), the low-key hero of brothers Eshom and Ian Nelms’ enjoyable indie slugfest \u003cem>Small Town Crime\u003c/em> (opening Friday, Jan. 19 at the \u003ca href=\"https://www.lntsf.com/presidio/\" target=\"_blank\" rel=\"noopener\">Presidio\u003c/a>), wasn’t burned out by bribes and betrayals. His tenure on the force was short-circuited by an addiction to booze. So Kendall is unemployed and hung over, but his sense of right and wrong — and his observation skills — are intact.\u003c/p>\n\u003cp>https://youtu.be/c63I7rjWcYw\u003c/p>\n\u003cp>This lack of ambiguity makes Kendall a less conflicted and therefore less interesting figure, but Hawkes’ wry likability puts us in his corner. When Kendall sees a woman’s body on the side of the open road (Utah doubling for California), he isn’t content to let his old police cohorts handle the case. He may harbor a long-shot hope that he’ll get rehired if he proves his diligence and competence, but his real bottom line is that finding the murderer is the right thing to do.\u003c/p>\n\u003cp>Kendall’s the kind of private eye who downs his beers and shots without the pretense of a moral dilemma to work through. He doesn’t smoke, which places the movie in the 21st century, but there’s a more explicit contemporary touch: His sister, Kelly (an acerbic Octavia Spencer), is black. The backstory is that Mike was adopted as a child by her family, so their colorblind rapport is believable — though the Nelmses could have played a lot more with a color-aware audience’s expectations.\u003c/p>\n\u003cfigure id=\"attachment_13819277\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/STC-Octavia-Spencer-John-Hawkes-Credit-Steve-Olpin-IMG_2854_1200.jpg\" alt=\"Octavia Spence and John Hawkes in 'Small Town Crime.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13819277\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/STC-Octavia-Spencer-John-Hawkes-Credit-Steve-Olpin-IMG_2854_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/STC-Octavia-Spencer-John-Hawkes-Credit-Steve-Olpin-IMG_2854_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/STC-Octavia-Spencer-John-Hawkes-Credit-Steve-Olpin-IMG_2854_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/STC-Octavia-Spencer-John-Hawkes-Credit-Steve-Olpin-IMG_2854_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/STC-Octavia-Spencer-John-Hawkes-Credit-Steve-Olpin-IMG_2854_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/STC-Octavia-Spencer-John-Hawkes-Credit-Steve-Olpin-IMG_2854_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/STC-Octavia-Spencer-John-Hawkes-Credit-Steve-Olpin-IMG_2854_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/STC-Octavia-Spencer-John-Hawkes-Credit-Steve-Olpin-IMG_2854_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/STC-Octavia-Spencer-John-Hawkes-Credit-Steve-Olpin-IMG_2854_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/STC-Octavia-Spencer-John-Hawkes-Credit-Steve-Olpin-IMG_2854_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Octavia Spence and John Hawkes in ‘Small Town Crime.’ \u003ccite>(Photo by Steve Olpin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As it is, the extent of the social commentary in \u003cem>Small Town Crime\u003c/em> is to suggest that white-collar nouveau riche types have no qualms about hiring hit men to bury their crimes. The Elmes brothers are conscientious enough to account for every stray character and smart enough to connect every plot strand, but they don’t deliver the subplots or subtext of cinematic crime storytellers such as the Coen Brothers, Quentin Tarantino, Taylor Sheridan (\u003cem>Hell or High Water\u003c/em>, \u003cem>Wind River\u003c/em>) or Martin McDonagh.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That said, \u003cem>Small Town Crime\u003c/em> is an entertaining genre piece with uncommon heart and soul, and sufficient action and sordid insinuations. Hawkes keeps us rooting for Kendall through the climactic showdown to the epilogue, when the door swings wide open for the now-established private eye to return in another flick or a TV series.\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>\u003ci>‘Small Town Crime’ opens at the Presidio Theater in San Francisco on Jan. 19. For more information, \u003ca href=\"https://www.lntsf.com/presidio/\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 510,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 10
},
"modified": 1705028762,
"excerpt": "Instead of your typical cynical private eye, John Hawkes plays a man with a functional moral compass.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Instead of your typical cynical private eye, John Hawkes plays a man with a functional moral compass.",
"title": "Now Playing! John Hawkes Wades into ‘Small Town Crime’ | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Now Playing! John Hawkes Wades into ‘Small Town Crime’",
"datePublished": "2018-01-16T17:00:04-08:00",
"dateModified": "2024-01-11T19:06:02-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "now-playing-john-hawkes-wades-into-small-town-crime",
"status": "publish",
"sticky": false,
"path": "/arts/13819217/now-playing-john-hawkes-wades-into-small-town-crime",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The quintessential protagonist of modern movie morality plays is the fatalistic, borderline unethical private eye. From Sam Spade to J.J. Gittes, from Philip Marlowe to Easy Rawlins, they fit a certain mold: Cynical, self-reliant guys whose daily immersion in the world of vice has eroded their belief in justice. Then a case comes along, inevitably involving a female client, that lights their honest path back to civilization.\u003c/p>\n\u003cp>Ex-cop Mike Kendall (John Hawkes), the low-key hero of brothers Eshom and Ian Nelms’ enjoyable indie slugfest \u003cem>Small Town Crime\u003c/em> (opening Friday, Jan. 19 at the \u003ca href=\"https://www.lntsf.com/presidio/\" target=\"_blank\" rel=\"noopener\">Presidio\u003c/a>), wasn’t burned out by bribes and betrayals. His tenure on the force was short-circuited by an addiction to booze. So Kendall is unemployed and hung over, but his sense of right and wrong — and his observation skills — are intact.\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/c63I7rjWcYw'\n title='//www.youtube.com/embed/c63I7rjWcYw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This lack of ambiguity makes Kendall a less conflicted and therefore less interesting figure, but Hawkes’ wry likability puts us in his corner. When Kendall sees a woman’s body on the side of the open road (Utah doubling for California), he isn’t content to let his old police cohorts handle the case. He may harbor a long-shot hope that he’ll get rehired if he proves his diligence and competence, but his real bottom line is that finding the murderer is the right thing to do.\u003c/p>\n\u003cp>Kendall’s the kind of private eye who downs his beers and shots without the pretense of a moral dilemma to work through. He doesn’t smoke, which places the movie in the 21st century, but there’s a more explicit contemporary touch: His sister, Kelly (an acerbic Octavia Spencer), is black. The backstory is that Mike was adopted as a child by her family, so their colorblind rapport is believable — though the Nelmses could have played a lot more with a color-aware audience’s expectations.\u003c/p>\n\u003cfigure id=\"attachment_13819277\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/STC-Octavia-Spencer-John-Hawkes-Credit-Steve-Olpin-IMG_2854_1200.jpg\" alt=\"Octavia Spence and John Hawkes in 'Small Town Crime.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13819277\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/STC-Octavia-Spencer-John-Hawkes-Credit-Steve-Olpin-IMG_2854_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/STC-Octavia-Spencer-John-Hawkes-Credit-Steve-Olpin-IMG_2854_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/STC-Octavia-Spencer-John-Hawkes-Credit-Steve-Olpin-IMG_2854_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/STC-Octavia-Spencer-John-Hawkes-Credit-Steve-Olpin-IMG_2854_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/STC-Octavia-Spencer-John-Hawkes-Credit-Steve-Olpin-IMG_2854_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/STC-Octavia-Spencer-John-Hawkes-Credit-Steve-Olpin-IMG_2854_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/STC-Octavia-Spencer-John-Hawkes-Credit-Steve-Olpin-IMG_2854_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/STC-Octavia-Spencer-John-Hawkes-Credit-Steve-Olpin-IMG_2854_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/STC-Octavia-Spencer-John-Hawkes-Credit-Steve-Olpin-IMG_2854_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/STC-Octavia-Spencer-John-Hawkes-Credit-Steve-Olpin-IMG_2854_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Octavia Spence and John Hawkes in ‘Small Town Crime.’ \u003ccite>(Photo by Steve Olpin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As it is, the extent of the social commentary in \u003cem>Small Town Crime\u003c/em> is to suggest that white-collar nouveau riche types have no qualms about hiring hit men to bury their crimes. The Elmes brothers are conscientious enough to account for every stray character and smart enough to connect every plot strand, but they don’t deliver the subplots or subtext of cinematic crime storytellers such as the Coen Brothers, Quentin Tarantino, Taylor Sheridan (\u003cem>Hell or High Water\u003c/em>, \u003cem>Wind River\u003c/em>) or Martin McDonagh.\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>That said, \u003cem>Small Town Crime\u003c/em> is an entertaining genre piece with uncommon heart and soul, and sufficient action and sordid insinuations. Hawkes keeps us rooting for Kendall through the climactic showdown to the epilogue, when the door swings wide open for the now-established private eye to return in another flick or a TV series.\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>\u003ci>‘Small Town Crime’ opens at the Presidio Theater in San Francisco on Jan. 19. For more information, \u003ca href=\"https://www.lntsf.com/presidio/\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13819217/now-playing-john-hawkes-wades-into-small-town-crime",
"authors": [
"22"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_596",
"arts_769"
],
"featImg": "arts_13819276",
"label": "arts"
},
"arts_13818910": {
"type": "posts",
"id": "arts_13818910",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13818910",
"score": null,
"sort": [
1515772838000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1515772838,
"format": "standard",
"title": "Tender 'Film Stars Don’t Die' Shaped by Memories and Sorrow",
"headTitle": "Tender ‘Film Stars Don’t Die’ Shaped by Memories and Sorrow | KQED",
"content": "\u003cp>When Peter Turner met Gloria Grahame in 1979, her Hollywood career was over. At the time, the 27-year-old Liverpudlian was a struggling actor looking for work in London. When she moved into a flat in his boarding house, he didn’t recognize the Oscar-winning actress from her starring roles in classic films like \u003cem>In a Lonely Place\u003c/em> (1950) with Humphrey Bogart or \u003cem>The Bad and the Beautiful\u003c/em> (1952). What he did pay attention to was their mutual attraction, despite the 28-year age gap between them.\u003c/p>\n\u003cp>Paul McGuigan’s movie \u003cem>Film Stars Don’t Die in Liverpool\u003c/em>, based on Turner’s memoir, dramatizes their romance, break-up and the illness that drew her back to him. Speaking over the phone from his home in Scotland, the director of action films like \u003cem>Lucky Number Slevin\u003c/em> and \u003cem>Gangster No. 1\u003c/em> talks about making a film in a quieter genre, one that seems, from his resume at least, uncharacteristically tender and restrained. But McGuigan offers a corrective to that assessment.\u003c/p>\n\u003cfigure id=\"attachment_13818913\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13818913\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/4_director.jpg\" alt=\"Left to right: Annette Bening, Jamie Bell and director Paul McGuigan on the set of 'Film Stars Don't Die in Liverpool.'\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/4_director.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/4_director-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/4_director-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/4_director-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/4_director-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/4_director-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/4_director-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/4_director-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/4_director-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/4_director-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Left to right: Annette Bening, Jamie Bell and director Paul McGuigan on the set of ‘Film Stars Don’t Die in Liverpool.’ \u003ccite>(Photo by Susie Allnutt, Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of his previous films the director says, “They’ve all had an emotional center to them. I’m a 50-year-old man so I understand heartache, love, lust. Plus the screenplay had it, and Peter’s story was so muddied with the emotionality.” In Turner’s memoir, Grahame was the pivotal figure in his life.\u003c/p>\n\u003cp>McGuigan understood what that meant for him. “We’ve all met someone who has changed our lives, and for good or for bad,” he says. “But he wasn’t really wanting to write a book. It was more free flowing, from one memory into another memory.”\u003c/p>\n\u003cp>The director created a visual equivalent to mimic the way memories ebb and flow in Turner’s mind. “I wanted the audience to be taken in this journey. I didn’t want to break the spell,” McGuigan explains. “I wanted to build sets that were back-to-back to each other so that either Jamie Bell (Peter Turner) or Annette Bening (Gloria Grahame) could walk through their memory. The camera basically never cuts. It’s quite theatrical in its concept.”\u003c/p>\n\u003cfigure id=\"attachment_13818915\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13818915\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/2_mirror.jpg\" alt=\"Annette Bening as Gloria Grahame.\" width=\"1200\" height=\"798\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/2_mirror.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/2_mirror-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/2_mirror-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/2_mirror-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/2_mirror-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/2_mirror-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/2_mirror-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/2_mirror-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/2_mirror-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/2_mirror-520x346.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Annette Bening as Gloria Grahame. \u003ccite>(Photo by Susie Allnutt, Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One example of this technique happens in a scene where Turner sits in his parents’ house, about to call Grahame’s son in California. McGuigan recalls, “We built, for instance, the Liverpool house onto the Los Angeles airport arrivals terminal. The idea was that suddenly he’s talking about an American phone number to contact the family about Grahame’s illness. And then suddenly he remembers his first time arriving in Los Angeles [to visit her] and boom, you’re straight into it.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As the camera follows him, we become particularly attuned to Turner’s grief because of this fluidity between the past — before Grahame’s death — and, afterwards, as he mourns her absence.\u003c/p>\n\u003cp>“When I first met Annette for the part, the first thing she said to me, which rang true, was, ‘I don’t want this to be about an old lady dying in a room. I don’t want it to be sentimental’,” McGuigan says. “I was like, that’s brilliant because that’s really what I was gonna say as well. You don’t need to be putting the violins down, you don’t need to be putting big scores down, it’s a very simple story in its truth. But it’s a timeless story, isn’t it, people falling in love.”\u003c/p>\n\u003cfigure id=\"attachment_13818912\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13818912\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/3_telephone.jpg\" alt=\"Jamie Bell as Peter Turner.\" width=\"1200\" height=\"799\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/3_telephone.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/3_telephone-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/3_telephone-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/3_telephone-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/3_telephone-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/3_telephone-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/3_telephone-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/3_telephone-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/3_telephone-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/3_telephone-520x346.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jamie Bell as Peter Turner. \u003ccite>(Photo by Susie Allnutt, Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bening’s great scene in the film comes in a close-up, when she finally accepts the gravity of her condition. As much as the movie is Peter’s story, her work in such scenes convinced McGuigan to include more of Gloria’s perspective. “The cinematographer, Urszula Pontikos, who operated the camera, I remember her taking the camera away and she was in floods of tears,” the director says. “She had to go away for 10 minutes. It was obviously too much. That’s when I knew that very moment was the scene where we changed the point of view into Gloria’s.”\u003c/p>\n\u003cp>McGuigan first experimented with translating a character’s unspoken thoughts to the audience while directing several episodes of the recent TV series \u003cem>Sherlock\u003c/em> (starring Benedict Cumberbatch). “With \u003cem>Sherlock\u003c/em>, we used the text up on the screen and we used all these different layers of visualizations,” he says. “It’s breaking the fourth wall a little bit because you’re showing the mechanics of how something works rather than hiding it.”\u003c/p>\n\u003cp>\u003cem>Film Stars Don’t Die in Liverpool\u003c/em> too finds a way to break the fourth wall without canceling out our willing suspension of disbelief. But it’s the lack of one other ingredient — saccharine — that makes the emotional life of a film about a faded movie star feel true and real.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Film Stars Don’t Die in Liverpool’ opens Friday, Jan. 12 at the Landmark Clay Theatre in San Francisco and Jan. 19 at theaters in Berkeley, Palo Alto, Pleasant Hill and San Rafael. For more information, \u003ca href=\"https://www.landmarktheatres.com/san-francisco/clay-theatre/film-info/film-stars-dont-die-in-liverpool\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 967,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 15
},
"modified": 1705028779,
"excerpt": "Talking with director Paul McGuigan about age, attraction, and his new film about the love affair of the final days of Hollywood star Gloria Grahame. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Talking with director Paul McGuigan about age, attraction, and his new film about the love affair of the final days of Hollywood star Gloria Grahame. ",
"title": "Tender 'Film Stars Don’t Die' Shaped by Memories and Sorrow | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Tender 'Film Stars Don’t Die' Shaped by Memories and Sorrow",
"datePublished": "2018-01-12T08:00:38-08:00",
"dateModified": "2024-01-11T19:06:19-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "film-stars-dont-die-in-liverpool",
"status": "publish",
"sticky": false,
"path": "/arts/13818910/film-stars-dont-die-in-liverpool",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Peter Turner met Gloria Grahame in 1979, her Hollywood career was over. At the time, the 27-year-old Liverpudlian was a struggling actor looking for work in London. When she moved into a flat in his boarding house, he didn’t recognize the Oscar-winning actress from her starring roles in classic films like \u003cem>In a Lonely Place\u003c/em> (1950) with Humphrey Bogart or \u003cem>The Bad and the Beautiful\u003c/em> (1952). What he did pay attention to was their mutual attraction, despite the 28-year age gap between them.\u003c/p>\n\u003cp>Paul McGuigan’s movie \u003cem>Film Stars Don’t Die in Liverpool\u003c/em>, based on Turner’s memoir, dramatizes their romance, break-up and the illness that drew her back to him. Speaking over the phone from his home in Scotland, the director of action films like \u003cem>Lucky Number Slevin\u003c/em> and \u003cem>Gangster No. 1\u003c/em> talks about making a film in a quieter genre, one that seems, from his resume at least, uncharacteristically tender and restrained. But McGuigan offers a corrective to that assessment.\u003c/p>\n\u003cfigure id=\"attachment_13818913\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13818913\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/4_director.jpg\" alt=\"Left to right: Annette Bening, Jamie Bell and director Paul McGuigan on the set of 'Film Stars Don't Die in Liverpool.'\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/4_director.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/4_director-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/4_director-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/4_director-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/4_director-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/4_director-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/4_director-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/4_director-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/4_director-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/4_director-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Left to right: Annette Bening, Jamie Bell and director Paul McGuigan on the set of ‘Film Stars Don’t Die in Liverpool.’ \u003ccite>(Photo by Susie Allnutt, Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of his previous films the director says, “They’ve all had an emotional center to them. I’m a 50-year-old man so I understand heartache, love, lust. Plus the screenplay had it, and Peter’s story was so muddied with the emotionality.” In Turner’s memoir, Grahame was the pivotal figure in his life.\u003c/p>\n\u003cp>McGuigan understood what that meant for him. “We’ve all met someone who has changed our lives, and for good or for bad,” he says. “But he wasn’t really wanting to write a book. It was more free flowing, from one memory into another memory.”\u003c/p>\n\u003cp>The director created a visual equivalent to mimic the way memories ebb and flow in Turner’s mind. “I wanted the audience to be taken in this journey. I didn’t want to break the spell,” McGuigan explains. “I wanted to build sets that were back-to-back to each other so that either Jamie Bell (Peter Turner) or Annette Bening (Gloria Grahame) could walk through their memory. The camera basically never cuts. It’s quite theatrical in its concept.”\u003c/p>\n\u003cfigure id=\"attachment_13818915\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13818915\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/2_mirror.jpg\" alt=\"Annette Bening as Gloria Grahame.\" width=\"1200\" height=\"798\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/2_mirror.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/2_mirror-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/2_mirror-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/2_mirror-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/2_mirror-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/2_mirror-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/2_mirror-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/2_mirror-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/2_mirror-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/2_mirror-520x346.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Annette Bening as Gloria Grahame. \u003ccite>(Photo by Susie Allnutt, Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One example of this technique happens in a scene where Turner sits in his parents’ house, about to call Grahame’s son in California. McGuigan recalls, “We built, for instance, the Liverpool house onto the Los Angeles airport arrivals terminal. The idea was that suddenly he’s talking about an American phone number to contact the family about Grahame’s illness. And then suddenly he remembers his first time arriving in Los Angeles [to visit her] and boom, you’re straight into it.”\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>As the camera follows him, we become particularly attuned to Turner’s grief because of this fluidity between the past — before Grahame’s death — and, afterwards, as he mourns her absence.\u003c/p>\n\u003cp>“When I first met Annette for the part, the first thing she said to me, which rang true, was, ‘I don’t want this to be about an old lady dying in a room. I don’t want it to be sentimental’,” McGuigan says. “I was like, that’s brilliant because that’s really what I was gonna say as well. You don’t need to be putting the violins down, you don’t need to be putting big scores down, it’s a very simple story in its truth. But it’s a timeless story, isn’t it, people falling in love.”\u003c/p>\n\u003cfigure id=\"attachment_13818912\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13818912\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/3_telephone.jpg\" alt=\"Jamie Bell as Peter Turner.\" width=\"1200\" height=\"799\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/3_telephone.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/3_telephone-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/3_telephone-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/3_telephone-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/3_telephone-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/3_telephone-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/3_telephone-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/3_telephone-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/3_telephone-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/3_telephone-520x346.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jamie Bell as Peter Turner. \u003ccite>(Photo by Susie Allnutt, Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bening’s great scene in the film comes in a close-up, when she finally accepts the gravity of her condition. As much as the movie is Peter’s story, her work in such scenes convinced McGuigan to include more of Gloria’s perspective. “The cinematographer, Urszula Pontikos, who operated the camera, I remember her taking the camera away and she was in floods of tears,” the director says. “She had to go away for 10 minutes. It was obviously too much. That’s when I knew that very moment was the scene where we changed the point of view into Gloria’s.”\u003c/p>\n\u003cp>McGuigan first experimented with translating a character’s unspoken thoughts to the audience while directing several episodes of the recent TV series \u003cem>Sherlock\u003c/em> (starring Benedict Cumberbatch). “With \u003cem>Sherlock\u003c/em>, we used the text up on the screen and we used all these different layers of visualizations,” he says. “It’s breaking the fourth wall a little bit because you’re showing the mechanics of how something works rather than hiding it.”\u003c/p>\n\u003cp>\u003cem>Film Stars Don’t Die in Liverpool\u003c/em> too finds a way to break the fourth wall without canceling out our willing suspension of disbelief. But it’s the lack of one other ingredient — saccharine — that makes the emotional life of a film about a faded movie star feel true and real.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Film Stars Don’t Die in Liverpool’ opens Friday, Jan. 12 at the Landmark Clay Theatre in San Francisco and Jan. 19 at theaters in Berkeley, Palo Alto, Pleasant Hill and San Rafael. For more information, \u003ca href=\"https://www.landmarktheatres.com/san-francisco/clay-theatre/film-info/film-stars-dont-die-in-liverpool\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13818910/film-stars-dont-die-in-liverpool",
"authors": [
"42"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_596"
],
"featImg": "arts_13818957",
"label": "arts"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"radioSearchSegmentsReducer": {},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"racesGenElection2026PresidentialReducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?category=movies": {
"isFetching": false,
"latestQuery": {
"from": 1680,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 3264,
"relation": "eq"
},
"items": [
"arts_13823098",
"arts_13820341",
"arts_13820326",
"arts_13820068",
"arts_13820054",
"arts_13819809",
"arts_13819496",
"arts_13819512",
"arts_13819451",
"arts_13819427",
"arts_13819217",
"arts_13818910"
],
"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_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_1448": {
"type": "terms",
"id": "arts_1448",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1448",
"found": true
},
"relationships": {},
"featImg": null,
"name": "art wire",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "art wire Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1460,
"slug": "art-wire",
"isLoading": false,
"link": "/arts/tag/art-wire"
},
"arts_3785": {
"type": "terms",
"id": "arts_3785",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3785",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Mister Rogers",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Mister Rogers Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3797,
"slug": "mister-rogers",
"isLoading": false,
"link": "/arts/tag/mister-rogers"
},
"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_2882": {
"type": "terms",
"id": "arts_2882",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2882",
"found": true
},
"relationships": {},
"featImg": null,
"name": "tom hanks",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "tom hanks Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2894,
"slug": "tom-hanks",
"isLoading": false,
"link": "/arts/tag/tom-hanks"
},
"arts_928": {
"type": "terms",
"id": "arts_928",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "928",
"found": true
},
"relationships": {},
"featImg": null,
"name": "books",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "books Archives | KQED Arts",
"ogDescription": null
},
"ttid": 946,
"slug": "books",
"isLoading": false,
"link": "/arts/tag/books"
},
"arts_1118": {
"type": "terms",
"id": "arts_1118",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1118",
"found": true
},
"relationships": {},
"featImg": null,
"name": "featured",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "featured Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1135,
"slug": "featured",
"isLoading": false,
"link": "/arts/tag/featured"
},
"arts_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_5849": {
"type": "terms",
"id": "arts_5849",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5849",
"found": true
},
"relationships": {},
"featImg": null,
"name": "long",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "long Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5861,
"slug": "long",
"isLoading": false,
"link": "/arts/tag/long"
},
"arts_1006": {
"type": "terms",
"id": "arts_1006",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1006",
"found": true
},
"relationships": {},
"featImg": null,
"name": "guide",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "guide Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1023,
"slug": "guide",
"isLoading": false,
"link": "/arts/tag/guide"
},
"arts_3772": {
"type": "terms",
"id": "arts_3772",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3772",
"found": true
},
"relationships": {},
"name": "SFFILM",
"slug": "sffilm",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "SFFILM | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 3784,
"isLoading": false,
"link": "/arts/tag/sffilm"
},
"arts_1381": {
"type": "terms",
"id": "arts_1381",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1381",
"found": true
},
"relationships": {},
"featImg": null,
"name": "SFMOMA",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "SFMOMA Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1393,
"slug": "sfmoma",
"isLoading": false,
"link": "/arts/tag/sfmoma"
},
"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_3500": {
"type": "terms",
"id": "arts_3500",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3500",
"found": true
},
"relationships": {},
"featImg": "https://ww2.kqed.org/app/uploads/sites/2/2017/12/MosesFinal.jpg",
"name": "Behind the Lens",
"description": "\u003cstrong>\u003cem>Behind the Lens\u003c/em>\u003c/strong> is a KQED Arts web video series featuring up and coming Bay Area documentary and narrative filmmakers, committed to telling compelling stories about our communities and their aspirations.",
"taxonomy": "series",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": "Behind the Lens is a KQED Arts web video series featuring up and coming Bay Area documentary and narrative filmmakers, committed to telling compelling stories about our communities and their aspirations.",
"title": "Behind the Lens Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3512,
"slug": "behind-the-lens",
"isLoading": false,
"link": "/arts/series/behind-the-lens"
},
"arts_2771": {
"type": "terms",
"id": "arts_2771",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2771",
"found": true
},
"relationships": {},
"featImg": null,
"name": "behind the lens",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "behind the lens Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2783,
"slug": "behind-the-lens",
"isLoading": false,
"link": "/arts/tag/behind-the-lens"
},
"arts_3156": {
"type": "terms",
"id": "arts_3156",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3156",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Black Lives Matter",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Black Lives Matter Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3168,
"slug": "black-lives-matter",
"isLoading": false,
"link": "/arts/tag/black-lives-matter"
},
"arts_4205": {
"type": "terms",
"id": "arts_4205",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4205",
"found": true
},
"relationships": {},
"featImg": null,
"name": "latest video",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "latest video Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4217,
"slug": "latest-video",
"isLoading": false,
"link": "/arts/tag/latest-video"
},
"arts_4730": {
"type": "terms",
"id": "arts_4730",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4730",
"found": true
},
"relationships": {},
"featImg": null,
"name": "police",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "police Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4742,
"slug": "police",
"isLoading": false,
"link": "/arts/tag/police"
},
"arts_4204": {
"type": "terms",
"id": "arts_4204",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4204",
"found": true
},
"relationships": {},
"featImg": null,
"name": "top video",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "top video Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4216,
"slug": "top-video",
"isLoading": false,
"link": "/arts/tag/top-video"
},
"arts_1007": {
"type": "terms",
"id": "arts_1007",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1007",
"found": true
},
"relationships": {},
"featImg": null,
"name": "video",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "video Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1024,
"slug": "video",
"isLoading": false,
"link": "/arts/tag/video"
},
"arts_3701": {
"type": "terms",
"id": "arts_3701",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3701",
"found": true
},
"relationships": {},
"featImg": null,
"name": "academy awards",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "academy awards Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3713,
"slug": "academy-awards",
"isLoading": false,
"link": "/arts/tag/academy-awards"
},
"arts_12322": {
"type": "terms",
"id": "arts_12322",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "12322",
"found": true
},
"relationships": {},
"featImg": null,
"name": "films",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "films Archives | KQED Arts",
"ogDescription": null
},
"ttid": 12334,
"slug": "films",
"isLoading": false,
"link": "/arts/tag/films"
},
"arts_3698": {
"type": "terms",
"id": "arts_3698",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3698",
"found": true
},
"relationships": {},
"featImg": null,
"name": "oscars",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "oscars Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3710,
"slug": "oscars",
"isLoading": false,
"link": "/arts/tag/oscars"
},
"arts_3547": {
"type": "terms",
"id": "arts_3547",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3547",
"found": true
},
"relationships": {},
"featImg": null,
"name": "castro",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "castro Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3559,
"slug": "castro",
"isLoading": false,
"link": "/arts/tag/castro"
},
"arts_3675": {
"type": "terms",
"id": "arts_3675",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3675",
"found": true
},
"relationships": {},
"featImg": null,
"name": "barack obama",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "barack obama Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3687,
"slug": "barack-obama",
"isLoading": false,
"link": "/arts/tag/barack-obama"
},
"arts_5826": {
"type": "terms",
"id": "arts_5826",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5826",
"found": true
},
"relationships": {},
"featImg": null,
"name": "politics",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "politics Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5838,
"slug": "politics",
"isLoading": false,
"link": "/arts/tag/politics"
},
"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_1": {
"type": "terms",
"id": "arts_1",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1,
"slug": "arts",
"isLoading": false,
"link": "/arts/category/arts"
},
"arts_968": {
"type": "terms",
"id": "arts_968",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "968",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Comedy",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Comedy Archives | KQED Arts",
"ogDescription": null
},
"ttid": 986,
"slug": "comedy",
"isLoading": false,
"link": "/arts/category/comedy"
},
"arts_966": {
"type": "terms",
"id": "arts_966",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "966",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Dance",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Dance Archives | KQED Arts",
"ogDescription": null
},
"ttid": 984,
"slug": "dance",
"isLoading": false,
"link": "/arts/category/dance"
},
"arts_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_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_549": {
"type": "terms",
"id": "arts_549",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "549",
"found": true
},
"relationships": {},
"featImg": null,
"name": "comedy",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "comedy Archives | KQED Arts",
"ogDescription": null
},
"ttid": 550,
"slug": "comedy",
"isLoading": false,
"link": "/arts/tag/comedy"
},
"arts_1022": {
"type": "terms",
"id": "arts_1022",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1022",
"found": true
},
"relationships": {},
"featImg": null,
"name": "noise pop",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "noise pop Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1039,
"slug": "noise-pop",
"isLoading": false,
"link": "/arts/tag/noise-pop"
},
"arts_1406": {
"type": "terms",
"id": "arts_1406",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1406",
"found": true
},
"relationships": {},
"featImg": null,
"name": "ODC",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "ODC Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1418,
"slug": "odc",
"isLoading": false,
"link": "/arts/tag/odc"
},
"arts_3669": {
"type": "terms",
"id": "arts_3669",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3669",
"found": true
},
"relationships": {},
"featImg": null,
"name": "alfred hitchcock",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "alfred hitchcock Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3681,
"slug": "alfred-hitchcock",
"isLoading": false,
"link": "/arts/tag/alfred-hitchcock"
}
},
"userPermissionsReducer": {
"wpLoggedIn": false
},
"eventsReducer": {},
"fssReducer": {},
"tvDailyScheduleReducer": {},
"tvWeeklyScheduleReducer": {},
"tvPrimetimeScheduleReducer": {},
"tvMonthlyScheduleReducer": {},
"userAccountReducer": {
"user": {
"email": null,
"emailStatus": "EMAIL_UNVALIDATED",
"loggedStatus": "LOGGED_OUT",
"loggingChecked": false,
"articles": [],
"firstName": null,
"lastName": null,
"phoneNumber": null,
"fetchingMembership": false,
"membershipError": false,
"memberships": [
{
"id": null,
"startDate": null,
"firstName": null,
"lastName": null,
"familyNumber": null,
"memberNumber": null,
"memberSince": null,
"expirationDate": null,
"pfsEligible": false,
"isSustaining": false,
"membershipLevel": "Prospect",
"membershipStatus": "Non Member",
"lastGiftDate": null,
"renewalDate": null,
"lastDonationAmount": null
}
]
},
"authModal": {
"isOpen": false,
"view": "LANDING_VIEW"
},
"error": null
},
"youthMediaReducer": {},
"checkPleaseReducer": {
"filterData": {
"region": {
"key": "Restaurant Region",
"filters": [
"Any Region"
]
},
"cuisine": {
"key": "Restaurant Cuisine",
"filters": [
"Any Cuisine"
]
}
},
"restaurantDataById": {},
"restaurantIdsSorted": [],
"error": null
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
},
"requestOutcomesReducer": {
"notFound": []
},
"navPromosReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": true,
"promos": {
"news": {
"name": "2026 Voter Guide",
"link": "/voterguide",
"imageURL": "https://cdn.kqed.org/wp-content/uploads/2026/10/Nav-News-Nov2026ElectionCoverage@2x-7bd4aad4.png",
"description": "Get informed in minutes with our Voter Guide for California’s November 3 election."
},
"podcasts-radio": {},
"video-tv": {},
"events": {},
"support": {}
}
}
}