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_13816398": {
"type": "attachments",
"id": "arts_13816398",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13816398",
"found": true
},
"parent": 13816397,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/the-disaster-artist-tda-05209r_rgb_wide-e0fa5258f07defe11a72f4924549b4506c7ff217-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/the-disaster-artist-tda-05209r_rgb_wide-e0fa5258f07defe11a72f4924549b4506c7ff217-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/the-disaster-artist-tda-05209r_rgb_wide-e0fa5258f07defe11a72f4924549b4506c7ff217-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/the-disaster-artist-tda-05209r_rgb_wide-e0fa5258f07defe11a72f4924549b4506c7ff217-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/the-disaster-artist-tda-05209r_rgb_wide-e0fa5258f07defe11a72f4924549b4506c7ff217-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/the-disaster-artist-tda-05209r_rgb_wide-e0fa5258f07defe11a72f4924549b4506c7ff217-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/the-disaster-artist-tda-05209r_rgb_wide-e0fa5258f07defe11a72f4924549b4506c7ff217.jpg",
"width": 2400,
"height": 1350
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/the-disaster-artist-tda-05209r_rgb_wide-e0fa5258f07defe11a72f4924549b4506c7ff217-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/the-disaster-artist-tda-05209r_rgb_wide-e0fa5258f07defe11a72f4924549b4506c7ff217-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/the-disaster-artist-tda-05209r_rgb_wide-e0fa5258f07defe11a72f4924549b4506c7ff217-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/the-disaster-artist-tda-05209r_rgb_wide-e0fa5258f07defe11a72f4924549b4506c7ff217-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/the-disaster-artist-tda-05209r_rgb_wide-e0fa5258f07defe11a72f4924549b4506c7ff217-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/the-disaster-artist-tda-05209r_rgb_wide-e0fa5258f07defe11a72f4924549b4506c7ff217-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/the-disaster-artist-tda-05209r_rgb_wide-e0fa5258f07defe11a72f4924549b4506c7ff217-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/the-disaster-artist-tda-05209r_rgb_wide-e0fa5258f07defe11a72f4924549b4506c7ff217-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/the-disaster-artist-tda-05209r_rgb_wide-e0fa5258f07defe11a72f4924549b4506c7ff217-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/the-disaster-artist-tda-05209r_rgb_wide-e0fa5258f07defe11a72f4924549b4506c7ff217-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/the-disaster-artist-tda-05209r_rgb_wide-e0fa5258f07defe11a72f4924549b4506c7ff217-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/the-disaster-artist-tda-05209r_rgb_wide-e0fa5258f07defe11a72f4924549b4506c7ff217-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/the-disaster-artist-tda-05209r_rgb_wide-e0fa5258f07defe11a72f4924549b4506c7ff217-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/the-disaster-artist-tda-05209r_rgb_wide-e0fa5258f07defe11a72f4924549b4506c7ff217-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1512111471,
"modified": 1512114016,
"caption": "Nothing's Gonna Tear Them Apart, Lisa: Greg (Dave Franco) and Tommy (James Franco) wait for the lights to go down in 'The Disaster Artist.'",
"description": "Nothing's Gonna Tear Them Apart, Lisa: Greg (Dave Franco) and Tommy (James Franco) wait for the lights to go down in 'The Disaster Artist.'",
"title": "Nothing's Gonna Tear Them Apart, Lisa: Greg (Dave Franco) and Tommy (James Franco) wait for the lights to go down in The Disaster Artist.",
"credit": "Justina Mintz/courtesy of A24",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13816072": {
"type": "attachments",
"id": "arts_13816072",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13816072",
"found": true
},
"parent": 13816067,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/LadyBountiful_COVER-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/LadyBountiful_COVER-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/LadyBountiful_COVER-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/LadyBountiful_COVER-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/LadyBountiful_COVER-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/LadyBountiful_COVER-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/LadyBountiful_COVER.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/LadyBountiful_COVER-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/LadyBountiful_COVER-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/LadyBountiful_COVER-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/LadyBountiful_COVER-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/LadyBountiful_COVER-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/LadyBountiful_COVER-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/LadyBountiful_COVER-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/LadyBountiful_COVER-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/LadyBountiful_COVER-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/LadyBountiful_COVER-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/LadyBountiful_COVER-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/LadyBountiful_COVER-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/LadyBountiful_COVER-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/LadyBountiful_COVER-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1511995885,
"modified": 1511995935,
"caption": "Joan von Briesen lounging in her Cole Valley home.",
"description": "Joan von Briesen lounging in her Cole Valley home.",
"title": "LadyBountiful_COVER",
"credit": "Courtesy of Ethan Goldwater",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13815999": {
"type": "attachments",
"id": "arts_13815999",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13815999",
"found": true
},
"parent": 13815998,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/Kadian-Noble-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/Kadian-Noble-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/Kadian-Noble-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/Kadian-Noble-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/Kadian-Noble-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/Kadian-Noble-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/Kadian-Noble.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/Kadian-Noble-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/Kadian-Noble-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/Kadian-Noble-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/Kadian-Noble-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/Kadian-Noble-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/Kadian-Noble-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/Kadian-Noble-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/Kadian-Noble-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/Kadian-Noble-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/Kadian-Noble-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/Kadian-Noble-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/Kadian-Noble-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/Kadian-Noble-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/Kadian-Noble-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1511911258,
"modified": 1511911321,
"caption": "British actress Kadian Noble, who has filed a lawsuit against Harvey Weinstein, Bob Weinstein and The Weinstein Company LLC (TWC) accusing the movie producer of committing sex acts upon her in a hotel room in France, speaks at a news conference at the Kimpton Hotel Eventi on November 28, 2017 in New York. \nAnother actress added her name Monday to the dozens accusing movie mogul Harvey Weinstein of a litany of depraved sexual misconduct as he was forced to quit Hollywood's directing union. More than 100 women have come forward since October to accuse the veteran producer of various degrees of bullying and degrading behaviour over the past 40 years, from intimidation to rape.In the latest case filed in a New York federal court, aspiring British actress Kadian Noble is accusing Weinstein of inviting her to a hotel room in France and sexually assaulting her.",
"description": "British actress Kadian Noble, who has filed a lawsuit against Harvey Weinstein, Bob Weinstein and The Weinstein Company LLC (TWC) accusing the movie producer of committing sex acts upon her in a hotel room in France, speaks at a news conference at the Kimpton Hotel Eventi on November 28, 2017 in New York. ",
"title": "US-ENTERTAINMENT-HARASSMENT-WEINSTEIN",
"credit": "Angela Weiss/AFP/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13815863": {
"type": "attachments",
"id": "arts_13815863",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13815863",
"found": true
},
"parent": 13815858,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/Adventures-of-Prince-Achmed_COVER-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/Adventures-of-Prince-Achmed_COVER-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/Adventures-of-Prince-Achmed_COVER-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/Adventures-of-Prince-Achmed_COVER-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/Adventures-of-Prince-Achmed_COVER-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/Adventures-of-Prince-Achmed_COVER-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/Adventures-of-Prince-Achmed_COVER.jpg",
"width": 1500,
"height": 844
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/Adventures-of-Prince-Achmed_COVER-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/Adventures-of-Prince-Achmed_COVER-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/Adventures-of-Prince-Achmed_COVER-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/Adventures-of-Prince-Achmed_COVER-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/Adventures-of-Prince-Achmed_COVER-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/Adventures-of-Prince-Achmed_COVER-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/Adventures-of-Prince-Achmed_COVER-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/Adventures-of-Prince-Achmed_COVER-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/Adventures-of-Prince-Achmed_COVER-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/Adventures-of-Prince-Achmed_COVER-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/Adventures-of-Prince-Achmed_COVER-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/Adventures-of-Prince-Achmed_COVER-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1511753622,
"modified": 1511753668,
"caption": "Prince Achmed on a magic isle in 'The Adventures of Prince Achmed.'",
"description": "Prince Achmed on a magic isle in 'The Adventures of Prince Achmed.'",
"title": "The Adventures of Prince Achmed (1926)",
"credit": "Courtesy of Milestone Films",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13815833": {
"type": "attachments",
"id": "arts_13815833",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13815833",
"found": true
},
"parent": 13815832,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/36537480220_d8558980be_z_slide-db0d037b76480f3daa17028ac2ba852c5f9ce7f1-520x346.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 346
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/36537480220_d8558980be_z_slide-db0d037b76480f3daa17028ac2ba852c5f9ce7f1-160x106.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 106
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/36537480220_d8558980be_z_slide-db0d037b76480f3daa17028ac2ba852c5f9ce7f1-631x372.jpg",
"width": 631,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/36537480220_d8558980be_z_slide-db0d037b76480f3daa17028ac2ba852c5f9ce7f1-375x250.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 250
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/36537480220_d8558980be_z_slide-db0d037b76480f3daa17028ac2ba852c5f9ce7f1.jpg",
"width": 631,
"height": 420
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/36537480220_d8558980be_z_slide-db0d037b76480f3daa17028ac2ba852c5f9ce7f1-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/36537480220_d8558980be_z_slide-db0d037b76480f3daa17028ac2ba852c5f9ce7f1-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/36537480220_d8558980be_z_slide-db0d037b76480f3daa17028ac2ba852c5f9ce7f1-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/36537480220_d8558980be_z_slide-db0d037b76480f3daa17028ac2ba852c5f9ce7f1-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/36537480220_d8558980be_z_slide-db0d037b76480f3daa17028ac2ba852c5f9ce7f1-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/36537480220_d8558980be_z_slide-db0d037b76480f3daa17028ac2ba852c5f9ce7f1-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/36537480220_d8558980be_z_slide-db0d037b76480f3daa17028ac2ba852c5f9ce7f1-240x160.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 160
}
},
"publishDate": 1511636615,
"modified": 1511636615,
"caption": null,
"description": "Legos have been reliably popular holiday gifts. But fans will have to wait for this 7,500-piece Millennium Falcon. It's sold out, and even when in stock, currently only available to VIP customers.",
"title": "Legos have been reliably popular holiday gifts. But fans will have to wait for this 7,500-piece Millennium Falcon. It's sold out, and even when in stock, currently only available to VIP customers.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13815808": {
"type": "attachments",
"id": "arts_13815808",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13815808",
"found": true
},
"parent": 13815807,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/coco-rgb_c341_34d_pub.pub16.776_wide-49297ae9e277d3cfc33a2cd10ffd0c40b66623dc-520x292.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 292
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/coco-rgb_c341_34d_pub.pub16.776_wide-49297ae9e277d3cfc33a2cd10ffd0c40b66623dc-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/coco-rgb_c341_34d_pub.pub16.776_wide-49297ae9e277d3cfc33a2cd10ffd0c40b66623dc-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/coco-rgb_c341_34d_pub.pub16.776_wide-49297ae9e277d3cfc33a2cd10ffd0c40b66623dc-960x539.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 539
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/coco-rgb_c341_34d_pub.pub16.776_wide-49297ae9e277d3cfc33a2cd10ffd0c40b66623dc-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/coco-rgb_c341_34d_pub.pub16.776_wide-49297ae9e277d3cfc33a2cd10ffd0c40b66623dc-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/coco-rgb_c341_34d_pub.pub16.776_wide-49297ae9e277d3cfc33a2cd10ffd0c40b66623dc.jpg",
"width": 3052,
"height": 1715
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/coco-rgb_c341_34d_pub.pub16.776_wide-49297ae9e277d3cfc33a2cd10ffd0c40b66623dc-1020x573.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 573
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/coco-rgb_c341_34d_pub.pub16.776_wide-49297ae9e277d3cfc33a2cd10ffd0c40b66623dc-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/coco-rgb_c341_34d_pub.pub16.776_wide-49297ae9e277d3cfc33a2cd10ffd0c40b66623dc-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/coco-rgb_c341_34d_pub.pub16.776_wide-49297ae9e277d3cfc33a2cd10ffd0c40b66623dc-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/coco-rgb_c341_34d_pub.pub16.776_wide-49297ae9e277d3cfc33a2cd10ffd0c40b66623dc-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/coco-rgb_c341_34d_pub.pub16.776_wide-49297ae9e277d3cfc33a2cd10ffd0c40b66623dc-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/coco-rgb_c341_34d_pub.pub16.776_wide-49297ae9e277d3cfc33a2cd10ffd0c40b66623dc-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/coco-rgb_c341_34d_pub.pub16.776_wide-49297ae9e277d3cfc33a2cd10ffd0c40b66623dc-1920x1079.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1079
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/coco-rgb_c341_34d_pub.pub16.776_wide-49297ae9e277d3cfc33a2cd10ffd0c40b66623dc-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/coco-rgb_c341_34d_pub.pub16.776_wide-49297ae9e277d3cfc33a2cd10ffd0c40b66623dc-1920x1079.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1079
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/coco-rgb_c341_34d_pub.pub16.776_wide-49297ae9e277d3cfc33a2cd10ffd0c40b66623dc-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/coco-rgb_c341_34d_pub.pub16.776_wide-49297ae9e277d3cfc33a2cd10ffd0c40b66623dc-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/coco-rgb_c341_34d_pub.pub16.776_wide-49297ae9e277d3cfc33a2cd10ffd0c40b66623dc-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/coco-rgb_c341_34d_pub.pub16.776_wide-49297ae9e277d3cfc33a2cd10ffd0c40b66623dc-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1511542005,
"modified": 1511542101,
"caption": "Anthony Gonzalez voices Miguel in 'Coco.'",
"description": "Anthony Gonzalez voices Miguel in 'Coco.'",
"title": "Anthony Gonzalez voices Miguel in Coco.",
"credit": "Pixar",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13815585": {
"type": "attachments",
"id": "arts_13815585",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13815585",
"found": true
},
"parent": 0,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/John-Lasseter3-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/John-Lasseter3-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/John-Lasseter3-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/John-Lasseter3-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/John-Lasseter3-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/John-Lasseter3-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/John-Lasseter3.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/John-Lasseter3-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/John-Lasseter3-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/John-Lasseter3-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/John-Lasseter3-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/John-Lasseter3-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/John-Lasseter3-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/John-Lasseter3-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/John-Lasseter3-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/John-Lasseter3-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/John-Lasseter3-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/John-Lasseter3-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/John-Lasseter3-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/John-Lasseter3-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/John-Lasseter3-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1511295818,
"modified": 1511295937,
"caption": "John Lasseter attends the World Premiere Of Disney-Pixar's 'The Good Dinosaur' at the El Capitan Theatre on November 17, 2015 in Hollywood, California. ",
"description": "John Lasseter attends the World Premiere Of Disney-Pixar's 'The Good Dinosaur' at the El Capitan Theatre on November 17, 2015 in Hollywood, California. ",
"title": "World Premiere Of Disney-Pixar's THE GOOD DINOSAUR At El Capitan Theatre",
"credit": "Alberto E. Rodriguez/Getty Images for Disney",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13815161": {
"type": "attachments",
"id": "arts_13815161",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13815161",
"found": true
},
"parent": 13815160,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/three-billboards-outside-ebbing-missouri-004_3b_05858_rgb_wide-893bf47444862bfa79e578f5ea6c8ae9f636f5bb-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/three-billboards-outside-ebbing-missouri-004_3b_05858_rgb_wide-893bf47444862bfa79e578f5ea6c8ae9f636f5bb-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/three-billboards-outside-ebbing-missouri-004_3b_05858_rgb_wide-893bf47444862bfa79e578f5ea6c8ae9f636f5bb-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/three-billboards-outside-ebbing-missouri-004_3b_05858_rgb_wide-893bf47444862bfa79e578f5ea6c8ae9f636f5bb-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/three-billboards-outside-ebbing-missouri-004_3b_05858_rgb_wide-893bf47444862bfa79e578f5ea6c8ae9f636f5bb-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/three-billboards-outside-ebbing-missouri-004_3b_05858_rgb_wide-893bf47444862bfa79e578f5ea6c8ae9f636f5bb-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/three-billboards-outside-ebbing-missouri-004_3b_05858_rgb_wide-893bf47444862bfa79e578f5ea6c8ae9f636f5bb.jpg",
"width": 1406,
"height": 791
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/three-billboards-outside-ebbing-missouri-004_3b_05858_rgb_wide-893bf47444862bfa79e578f5ea6c8ae9f636f5bb-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/three-billboards-outside-ebbing-missouri-004_3b_05858_rgb_wide-893bf47444862bfa79e578f5ea6c8ae9f636f5bb-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/three-billboards-outside-ebbing-missouri-004_3b_05858_rgb_wide-893bf47444862bfa79e578f5ea6c8ae9f636f5bb-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/three-billboards-outside-ebbing-missouri-004_3b_05858_rgb_wide-893bf47444862bfa79e578f5ea6c8ae9f636f5bb-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/three-billboards-outside-ebbing-missouri-004_3b_05858_rgb_wide-893bf47444862bfa79e578f5ea6c8ae9f636f5bb-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/three-billboards-outside-ebbing-missouri-004_3b_05858_rgb_wide-893bf47444862bfa79e578f5ea6c8ae9f636f5bb-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/three-billboards-outside-ebbing-missouri-004_3b_05858_rgb_wide-893bf47444862bfa79e578f5ea6c8ae9f636f5bb-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/three-billboards-outside-ebbing-missouri-004_3b_05858_rgb_wide-893bf47444862bfa79e578f5ea6c8ae9f636f5bb-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/three-billboards-outside-ebbing-missouri-004_3b_05858_rgb_wide-893bf47444862bfa79e578f5ea6c8ae9f636f5bb-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/three-billboards-outside-ebbing-missouri-004_3b_05858_rgb_wide-893bf47444862bfa79e578f5ea6c8ae9f636f5bb-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/three-billboards-outside-ebbing-missouri-004_3b_05858_rgb_wide-893bf47444862bfa79e578f5ea6c8ae9f636f5bb-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/three-billboards-outside-ebbing-missouri-004_3b_05858_rgb_wide-893bf47444862bfa79e578f5ea6c8ae9f636f5bb-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1510796000,
"modified": 1510796000,
"caption": null,
"description": "Swing and a Diss: Mildred (Frances McDormand) and Willoughby (Woody Harrelson) discuss Mildred's Burma-Shave-inspired quest for justice in \u003cem>Three Billboards Outside Ebbing, Missouri\u003c/em>",
"title": "Swing and a Diss: Mildred (Frances McDormand) and Willoughby (Woody Harrelson) discuss Mildred's Burma-Shave-inspired quest for justice in Three Billboards Outside Ebbing, Missouri.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13815140": {
"type": "attachments",
"id": "arts_13815140",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13815140",
"found": true
},
"parent": 13815091,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/4-Bill-Nye-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Photo-courtesy-of-David-Alvarado-Structure-Films-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/4-Bill-Nye-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Photo-courtesy-of-David-Alvarado-Structure-Films-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/4-Bill-Nye-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Photo-courtesy-of-David-Alvarado-Structure-Films-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/4-Bill-Nye-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Photo-courtesy-of-David-Alvarado-Structure-Films-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/4-Bill-Nye-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Photo-courtesy-of-David-Alvarado-Structure-Films-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/4-Bill-Nye-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Photo-courtesy-of-David-Alvarado-Structure-Films-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/4-Bill-Nye-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Photo-courtesy-of-David-Alvarado-Structure-Films.jpg",
"width": 3840,
"height": 2160
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/4-Bill-Nye-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Photo-courtesy-of-David-Alvarado-Structure-Films-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/4-Bill-Nye-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Photo-courtesy-of-David-Alvarado-Structure-Films-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/4-Bill-Nye-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Photo-courtesy-of-David-Alvarado-Structure-Films-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/4-Bill-Nye-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Photo-courtesy-of-David-Alvarado-Structure-Films-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/4-Bill-Nye-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Photo-courtesy-of-David-Alvarado-Structure-Films-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/4-Bill-Nye-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Photo-courtesy-of-David-Alvarado-Structure-Films-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/4-Bill-Nye-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Photo-courtesy-of-David-Alvarado-Structure-Films-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/4-Bill-Nye-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Photo-courtesy-of-David-Alvarado-Structure-Films-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/4-Bill-Nye-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Photo-courtesy-of-David-Alvarado-Structure-Films-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/4-Bill-Nye-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Photo-courtesy-of-David-Alvarado-Structure-Films-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/4-Bill-Nye-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Photo-courtesy-of-David-Alvarado-Structure-Films-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/4-Bill-Nye-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Photo-courtesy-of-David-Alvarado-Structure-Films-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/4-Bill-Nye-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Photo-courtesy-of-David-Alvarado-Structure-Films-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/4-Bill-Nye-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Photo-courtesy-of-David-Alvarado-Structure-Films-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1510794608,
"modified": 1510794827,
"caption": "Bill Nye in 'Bill Nye: Science Guy'",
"description": "Bill Nye in 'Bill Nye: Science Guy'",
"title": "#4 - Bill Nye in BILL NYE SCIENCE GUY, a PBS Distribution release. Photo courtesy of David Alvarado-Structure Films",
"credit": "David Alvarado/Structure Films",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13814704": {
"type": "attachments",
"id": "arts_13814704",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13814704",
"found": true
},
"parent": 13814686,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/TonguesUntied-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/TonguesUntied-1024x576.jpg",
"width": 1024,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/TonguesUntied-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/TonguesUntied-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/TonguesUntied-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/TonguesUntied-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/TonguesUntied.jpg",
"width": 1024,
"height": 576
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/TonguesUntied-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/TonguesUntied-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/TonguesUntied-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/TonguesUntied-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/TonguesUntied-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/TonguesUntied-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/TonguesUntied-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/TonguesUntied-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/TonguesUntied-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/TonguesUntied-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1510556646,
"modified": 1510556685,
"caption": "From 'Tongues Untied,' a film by Marlon Riggs.",
"description": "From 'Tongues Untied,' a film by Marlon Riggs.",
"title": "TonguesUntied",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13814502": {
"type": "attachments",
"id": "arts_13814502",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13814502",
"found": true
},
"parent": 13814500,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/murder-on-the-orient-express-df-00620_rv2_rgb_wide-923706c663f3abdb632767ee53fb82d27d32289c-1-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/murder-on-the-orient-express-df-00620_rv2_rgb_wide-923706c663f3abdb632767ee53fb82d27d32289c-1-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/murder-on-the-orient-express-df-00620_rv2_rgb_wide-923706c663f3abdb632767ee53fb82d27d32289c-1-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/murder-on-the-orient-express-df-00620_rv2_rgb_wide-923706c663f3abdb632767ee53fb82d27d32289c-1-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/murder-on-the-orient-express-df-00620_rv2_rgb_wide-923706c663f3abdb632767ee53fb82d27d32289c-1-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/murder-on-the-orient-express-df-00620_rv2_rgb_wide-923706c663f3abdb632767ee53fb82d27d32289c-1-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/murder-on-the-orient-express-df-00620_rv2_rgb_wide-923706c663f3abdb632767ee53fb82d27d32289c-1.jpg",
"width": 3120,
"height": 1755
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/murder-on-the-orient-express-df-00620_rv2_rgb_wide-923706c663f3abdb632767ee53fb82d27d32289c-1-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/murder-on-the-orient-express-df-00620_rv2_rgb_wide-923706c663f3abdb632767ee53fb82d27d32289c-1-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/murder-on-the-orient-express-df-00620_rv2_rgb_wide-923706c663f3abdb632767ee53fb82d27d32289c-1-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/murder-on-the-orient-express-df-00620_rv2_rgb_wide-923706c663f3abdb632767ee53fb82d27d32289c-1-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/murder-on-the-orient-express-df-00620_rv2_rgb_wide-923706c663f3abdb632767ee53fb82d27d32289c-1-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/murder-on-the-orient-express-df-00620_rv2_rgb_wide-923706c663f3abdb632767ee53fb82d27d32289c-1-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/murder-on-the-orient-express-df-00620_rv2_rgb_wide-923706c663f3abdb632767ee53fb82d27d32289c-1-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/murder-on-the-orient-express-df-00620_rv2_rgb_wide-923706c663f3abdb632767ee53fb82d27d32289c-1-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/murder-on-the-orient-express-df-00620_rv2_rgb_wide-923706c663f3abdb632767ee53fb82d27d32289c-1-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/murder-on-the-orient-express-df-00620_rv2_rgb_wide-923706c663f3abdb632767ee53fb82d27d32289c-1-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/murder-on-the-orient-express-df-00620_rv2_rgb_wide-923706c663f3abdb632767ee53fb82d27d32289c-1-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/murder-on-the-orient-express-df-00620_rv2_rgb_wide-923706c663f3abdb632767ee53fb82d27d32289c-1-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/murder-on-the-orient-express-df-00620_rv2_rgb_wide-923706c663f3abdb632767ee53fb82d27d32289c-1-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/murder-on-the-orient-express-df-00620_rv2_rgb_wide-923706c663f3abdb632767ee53fb82d27d32289c-1-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1510265694,
"modified": 1510266201,
"caption": "The mustache should get second billing: Kenneth Branagh is Hercule Poirot in 'Murder on the Orient Express.'",
"description": "The mustache should get second billing: Kenneth Branagh is Hercule Poirot in 'Murder on the Orient Express.'",
"title": "The mustache should get second billing: Kenneth Branagh is Hercule Poirot in 'Murder on the Orient Express.'",
"credit": "Nicola Dove/Twentieth Century Fox",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13814049": {
"type": "attachments",
"id": "arts_13814049",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13814049",
"found": true
},
"parent": 13814048,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/6-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/6-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/6-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/6-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/6-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/6-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/6.jpg",
"width": 1200,
"height": 675
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/6-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/6-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/6-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/6-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/6-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/6-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/6-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/6-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/6-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/6-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/6-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/6-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1510131806,
"modified": 1510272736,
"caption": "Dominic West and Terry Notary in 'The Square.'",
"description": "Dominic West and Terry Notary in 'The Square.'",
"title": "6",
"credit": "Courtesy of Magnolia Pictures",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"byline_arts_13816397": {
"type": "authors",
"id": "byline_arts_13816397",
"meta": {
"override": true
},
"slug": "byline_arts_13816397",
"name": "Scott Tobias",
"isLoading": false
},
"byline_arts_13815998": {
"type": "authors",
"id": "byline_arts_13815998",
"meta": {
"override": true
},
"slug": "byline_arts_13815998",
"name": "Colleen Long, Associated Press",
"isLoading": false
},
"byline_arts_13815832": {
"type": "authors",
"id": "byline_arts_13815832",
"meta": {
"override": true
},
"slug": "byline_arts_13815832",
"name": "Rebecca Feldhaus Adams",
"isLoading": false
},
"byline_arts_13815807": {
"type": "authors",
"id": "byline_arts_13815807",
"meta": {
"override": true
},
"slug": "byline_arts_13815807",
"name": "Bob Mondello",
"isLoading": false
},
"byline_arts_13815160": {
"type": "authors",
"id": "byline_arts_13815160",
"meta": {
"override": true
},
"slug": "byline_arts_13815160",
"name": "Chris Klimek",
"isLoading": false
},
"byline_arts_13815091": {
"type": "authors",
"id": "byline_arts_13815091",
"meta": {
"override": true
},
"slug": "byline_arts_13815091",
"name": "Brandon Yu",
"isLoading": false
},
"byline_arts_13814500": {
"type": "authors",
"id": "byline_arts_13814500",
"meta": {
"override": true
},
"slug": "byline_arts_13814500",
"name": "Ella Taylor",
"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"
},
"jbote": {
"type": "authors",
"id": "11371",
"meta": {
"index": "authors_1716337520",
"id": "11371",
"found": true
},
"name": "Joshua Bote",
"firstName": "Joshua",
"lastName": "Bote",
"slug": "jbote",
"email": "jbote@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "\u003cp class=\"p1\">Joshua Bote is an intern for KQED Arts. A senior at UC Berkeley, Joshua previously served as the Arts & Entertainment Editor at \u003ci>The Daily Californian\u003c/i>, UC Berkeley’s independently-run student newspaper. His work has been published in the \u003cem>East Bay Express.\u003c/em>\u003c/p>\r\n\u003cp class=\"p1\">He’s deeply enamored with Twitter culture, Carly Rae Jepsen, and love-oriented podcasts. He's also slowly learning to appreciate bad award shows. Follow him on Twitter \u003ca href=\"http://twitter.com/joshuaboat\">@joshuaboat\u003c/a>.\u003c/p>",
"avatar": "https://secure.gravatar.com/avatar/f060759cb27bc8b191022334ab99fc5a?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"author"
]
}
],
"headData": {
"title": "Joshua Bote | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/f060759cb27bc8b191022334ab99fc5a?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/f060759cb27bc8b191022334ab99fc5a?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/jbote"
}
},
"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": 144
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=movies",
"seeMore": false,
"paginated": true,
"page": 144
}
},
{
"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_13816397": {
"type": "posts",
"id": "arts_13816397",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13816397",
"score": null,
"sort": [
1512136816000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1512136816,
"format": "standard",
"title": "'The Disaster Artist' Is 'The Room' Where It Happened",
"headTitle": "‘The Disaster Artist’ Is ‘The Room’ Where It Happened | KQED",
"content": "\u003cp>Though Ed Wood’s \u003cem>Plan 9 From Outer Space\u003c/em> is commonly cited as the worst film ever made, he released a far more compelling failure three years before with \u003cem>Glen or Glenda\u003c/em>, a semi-autobiographical melodrama about a cross-dresser, played by Wood under the pseudonym “Daniel Davis.” \u003cem>Glen or Glenda\u003c/em> has all the staggering ineptitude of \u003cem>Plan 9\u003c/em> — most memorably, Bela Lugosi’s armchair commentator shouting “Pull the string!” — but it has the added benefit of being nakedly personal, a plea for tolerance from a man who has chosen to reveal a closely guarded secret on screen. Bad films are released every week, but the truly enduring ones tell us something about their creators that is utterly specific and unique.\u003c/p>\n\u003cp>Tommy Wiseau’s 2003 opus, \u003cem>The Room\u003c/em>,is a miracle of a movie, a modern-day \u003cem>Glen or Glenda\u003c/em> in which the writer/director/star, so spectacularly inept in all three departments, bares his soul (and his body) for all to see. So much about Wiseau is famously murky — his country of origin, which by his accent sounds vaguely Eastern European; his age, which is surely much older than he suggests; and his seemingly bottomless source of financing — but \u003cem>The Room\u003c/em> is a tale of heartbreak and betrayal that is defined by an almost childlike simplicity. Wiseau’s understanding of human relationships may be hilariously alien, but his emotions are raw and unfiltered.\u003c/p>\n\u003cp>The cult of \u003cem>The Room\u003c/em> started in Los Angeles over a decade ago, built on word-of-mouth and a \u003ca href=\"http://hollywood-elsewhere.com/images/column/ocky17/roombillboard640.jpg\" target=\"_blank\" rel=\"noopener\">curious promotional billboard\u003c/a>, and it has since become a 21st century \u003cem>Rocky Horror Picture Show\u003c/em>, with audiences yelling canned one-liners at the screen and lobbing footballs and plastic spoons. In 2013, Wiseau’s co-star and partner-in-crime, Greg Sestero, teamed up with author Tom Bissell to publish \u003cem>The Disaster Artist\u003c/em>, a wildly entertaining book that deserves shelf space alongside other classics of the movie-fiasco genre like Steven Bach’s \u003cem>Final Cut\u003c/em> (about \u003cem>Heaven’s Gate\u003c/em>) and Julie Salamon’s \u003cem>The Devil’s Candy\u003c/em> (about \u003cem>The Bonfire of the Vanities\u003c/em>). It turns out the behind-the-scenes story is every bit as stupefying as film itself.\u003c/p>\n\u003cp>With his winning adaptation of \u003cem>The Disaster Artist\u003c/em>, director/star James Franco follows the model of Tim Burton’s biopic \u003cem>Ed Wood\u003c/em>, approaching Wiseau with a delicate balance of affectionate mockery and a heartfelt appreciation for his creative passion. It would be unforgivably mean-spirited for Franco merely to point and laugh, so instead he casts Wiseau as a Hollywood outsider who chose to defy the gatekeepers and pursue his cinematic dreams on his own dime. That may be the path of least resistance, given the darker corners of Wiseau’s biography and the gross misogyny at the core of \u003cem>The Room\u003c/em>, but it’s also the most gratifying, because it so firmly embraces the cult that’s rallied around Wiseau and his peculiar DIY triumph.\u003c/p>\n\u003cp>Before the cameras start to roll, however, \u003cem>The Disaster Artist\u003c/em> begins with the friendship between Wiseau (James Franco) and Sestero (Dave Franco), two Hollywood nobodies who meet at an acting class and wind up making history together. In Sestero’s telling, he is the passenger in a car that is careening down Sunset Boulevard, a passive accomplice to the runaway ambitions of a man who wants to be the next James Dean or Marlon Brando and has the money to make it happen. When Wiseau hacks out a script for \u003cem>The Room\u003c/em>, Sestero recognizes it as a nonsensical, subliterate bafflement, but Wiseau’s mysterious millions will the production into existence anyway and movie anti-magic commences.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/cMKX2tE5Luk\u003c/p>\n\u003cp>In the book and in the film, there’s something naggingly inauthentic about Sestero’s friendship with Wiseau: He presents himself as an insider while also keeping his distance, in case anyone might associate him with historic failure. But \u003cem>The Disaster Artist\u003c/em> is comedy gold once Wiseau starts making \u003cem>The Room\u003c/em> in earnest and Franco re-creates every misstep with the scrupulousness of a medieval monk transcribing religious text. There are production follies, like Wiseau shooting on digital and film simultaneously or using green screens of a balcony rather than the real thing, and there are multiple takes of treasured moments, culminating in the immortal “You’re tearing me apart, Lisa!”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Disaster Artist\u003c/em> eases into the uncomfortable nature of a so-bad-it’s-good phenomenon like \u003cem>The Room\u003c/em>, when audiences turn out to hoot at a film that its creator intended to move them. The real-life Wiseau has been steering into that curve for years — he even tried to promote it as a “black comedy” — but the film does well to register the sting of failure while celebrating the creative spirit that drove him to realize his ambitions. As someone who has attached his name to plenty of ill-conceived enterprises himself recently — he adapted unadaptable William Faulkner and Cormac McCarthy novels in the same year! — Franco understands the perils of the profession. In that respect, Wiseau isn’t a case study. He’s a kindred spirit.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Disaster+Artist%27+Is+%27The+Room%27+Where+It+Happened&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 899,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 9
},
"modified": 1705028999,
"excerpt": "Director/star James Franco fondly — and hilariously — chronicles the making of a cult-movie fiasco, evincing a deep understanding of the unhinged ambition at its core. (Go figure.)",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Director/star James Franco fondly — and hilariously — chronicles the making of a cult-movie fiasco, evincing a deep understanding of the unhinged ambition at its core. (Go figure.)",
"title": "'The Disaster Artist' Is 'The Room' Where It Happened | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'The Disaster Artist' Is 'The Room' Where It Happened",
"datePublished": "2017-12-01T06:00:16-08:00",
"dateModified": "2024-01-11T19:09:59-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "the-disaster-artist-is-the-room-where-it-happened",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=566745179&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Scott Tobias",
"nprStoryDate": "Thu, 30 Nov 2017 17:00:48 -0500",
"nprLastModifiedDate": "Thu, 30 Nov 2017 17:00:48 -0500",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/2017/11/30/566745179/the-disaster-artist-is-the-room-where-it-happened?ft=nprml&f=566745179",
"nprImageAgency": "courtesy of A24",
"nprImageCredit": "Justina Mintz",
"nprStoryId": "566745179",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 30 Nov 2017 17:00:00 -0500",
"path": "/arts/13816397/the-disaster-artist-is-the-room-where-it-happened",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Though Ed Wood’s \u003cem>Plan 9 From Outer Space\u003c/em> is commonly cited as the worst film ever made, he released a far more compelling failure three years before with \u003cem>Glen or Glenda\u003c/em>, a semi-autobiographical melodrama about a cross-dresser, played by Wood under the pseudonym “Daniel Davis.” \u003cem>Glen or Glenda\u003c/em> has all the staggering ineptitude of \u003cem>Plan 9\u003c/em> — most memorably, Bela Lugosi’s armchair commentator shouting “Pull the string!” — but it has the added benefit of being nakedly personal, a plea for tolerance from a man who has chosen to reveal a closely guarded secret on screen. Bad films are released every week, but the truly enduring ones tell us something about their creators that is utterly specific and unique.\u003c/p>\n\u003cp>Tommy Wiseau’s 2003 opus, \u003cem>The Room\u003c/em>,is a miracle of a movie, a modern-day \u003cem>Glen or Glenda\u003c/em> in which the writer/director/star, so spectacularly inept in all three departments, bares his soul (and his body) for all to see. So much about Wiseau is famously murky — his country of origin, which by his accent sounds vaguely Eastern European; his age, which is surely much older than he suggests; and his seemingly bottomless source of financing — but \u003cem>The Room\u003c/em> is a tale of heartbreak and betrayal that is defined by an almost childlike simplicity. Wiseau’s understanding of human relationships may be hilariously alien, but his emotions are raw and unfiltered.\u003c/p>\n\u003cp>The cult of \u003cem>The Room\u003c/em> started in Los Angeles over a decade ago, built on word-of-mouth and a \u003ca href=\"http://hollywood-elsewhere.com/images/column/ocky17/roombillboard640.jpg\" target=\"_blank\" rel=\"noopener\">curious promotional billboard\u003c/a>, and it has since become a 21st century \u003cem>Rocky Horror Picture Show\u003c/em>, with audiences yelling canned one-liners at the screen and lobbing footballs and plastic spoons. In 2013, Wiseau’s co-star and partner-in-crime, Greg Sestero, teamed up with author Tom Bissell to publish \u003cem>The Disaster Artist\u003c/em>, a wildly entertaining book that deserves shelf space alongside other classics of the movie-fiasco genre like Steven Bach’s \u003cem>Final Cut\u003c/em> (about \u003cem>Heaven’s Gate\u003c/em>) and Julie Salamon’s \u003cem>The Devil’s Candy\u003c/em> (about \u003cem>The Bonfire of the Vanities\u003c/em>). It turns out the behind-the-scenes story is every bit as stupefying as film itself.\u003c/p>\n\u003cp>With his winning adaptation of \u003cem>The Disaster Artist\u003c/em>, director/star James Franco follows the model of Tim Burton’s biopic \u003cem>Ed Wood\u003c/em>, approaching Wiseau with a delicate balance of affectionate mockery and a heartfelt appreciation for his creative passion. It would be unforgivably mean-spirited for Franco merely to point and laugh, so instead he casts Wiseau as a Hollywood outsider who chose to defy the gatekeepers and pursue his cinematic dreams on his own dime. That may be the path of least resistance, given the darker corners of Wiseau’s biography and the gross misogyny at the core of \u003cem>The Room\u003c/em>, but it’s also the most gratifying, because it so firmly embraces the cult that’s rallied around Wiseau and his peculiar DIY triumph.\u003c/p>\n\u003cp>Before the cameras start to roll, however, \u003cem>The Disaster Artist\u003c/em> begins with the friendship between Wiseau (James Franco) and Sestero (Dave Franco), two Hollywood nobodies who meet at an acting class and wind up making history together. In Sestero’s telling, he is the passenger in a car that is careening down Sunset Boulevard, a passive accomplice to the runaway ambitions of a man who wants to be the next James Dean or Marlon Brando and has the money to make it happen. When Wiseau hacks out a script for \u003cem>The Room\u003c/em>, Sestero recognizes it as a nonsensical, subliterate bafflement, but Wiseau’s mysterious millions will the production into existence anyway and movie anti-magic commences.\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>\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/cMKX2tE5Luk'\n title='//www.youtube.com/embed/cMKX2tE5Luk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the book and in the film, there’s something naggingly inauthentic about Sestero’s friendship with Wiseau: He presents himself as an insider while also keeping his distance, in case anyone might associate him with historic failure. But \u003cem>The Disaster Artist\u003c/em> is comedy gold once Wiseau starts making \u003cem>The Room\u003c/em> in earnest and Franco re-creates every misstep with the scrupulousness of a medieval monk transcribing religious text. There are production follies, like Wiseau shooting on digital and film simultaneously or using green screens of a balcony rather than the real thing, and there are multiple takes of treasured moments, culminating in the immortal “You’re tearing me apart, Lisa!”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Disaster Artist\u003c/em> eases into the uncomfortable nature of a so-bad-it’s-good phenomenon like \u003cem>The Room\u003c/em>, when audiences turn out to hoot at a film that its creator intended to move them. The real-life Wiseau has been steering into that curve for years — he even tried to promote it as a “black comedy” — but the film does well to register the sting of failure while celebrating the creative spirit that drove him to realize his ambitions. As someone who has attached his name to plenty of ill-conceived enterprises himself recently — he adapted unadaptable William Faulkner and Cormac McCarthy novels in the same year! — Franco understands the perils of the profession. In that respect, Wiseau isn’t a case study. He’s a kindred spirit.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Disaster+Artist%27+Is+%27The+Room%27+Where+It+Happened&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13816397/the-disaster-artist-is-the-room-where-it-happened",
"authors": [
"byline_arts_13816397"
],
"categories": [
"arts_74"
],
"tags": [
"arts_11323",
"arts_1118",
"arts_596",
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13816398",
"label": "arts_137"
},
"arts_13816067": {
"type": "posts",
"id": "arts_13816067",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13816067",
"score": null,
"sort": [
1512000058000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1512000058,
"format": "standard",
"title": "'Lady Bountiful' Captures a Rare San Francisco Character on Film",
"headTitle": "‘Lady Bountiful’ Captures a Rare San Francisco Character on Film | KQED",
"content": "\u003cp>Having a hard time recognizing San Francisco these days? It could be the radically altered skylines, with construction cranes busily working to make once-familiar corners ever more strange. Maybe it’s because all your friends have moved to Los Angeles or places where your Bay Area rent would pay for a five-bedroom mansion. Or was it that Maserati you were stuck behind in traffic, the one with the “JOHN GALT” vanity plate?\u003c/p>\n\u003cp>The good news is the San Francisco you once knew still exists, and the short documentary \u003ci>Lady Bountiful\u003c/i>, screening at the Little Roxie this Thursday, Nov. 30 at 7pm, is here to remind you the city’s freaks, radicals, free-thinkers, bohemians, poets, artists and outcasts aren’t going anywhere without a fight.\u003c/p>\n\u003cp>Standing in for all of the above is the bike-riding, tai chi-practicing, tennis-playing octogenarian artist Joan von Briesen, whose penchant for accumulating things — and people — in her Cole Valley Victorian home are delightfully captured by filmmaker \u003ca href=\"http://hoverpictures.com/\" target=\"_blank\" rel=\"noopener\">Ethan Goldwater\u003c/a>. As she faces cancer treatments and her own mortality, von Briesen only stops moving, it seems, while napping face down on her bed.\u003c/p>\n\u003cfigure id=\"attachment_13816071\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13816071\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/LadyBountiful_1200.jpg\" alt=\"von Briesen's Cole Valley Victorian.\" width=\"1200\" height=\"958\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/LadyBountiful_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/LadyBountiful_1200-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/LadyBountiful_1200-800x639.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/LadyBountiful_1200-768x613.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/LadyBountiful_1200-1020x814.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/LadyBountiful_1200-1180x942.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/LadyBountiful_1200-960x766.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/LadyBountiful_1200-240x192.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/LadyBountiful_1200-375x299.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/LadyBountiful_1200-520x415.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">von Briesen’s Cole Valley Victorian. \u003ccite>(Courtesy of Ethan Goldwater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Goldwater met von Briesen through a family member nearly 15 years ago, when he was interning at the \u003ci>Bay Guardian\u003c/i> and writing investigative pieces about medical marijuana. He ended up living in the attic of von Briesen’s home for a year and a half; he’s been back and forth between San Francisco and New York ever since.\u003c/p>\n\u003cp>Despite the fact that von Briesen has hosted 100-plus tenants over the years — many of them artists of various stripes — this is the first time she’s been the subject of someone else’s work.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Does she feel accurately depicted? “Yes, except there were some things that were not in it,” she says, “but it’s only 20 minutes long.” Those missing things include mention of von Briesen’s two adult children — a son and daughter who still reside in the Bay Area (an artist and a journalist, respectively) — and her decades of involvement with \u003ca href=\"http://www.scrap-sf.org/\" target=\"_blank\" rel=\"noopener\">SCRAP\u003c/a>, the nonprofit creative reuse center, materials depot and workshop space founded in 1976. Von Briesen served on the board for 20 years.\u003c/p>\n\u003cp>“I’ve always been sort of noted for collecting dumb things that nobody else wants, and not being able to throw things away,” she says in the film. “I’m trying to overcome my messiness, but it may be a losing battle.”\u003c/p>\n\u003cp>Goldwater doesn’t shy away from showing the realities of aging along with the charming details of von Briesen’s life; his subject approaches it all in the same way. In the film, she speaks candidly about death, grieving, relationships and not taking any of it for granted. Over six years of filming, Goldwater says, “different story lines started to emerge.”\u003c/p>\n\u003cp>“It was an excuse to figure out how I could hang around Joanie more,” he says. “I would have been happy to keep filming it and never finish but we did want to have an opportunity to celebrate with Joanie and the family.”\u003c/p>\n\u003cfigure id=\"attachment_13816075\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13816075\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/LadyBountiful2_1200.jpg\" alt=\"von Briesen in her Cole Valley home.\" width=\"1200\" height=\"958\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/LadyBountiful2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/LadyBountiful2_1200-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/LadyBountiful2_1200-800x639.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/LadyBountiful2_1200-768x613.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/LadyBountiful2_1200-1020x814.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/LadyBountiful2_1200-1180x942.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/LadyBountiful2_1200-960x766.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/LadyBountiful2_1200-240x192.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/LadyBountiful2_1200-375x299.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/LadyBountiful2_1200-520x415.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">von Briesen in her Cole Valley home. \u003ccite>(Courtesy of Ethan Goldwater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Lady Bountiful\u003c/i> premiered in February at \u003ca href=\"http://sfindie.com/\" target=\"_blank\" rel=\"noopener\">SF Indie Fest\u003c/a>. Goldwater says response to that screening inspired this week’s engagement. “People said, ‘Wow this is exactly why I moved to San Francisco 20 years ago! It’s like a living museum of the history of the city that I thought I was moving to,'” he says.\u003c/p>\n\u003cp>“That’s how I feel every time I’m here,” Goldwater says over the phone. Throughout \u003ci>Lady Bountiful\u003c/i>, Goldwater’s camera lingers lovingly over the many many items contained within von Briesen’s home, among them: her innumerable figure paintings, a jar bearing the label “ANCIENT GINGR POWDR” and books of old family photos.\u003c/p>\n\u003cp>“It’s an oasis away from the tropes that people think about the city related to the tech industry, consumerism or an elite lifestyle. You might be curious and slightly disturbed by what you see, but it’s still here, which is a miracle. I feel really lucky to experience this still.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Lady Bountiful | KQED Truly CA\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/9udEgFL1lYc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Lady Bountiful’ plays at the Little Roxie in San Francisco, Thursday, Nov. 30 at 7pm. A Q&A and an in-progress cut of Ethan Goldwater’s ongoing documentary project \u003ci>CURA\u003c/i> will follow. For more information, \u003ca href=\"http://www.roxie.com/ai1ec_event/hover-pictures-presents-lady-bountiful-cura-sneak-peak/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 795,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 17
},
"modified": 1705029023,
"excerpt": "Ethan Goldwater's short doc lingers lovingly on Joan von Briesen, the octogenarian artist, mother, and collector of both people and things, in her Cole Valley home.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Ethan Goldwater's short doc lingers lovingly on Joan von Briesen, the octogenarian artist, mother, and collector of both people and things, in her Cole Valley home.",
"title": "'Lady Bountiful' Captures a Rare San Francisco Character on Film | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Lady Bountiful' Captures a Rare San Francisco Character on Film",
"datePublished": "2017-11-29T16:00:58-08:00",
"dateModified": "2024-01-11T19:10:23-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "lady-bountiful-captures-a-rare-san-francisco-character-on-film",
"status": "publish",
"sticky": false,
"path": "/arts/13816067/lady-bountiful-captures-a-rare-san-francisco-character-on-film",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Having a hard time recognizing San Francisco these days? It could be the radically altered skylines, with construction cranes busily working to make once-familiar corners ever more strange. Maybe it’s because all your friends have moved to Los Angeles or places where your Bay Area rent would pay for a five-bedroom mansion. Or was it that Maserati you were stuck behind in traffic, the one with the “JOHN GALT” vanity plate?\u003c/p>\n\u003cp>The good news is the San Francisco you once knew still exists, and the short documentary \u003ci>Lady Bountiful\u003c/i>, screening at the Little Roxie this Thursday, Nov. 30 at 7pm, is here to remind you the city’s freaks, radicals, free-thinkers, bohemians, poets, artists and outcasts aren’t going anywhere without a fight.\u003c/p>\n\u003cp>Standing in for all of the above is the bike-riding, tai chi-practicing, tennis-playing octogenarian artist Joan von Briesen, whose penchant for accumulating things — and people — in her Cole Valley Victorian home are delightfully captured by filmmaker \u003ca href=\"http://hoverpictures.com/\" target=\"_blank\" rel=\"noopener\">Ethan Goldwater\u003c/a>. As she faces cancer treatments and her own mortality, von Briesen only stops moving, it seems, while napping face down on her bed.\u003c/p>\n\u003cfigure id=\"attachment_13816071\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13816071\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/LadyBountiful_1200.jpg\" alt=\"von Briesen's Cole Valley Victorian.\" width=\"1200\" height=\"958\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/LadyBountiful_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/LadyBountiful_1200-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/LadyBountiful_1200-800x639.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/LadyBountiful_1200-768x613.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/LadyBountiful_1200-1020x814.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/LadyBountiful_1200-1180x942.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/LadyBountiful_1200-960x766.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/LadyBountiful_1200-240x192.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/LadyBountiful_1200-375x299.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/LadyBountiful_1200-520x415.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">von Briesen’s Cole Valley Victorian. \u003ccite>(Courtesy of Ethan Goldwater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Goldwater met von Briesen through a family member nearly 15 years ago, when he was interning at the \u003ci>Bay Guardian\u003c/i> and writing investigative pieces about medical marijuana. He ended up living in the attic of von Briesen’s home for a year and a half; he’s been back and forth between San Francisco and New York ever since.\u003c/p>\n\u003cp>Despite the fact that von Briesen has hosted 100-plus tenants over the years — many of them artists of various stripes — this is the first time she’s been the subject of someone else’s work.\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>Does she feel accurately depicted? “Yes, except there were some things that were not in it,” she says, “but it’s only 20 minutes long.” Those missing things include mention of von Briesen’s two adult children — a son and daughter who still reside in the Bay Area (an artist and a journalist, respectively) — and her decades of involvement with \u003ca href=\"http://www.scrap-sf.org/\" target=\"_blank\" rel=\"noopener\">SCRAP\u003c/a>, the nonprofit creative reuse center, materials depot and workshop space founded in 1976. Von Briesen served on the board for 20 years.\u003c/p>\n\u003cp>“I’ve always been sort of noted for collecting dumb things that nobody else wants, and not being able to throw things away,” she says in the film. “I’m trying to overcome my messiness, but it may be a losing battle.”\u003c/p>\n\u003cp>Goldwater doesn’t shy away from showing the realities of aging along with the charming details of von Briesen’s life; his subject approaches it all in the same way. In the film, she speaks candidly about death, grieving, relationships and not taking any of it for granted. Over six years of filming, Goldwater says, “different story lines started to emerge.”\u003c/p>\n\u003cp>“It was an excuse to figure out how I could hang around Joanie more,” he says. “I would have been happy to keep filming it and never finish but we did want to have an opportunity to celebrate with Joanie and the family.”\u003c/p>\n\u003cfigure id=\"attachment_13816075\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13816075\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/LadyBountiful2_1200.jpg\" alt=\"von Briesen in her Cole Valley home.\" width=\"1200\" height=\"958\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/LadyBountiful2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/LadyBountiful2_1200-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/LadyBountiful2_1200-800x639.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/LadyBountiful2_1200-768x613.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/LadyBountiful2_1200-1020x814.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/LadyBountiful2_1200-1180x942.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/LadyBountiful2_1200-960x766.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/LadyBountiful2_1200-240x192.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/LadyBountiful2_1200-375x299.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/LadyBountiful2_1200-520x415.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">von Briesen in her Cole Valley home. \u003ccite>(Courtesy of Ethan Goldwater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Lady Bountiful\u003c/i> premiered in February at \u003ca href=\"http://sfindie.com/\" target=\"_blank\" rel=\"noopener\">SF Indie Fest\u003c/a>. Goldwater says response to that screening inspired this week’s engagement. “People said, ‘Wow this is exactly why I moved to San Francisco 20 years ago! It’s like a living museum of the history of the city that I thought I was moving to,'” he says.\u003c/p>\n\u003cp>“That’s how I feel every time I’m here,” Goldwater says over the phone. Throughout \u003ci>Lady Bountiful\u003c/i>, Goldwater’s camera lingers lovingly over the many many items contained within von Briesen’s home, among them: her innumerable figure paintings, a jar bearing the label “ANCIENT GINGR POWDR” and books of old family photos.\u003c/p>\n\u003cp>“It’s an oasis away from the tropes that people think about the city related to the tech industry, consumerism or an elite lifestyle. You might be curious and slightly disturbed by what you see, but it’s still here, which is a miracle. I feel really lucky to experience this still.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Lady Bountiful | KQED Truly CA\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/9udEgFL1lYc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Lady Bountiful’ plays at the Little Roxie in San Francisco, Thursday, Nov. 30 at 7pm. A Q&A and an in-progress cut of Ethan Goldwater’s ongoing documentary project \u003ci>CURA\u003c/i> will follow. For more information, \u003ca href=\"http://www.roxie.com/ai1ec_event/hover-pictures-presents-lady-bountiful-cura-sneak-peak/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13816067/lady-bountiful-captures-a-rare-san-francisco-character-on-film",
"authors": [
"61"
],
"categories": [
"arts_74",
"arts_235"
],
"tags": [
"arts_1118",
"arts_596"
],
"featImg": "arts_13816072",
"label": "arts"
},
"arts_13815998": {
"type": "posts",
"id": "arts_13815998",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13815998",
"score": null,
"sort": [
1511911423000
]
},
"guestAuthors": [],
"slug": "aspiring-actress-details-allegations-against-harvey-weinstein",
"title": "Aspiring Actress Details Allegations Against Harvey Weinstein",
"publishDate": 1511911423,
"format": "standard",
"headTitle": "Aspiring Actress Details Allegations Against Harvey Weinstein | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>An aspiring actress who met Harvey Weinstein by chance in 2014 detailed in tears Tuesday how she said the media mogul made her stand in front of a mirror in his hotel room in Cannes, France, while he stood behind her, groping her and forcing her to perform a sex act after pretending to be interested in her career.\u003c/p>\n\u003cp>Kadian Noble, 31, filed a lawsuit in federal court in Manhattan a day earlier. Her attorney Jeff Herman said he sued under a criminal sex trafficking statute of engaging in commercial sex act overseas because Weinstein is a U.S. citizen who coerced Noble under the guise of helping with her career.\u003c/p>\n\u003cp>“By offering Kadian help with her career, and then getting her to comply with his advances — that’s the quid pro quo,” Herman said. The lawsuit seeks unspecified damages.\u003c/p>\n\u003cp>A spokeswoman for Weinstein said he “denies allegations of non-consensual sex” and “has further confirmed that there were never any acts of retaliation against any women for refusing his advances.”\u003c/p>\n\u003cp>Noble detailed the incident to reporters, saying that she met Weinstein by chance in 2014 at an after-party for the British Academy Film Awards, where he introduced her to Oprah Winfrey and Naomi Campbell, and she felt dazzled and lucky when he said he was interested in her.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He told her to contact an assistant and send them a demo reel. Later that year, he approached her in a hotel lobby at Cannes, which flattered her, and he suggested they look at her reel in his hotel room, she said. But when she got up there, it slowly dawned on her he was after something else.\u003c/p>\n\u003cp>“He was repeating to me, ‘I need to know that you really like me,'” she said. “At this point it became a little bit confusing but still I had a lot of hope.”\u003c/p>\n\u003cp>He grabbed her arm and stood her in front of a mirror where he groped her and then forced her to perform a sex act, she said.\u003c/p>\n\u003cp>“And I kept saying no, and I just felt so stupid. But at the same time a massive part of me had shut down. It makes no sense that I didn’t run out of the room. And all I was able to do was just say no.”\u003c/p>\n\u003cp>She said after the incident, his assistants never got back to her. Eventually she detailed the assault to one, who tried to convince her that he was a “good guy.”\u003c/p>\n\u003cp>The worst part for Noble, she said, is it ruined her dream of becoming an actress. She never got a part in a film and has since stepped away from the profession. She felt like her career was going to take off after meeting him — but it was all a lie, she said.\u003c/p>\n\u003cp>“People believe in you,” she said, addressing Weinstein. “It’s not been fair that you’ve used the power, the gift you have, you’ve turned it into such a corruption.”\u003c/p>\n\u003cp>Noble, who lives in London, said she reported details of the crime to the NYPD in recent weeks, which is investigating claims against Weinstein; police officials have said they are referring cases to other jurisdictions as necessary. Police in London, Los Angeles and Beverly Hills are also investigating Weinstein after at least 75 other actresses, models and others have come forward to detail alleged conduct by Weinstein ranging from sexual harassment to forcible rape. Meanwhile, New York police have said a 2010 rape allegation here is credible and may result in criminal charges.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Another civil lawsuit was filed Monday in London by a different woman who was not identified. Her attorney Jill Greenfield says her client was seeking damages for “personal injury” plus expenses and “consequential loss” arising out of a series of sexual assaults by Weinstein. Civil claims for rape and sexual assault are uncommon in Britain.\u003c/p>\n\n",
"blocks": [],
"excerpt": "She says the media mogul groped her and forced her to perform a sex act while saying he would help her career",
"status": "publish",
"parent": 0,
"modified": 1726706831,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 16,
"wordCount": 680
},
"headData": {
"title": "Aspiring Actress Details Allegations Against Harvey Weinstein | KQED",
"description": "She says the media mogul groped her and forced her to perform a sex act while saying he would help her career",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Aspiring Actress Details Allegations Against Harvey Weinstein",
"datePublished": "2017-11-28T15:23:43-08:00",
"dateModified": "2024-09-18T17:47:11-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Colleen Long, Associated Press",
"path": "/arts/13815998/aspiring-actress-details-allegations-against-harvey-weinstein",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>An aspiring actress who met Harvey Weinstein by chance in 2014 detailed in tears Tuesday how she said the media mogul made her stand in front of a mirror in his hotel room in Cannes, France, while he stood behind her, groping her and forcing her to perform a sex act after pretending to be interested in her career.\u003c/p>\n\u003cp>Kadian Noble, 31, filed a lawsuit in federal court in Manhattan a day earlier. Her attorney Jeff Herman said he sued under a criminal sex trafficking statute of engaging in commercial sex act overseas because Weinstein is a U.S. citizen who coerced Noble under the guise of helping with her career.\u003c/p>\n\u003cp>“By offering Kadian help with her career, and then getting her to comply with his advances — that’s the quid pro quo,” Herman said. The lawsuit seeks unspecified damages.\u003c/p>\n\u003cp>A spokeswoman for Weinstein said he “denies allegations of non-consensual sex” and “has further confirmed that there were never any acts of retaliation against any women for refusing his advances.”\u003c/p>\n\u003cp>Noble detailed the incident to reporters, saying that she met Weinstein by chance in 2014 at an after-party for the British Academy Film Awards, where he introduced her to Oprah Winfrey and Naomi Campbell, and she felt dazzled and lucky when he said he was interested in her.\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>He told her to contact an assistant and send them a demo reel. Later that year, he approached her in a hotel lobby at Cannes, which flattered her, and he suggested they look at her reel in his hotel room, she said. But when she got up there, it slowly dawned on her he was after something else.\u003c/p>\n\u003cp>“He was repeating to me, ‘I need to know that you really like me,'” she said. “At this point it became a little bit confusing but still I had a lot of hope.”\u003c/p>\n\u003cp>He grabbed her arm and stood her in front of a mirror where he groped her and then forced her to perform a sex act, she said.\u003c/p>\n\u003cp>“And I kept saying no, and I just felt so stupid. But at the same time a massive part of me had shut down. It makes no sense that I didn’t run out of the room. And all I was able to do was just say no.”\u003c/p>\n\u003cp>She said after the incident, his assistants never got back to her. Eventually she detailed the assault to one, who tried to convince her that he was a “good guy.”\u003c/p>\n\u003cp>The worst part for Noble, she said, is it ruined her dream of becoming an actress. She never got a part in a film and has since stepped away from the profession. She felt like her career was going to take off after meeting him — but it was all a lie, she said.\u003c/p>\n\u003cp>“People believe in you,” she said, addressing Weinstein. “It’s not been fair that you’ve used the power, the gift you have, you’ve turned it into such a corruption.”\u003c/p>\n\u003cp>Noble, who lives in London, said she reported details of the crime to the NYPD in recent weeks, which is investigating claims against Weinstein; police officials have said they are referring cases to other jurisdictions as necessary. Police in London, Los Angeles and Beverly Hills are also investigating Weinstein after at least 75 other actresses, models and others have come forward to detail alleged conduct by Weinstein ranging from sexual harassment to forcible rape. Meanwhile, New York police have said a 2010 rape allegation here is credible and may result in criminal charges.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Another civil lawsuit was filed Monday in London by a different woman who was not identified. Her attorney Jill Greenfield says her client was seeking damages for “personal injury” plus expenses and “consequential loss” arising out of a series of sexual assaults by Weinstein. Civil claims for rape and sexual assault are uncommon in Britain.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13815998/aspiring-actress-details-allegations-against-harvey-weinstein",
"authors": [
"byline_arts_13815998"
],
"categories": [
"arts_74",
"arts_235"
],
"tags": [
"arts_1448",
"arts_2777",
"arts_596"
],
"featImg": "arts_13815999",
"label": "arts"
},
"arts_13815858": {
"type": "posts",
"id": "arts_13815858",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13815858",
"score": null,
"sort": [
1511798429000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1511798429,
"format": "standard",
"title": "Now Playing! No Words, No Problem in Sumptuous Silents",
"headTitle": "Now Playing! No Words, No Problem in Sumptuous Silents | KQED",
"content": "\u003cp>In the beginning, there was the word. Not the spoken word, mind you, but intertitles, for movies had neither sound nor soundtrack for the first 25 years or so. Musicians filled in that vast space, providing melodies, motifs, emotional cues and even sound effects and ambient noises in conjunction with the flickering images. A century on, film programs featuring live musical accompaniment are back in vogue, with the Bay Area at the forefront of the trend.\u003c/p>\n\u003cp>\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2017-18/Film-North-By-Northwest.aspx\" rel=\"noopener\" target=\"_blank\">The San Francisco Symphony\u003c/a> has hit on a winning formula of pairing a stage full of virtuosos with immortal classics and hometown favorites. The SFS embarks on its fifth series with the endlessly entertaining \u003cem>North by Northwest\u003c/em> (Dec. 1 and 2 at Davies Symphony Hall), Alfred Hitchcock’s 1959 masterpiece which boasts a delicious dining-car pas de deux of double entendres and verbal seduction between Eva Marie Saint and Cary Grant, the wholly implausible and splendidly executed crop-dusting sequence (sans music, incidentally), and the spectacle of Saint’s character being slut-shamed by a high-priced, unapologetic prostitute (Grant’s Madison Ave. advertising exec). All that, and a score by Bernard Herrmann.\u003c/p>\n\u003cfigure id=\"attachment_13815865\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Lady-Windermeres-Fan_1200.jpg\" alt=\"'Lady Windermere's Fan,' 1925 with May McAvoy and Ronald Colman.\" width=\"1200\" height=\"969\" class=\"size-full wp-image-13815865\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Lady-Windermeres-Fan_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Lady-Windermeres-Fan_1200-160x129.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Lady-Windermeres-Fan_1200-800x646.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Lady-Windermeres-Fan_1200-768x620.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Lady-Windermeres-Fan_1200-1020x824.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Lady-Windermeres-Fan_1200-1180x953.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Lady-Windermeres-Fan_1200-960x775.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Lady-Windermeres-Fan_1200-240x194.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Lady-Windermeres-Fan_1200-375x303.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Lady-Windermeres-Fan_1200-520x420.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">‘Lady Windermere’s Fan,’ 1925 with May McAvoy and Ronald Colman. \u003ccite>(Courtesy of SF Silent Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The San Francisco Silent Film Festival packs its off-season marathon, \u003ca href=\"https://prod3.agileticketing.net/websales/pages/list.aspx?epguid=16a0951c-4bb8-43ca-9a27-6330abcf9169&\" rel=\"noopener\" target=\"_blank\">A Day of Silents\u003c/a> (Dec. 2 at the Castro), with something for everyone. Lotte Reininger’s animated \u003cem>The Adventures of Prince Achmed\u003c/em>, accompanied by Philip Carli on the keyboards, will delight children and their lucky escorts. The Mont Alto Motion Picture Orchestra taps into the wit and poignancy of Ernst Lubitsch’s adaptation of Oscar Wilde’s \u003cem>Lady Windermere’s Fan\u003c/em>, then Sascha Jacobsen and the Musical Art Quintet channel the dark alleys and darker impulses of Paris’ criminal element in \u003cem>The Rat\u003c/em>. There’s much more — all offering a respite from human speech.\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": 327,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 6
},
"modified": 1705029039,
"excerpt": "Motion pictures with live music are in vogue, with the Bay Area is at the forefront of the trend.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Motion pictures with live music are in vogue, with the Bay Area is at the forefront of the trend.",
"title": "Now Playing! No Words, No Problem in Sumptuous Silents | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Now Playing! No Words, No Problem in Sumptuous Silents",
"datePublished": "2017-11-27T08:00:29-08:00",
"dateModified": "2024-01-11T19:10:39-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "silent-film-fest-sf-symphony-north-by-northwest",
"status": "publish",
"sticky": false,
"path": "/arts/13815858/silent-film-fest-sf-symphony-north-by-northwest",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the beginning, there was the word. Not the spoken word, mind you, but intertitles, for movies had neither sound nor soundtrack for the first 25 years or so. Musicians filled in that vast space, providing melodies, motifs, emotional cues and even sound effects and ambient noises in conjunction with the flickering images. A century on, film programs featuring live musical accompaniment are back in vogue, with the Bay Area at the forefront of the trend.\u003c/p>\n\u003cp>\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2017-18/Film-North-By-Northwest.aspx\" rel=\"noopener\" target=\"_blank\">The San Francisco Symphony\u003c/a> has hit on a winning formula of pairing a stage full of virtuosos with immortal classics and hometown favorites. The SFS embarks on its fifth series with the endlessly entertaining \u003cem>North by Northwest\u003c/em> (Dec. 1 and 2 at Davies Symphony Hall), Alfred Hitchcock’s 1959 masterpiece which boasts a delicious dining-car pas de deux of double entendres and verbal seduction between Eva Marie Saint and Cary Grant, the wholly implausible and splendidly executed crop-dusting sequence (sans music, incidentally), and the spectacle of Saint’s character being slut-shamed by a high-priced, unapologetic prostitute (Grant’s Madison Ave. advertising exec). All that, and a score by Bernard Herrmann.\u003c/p>\n\u003cfigure id=\"attachment_13815865\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Lady-Windermeres-Fan_1200.jpg\" alt=\"'Lady Windermere's Fan,' 1925 with May McAvoy and Ronald Colman.\" width=\"1200\" height=\"969\" class=\"size-full wp-image-13815865\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Lady-Windermeres-Fan_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Lady-Windermeres-Fan_1200-160x129.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Lady-Windermeres-Fan_1200-800x646.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Lady-Windermeres-Fan_1200-768x620.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Lady-Windermeres-Fan_1200-1020x824.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Lady-Windermeres-Fan_1200-1180x953.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Lady-Windermeres-Fan_1200-960x775.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Lady-Windermeres-Fan_1200-240x194.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Lady-Windermeres-Fan_1200-375x303.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Lady-Windermeres-Fan_1200-520x420.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">‘Lady Windermere’s Fan,’ 1925 with May McAvoy and Ronald Colman. \u003ccite>(Courtesy of SF Silent Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The San Francisco Silent Film Festival packs its off-season marathon, \u003ca href=\"https://prod3.agileticketing.net/websales/pages/list.aspx?epguid=16a0951c-4bb8-43ca-9a27-6330abcf9169&\" rel=\"noopener\" target=\"_blank\">A Day of Silents\u003c/a> (Dec. 2 at the Castro), with something for everyone. Lotte Reininger’s animated \u003cem>The Adventures of Prince Achmed\u003c/em>, accompanied by Philip Carli on the keyboards, will delight children and their lucky escorts. The Mont Alto Motion Picture Orchestra taps into the wit and poignancy of Ernst Lubitsch’s adaptation of Oscar Wilde’s \u003cem>Lady Windermere’s Fan\u003c/em>, then Sascha Jacobsen and the Musical Art Quintet channel the dark alleys and darker impulses of Paris’ criminal element in \u003cem>The Rat\u003c/em>. There’s much more — all offering a respite from human speech.\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/13815858/silent-film-fest-sf-symphony-north-by-northwest",
"authors": [
"22"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_977",
"arts_1006",
"arts_596",
"arts_1367"
],
"featImg": "arts_13815863",
"label": "arts"
},
"arts_13815832": {
"type": "posts",
"id": "arts_13815832",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13815832",
"score": null,
"sort": [
1511637072000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1511637072,
"format": "standard",
"title": "What's $800 And Already Sold Out? This Lego Star Wars Ship",
"headTitle": "What’s $800 And Already Sold Out? This Lego Star Wars Ship | KQED",
"content": "\u003cp>It made the \u003ca href=\"http://starwars.wikia.com/wiki/Kessel_Run/Legends\" target=\"_blank\" rel=\"noopener\">Kessel Run\u003c/a> in less than 12 parsecs. But a new buildable version of Han Solo’s famous Millennium Falcon is currently stalled.\u003c/p>\n\u003cp>Those hoping to snag one of Lego’s new \u003cem>Star Wars\u003c/em> sets for the 2017 holidays will likely be disappointed. It’s currently sold out online. After a September release only to its VIP list, the company promises it’s working as fast as it can to “make more sets available and keep our LEGO builders happy.” At a cool $799.99 and more than 7,500 pieces, it’s the expensive, easy-to-lose gift that keeps on giving.\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=1&v=hGoQ44SfV-c\u003c/p>\n\u003cp>The ship is big. Once constructed, it’s longer than the width of a grown man’s shoulders — at least the shoulders of Lego employee Hans, pictured in \u003ca href=\"https://www.youtube.com/watch?v=KHc5F9XiP1U\" target=\"_blank\" rel=\"noopener\">this video explanation\u003c/a>. Cashing in on the nostalgia surrounding not only the \u003cem>Star Wars\u003c/em> franchise, but also its own toy brand, this is the 10th anniversary edition of Lego’s first Falcon set, according to the video.\u003c/p>\n\u003cp>https://twitter.com/mrjalco/status/932608894563770369?ref_src=twsrc%5Etfw&ref_url=https%3A%2F%2Fwww.npr.org%2Fsections%2Fthetwo-way%2F2017%2F11%2F24%2F566370961%2Fwhats-800-and-already-sold-out-this-lego-star-wars-ship\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Lego Falcon owners have taken to fan blogs and Twitter to show off their constructions.\u003c/p>\n\u003cp>And, as is to be expected, the video offerings attached to #FalconBuild are numerous and sometimes painstaking productions. Options include multiple “un-boxing” ceremonies, a \u003ca href=\"https://www.youtube.com/watch?v=W4dZY3T8c2M&t=11s\" target=\"_blank\" rel=\"noopener\">seven-episode series\u003c/a> of real-time builds generally lasting about two hours, and high-quality time-lapse versions.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GeLbhxJxUHU\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The “lucky” ones who claimed one during the first sale leave this Two-Way blogger with one thought: You’re building that thing? \u003ca href=\"https://www.youtube.com/watch?v=lXrBZnOIw7Q\">You’re braver\u003c/a> than I thought. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=What%27s+%24800+And+Already+Sold+Out%3F+This+Lego+Star+Wars+Ship&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 340,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 8
},
"modified": 1705029040,
"excerpt": "Released solely to Lego's \"VIP\" list, the Millennium Falcon sold out quickly after its September release. The company promises more models through December, but only for its most loyal customers.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Released solely to Lego's "VIP" list, the Millennium Falcon sold out quickly after its September release. The company promises more models through December, but only for its most loyal customers.",
"title": "What's $800 And Already Sold Out? This Lego Star Wars Ship | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "What's $800 And Already Sold Out? This Lego Star Wars Ship",
"datePublished": "2017-11-25T11:11:12-08:00",
"dateModified": "2024-01-11T19:10:40-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "whats-800-and-already-sold-out-this-lego-star-wars-ship",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=566370961&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Rebecca Feldhaus Adams",
"nprStoryDate": "Fri, 24 Nov 2017 17:38:00 -0500",
"nprLastModifiedDate": "Fri, 24 Nov 2017 18:10:47 -0500",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/sections/thetwo-way/2017/11/24/566370961/whats-800-and-already-sold-out-this-lego-star-wars-ship?ft=nprml&f=566370961",
"nprImageAgency": "Lego",
"nprImageCredit": "Jim van Gulk",
"nprStoryId": "566370961",
"nprRetrievedStory": "1",
"nprPubDate": "Fri, 24 Nov 2017 18:10:00 -0500",
"path": "/arts/13815832/whats-800-and-already-sold-out-this-lego-star-wars-ship",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It made the \u003ca href=\"http://starwars.wikia.com/wiki/Kessel_Run/Legends\" target=\"_blank\" rel=\"noopener\">Kessel Run\u003c/a> in less than 12 parsecs. But a new buildable version of Han Solo’s famous Millennium Falcon is currently stalled.\u003c/p>\n\u003cp>Those hoping to snag one of Lego’s new \u003cem>Star Wars\u003c/em> sets for the 2017 holidays will likely be disappointed. It’s currently sold out online. After a September release only to its VIP list, the company promises it’s working as fast as it can to “make more sets available and keep our LEGO builders happy.” At a cool $799.99 and more than 7,500 pieces, it’s the expensive, easy-to-lose gift that keeps on giving.\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/hGoQ44SfV-c'\n title='//www.youtube.com/embed/hGoQ44SfV-c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The ship is big. Once constructed, it’s longer than the width of a grown man’s shoulders — at least the shoulders of Lego employee Hans, pictured in \u003ca href=\"https://www.youtube.com/watch?v=KHc5F9XiP1U\" target=\"_blank\" rel=\"noopener\">this video explanation\u003c/a>. Cashing in on the nostalgia surrounding not only the \u003cem>Star Wars\u003c/em> franchise, but also its own toy brand, this is the 10th anniversary edition of Lego’s first Falcon set, according to the video.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "932608894563770369"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\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>Lego Falcon owners have taken to fan blogs and Twitter to show off their constructions.\u003c/p>\n\u003cp>And, as is to be expected, the video offerings attached to #FalconBuild are numerous and sometimes painstaking productions. Options include multiple “un-boxing” ceremonies, a \u003ca href=\"https://www.youtube.com/watch?v=W4dZY3T8c2M&t=11s\" target=\"_blank\" rel=\"noopener\">seven-episode series\u003c/a> of real-time builds generally lasting about two hours, and high-quality time-lapse versions.\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/GeLbhxJxUHU'\n title='//www.youtube.com/embed/GeLbhxJxUHU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>The “lucky” ones who claimed one during the first sale leave this Two-Way blogger with one thought: You’re building that thing? \u003ca href=\"https://www.youtube.com/watch?v=lXrBZnOIw7Q\">You’re braver\u003c/a> than I thought. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=What%27s+%24800+And+Already+Sold+Out%3F+This+Lego+Star+Wars+Ship&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13815832/whats-800-and-already-sold-out-this-lego-star-wars-ship",
"authors": [
"byline_arts_13815832"
],
"categories": [
"arts_74",
"arts_75"
],
"tags": [
"arts_1448",
"arts_1118",
"arts_596",
"arts_3241"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13815833",
"label": "arts_137"
},
"arts_13815807": {
"type": "posts",
"id": "arts_13815807",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13815807",
"score": null,
"sort": [
1511532051000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1511532051,
"format": "standard",
"title": "In 'Coco,' Pixar Finds Joyous Life — In Death",
"headTitle": "In ‘Coco,’ Pixar Finds Joyous Life — In Death | KQED",
"content": "\u003cp>Pixar’s animators seem willing to go anywhere in pursuit of fresh enchantment. They plunged to the ocean’s depths in \u003cem>Finding Nemo\u003c/em>, took to the sky with helium balloons in \u003cem>Up\u003c/em> and entered a child’s mind in \u003cem>Inside Out\u003c/em>. Now, in the movie Coco, they — and we — are visiting the afterlife.\u003c/p>\n\u003cp>We get there alongside young Miguel (voiced by Anthony Gonzalez), who lives with his shoemaking family in a Mexican village. He’s a happy kid, except for one thing: His family has lived an entirely music-free existence for three generations. His grandmother (Renee Victor) has forbidden it all — no blowing into soda bottles, no listening to passing car radios and absolutely \u003cem>no \u003c/em>mariachis.\u003c/p>\n\u003cp>Miguel knows why. Years ago, his musical great-great-grandfather grabbed his guitar and left, never to return. On Dia de Muertos — the Day of the Dead — when it’s said the deceased return to visit their families, no one so much as mentions great-great-granddad. Which means Miguel gets a bit of a shock when he strums a guitar in a cemetery on that day and finds himself and his street puppy Dante — get it? — transported to the land of the dead.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Rvr68u6k5sI\u003c/p>\n\u003cp>It’s an eye-popping and lively sort of Hades, with streets paved in fluorescent flower petals and skeletons performing production numbers about dancing papaya seeds.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The plot, arguably, comes packed with more complications and psychedelic spirit-critters than it really needs. But you can’t blame Pixar’s animators for having a field day with the film’s imagery, which speaks so centrally to the studio’s preoccupation with the concept of family.\u003c/p>\n\u003cp>The Coco of the title, I should mention, is Miguel’s great-grandmother, the child of that musical great-great-grandfather who never came back. She anchors the film as you’d expect a matriarch to do. She also figures in a moment that will reduce audiences to tears as surely as did that passage in \u003cem>Up a\u003c/em>bout the grumpy old man losing his wife.\u003c/p>\n\u003cp>In both cases, the tears are joyous — they’re about the memories that can unite families and even transcend death. And while \u003cem>Coco \u003c/em>strikes plenty of dutiful comic kid-flick poses, it’s no accident that its big song is called “Remember Me,” or that its plot centers on Mexico’s Day of the Dead.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The final credits end with a note that Dia de Muertos is a tradition rooted in the lore of Indigenous peoples. “To learn more,” says a legend on the screen, “visit your local library.” I bet a lot of folks will — after they call their grandmothers.\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 480,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 10
},
"modified": 1705029043,
"excerpt": "A young Mexican boy who longs for music finds himself in the afterlife in a movie that will inspire joyous tears — and plenty of long-distance calls to grandmothers.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "A young Mexican boy who longs for music finds himself in the afterlife in a movie that will inspire joyous tears — and plenty of long-distance calls to grandmothers.",
"title": "In 'Coco,' Pixar Finds Joyous Life — In Death | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "In 'Coco,' Pixar Finds Joyous Life — In Death",
"datePublished": "2017-11-24T06:00:51-08:00",
"dateModified": "2024-01-11T19:10:43-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "in-coco-pixar-finds-joyous-life-in-death",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=564869134&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Bob Mondello",
"nprStoryDate": "Wed, 22 Nov 2017 06:49:00 -0500",
"nprLastModifiedDate": "Wed, 22 Nov 2017 20:02:08 -0500",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/2017/11/22/564869134/in-coco-pixar-finds-joyous-life-in-death?ft=nprml&f=564869134",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2017/11/20171122_atc_in_coco_pixar_finds_joyous_life_in_death.mp3?orgId=1&topicId=4467349&d=182&p=2&story=564869134&ft=nprml&f=564869134",
"nprImageAgency": "Pixar",
"nprAudioM3u": "http://api.npr.org/m3u/1566098819-404571.m3u?orgId=1&topicId=4467349&d=182&p=2&story=564869134&ft=nprml&f=564869134",
"nprStoryId": "564869134",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 22 Nov 2017 17:31:00 -0500",
"path": "/arts/13815807/in-coco-pixar-finds-joyous-life-in-death",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2017/11/20171122_atc_in_coco_pixar_finds_joyous_life_in_death.mp3?orgId=1&topicId=4467349&d=182&p=2&story=564869134&ft=nprml&f=564869134",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Pixar’s animators seem willing to go anywhere in pursuit of fresh enchantment. They plunged to the ocean’s depths in \u003cem>Finding Nemo\u003c/em>, took to the sky with helium balloons in \u003cem>Up\u003c/em> and entered a child’s mind in \u003cem>Inside Out\u003c/em>. Now, in the movie Coco, they — and we — are visiting the afterlife.\u003c/p>\n\u003cp>We get there alongside young Miguel (voiced by Anthony Gonzalez), who lives with his shoemaking family in a Mexican village. He’s a happy kid, except for one thing: His family has lived an entirely music-free existence for three generations. His grandmother (Renee Victor) has forbidden it all — no blowing into soda bottles, no listening to passing car radios and absolutely \u003cem>no \u003c/em>mariachis.\u003c/p>\n\u003cp>Miguel knows why. Years ago, his musical great-great-grandfather grabbed his guitar and left, never to return. On Dia de Muertos — the Day of the Dead — when it’s said the deceased return to visit their families, no one so much as mentions great-great-granddad. Which means Miguel gets a bit of a shock when he strums a guitar in a cemetery on that day and finds himself and his street puppy Dante — get it? — transported to the land of the dead.\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/Rvr68u6k5sI'\n title='//www.youtube.com/embed/Rvr68u6k5sI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s an eye-popping and lively sort of Hades, with streets paved in fluorescent flower petals and skeletons performing production numbers about dancing papaya seeds.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The plot, arguably, comes packed with more complications and psychedelic spirit-critters than it really needs. But you can’t blame Pixar’s animators for having a field day with the film’s imagery, which speaks so centrally to the studio’s preoccupation with the concept of family.\u003c/p>\n\u003cp>The Coco of the title, I should mention, is Miguel’s great-grandmother, the child of that musical great-great-grandfather who never came back. She anchors the film as you’d expect a matriarch to do. She also figures in a moment that will reduce audiences to tears as surely as did that passage in \u003cem>Up a\u003c/em>bout the grumpy old man losing his wife.\u003c/p>\n\u003cp>In both cases, the tears are joyous — they’re about the memories that can unite families and even transcend death. And while \u003cem>Coco \u003c/em>strikes plenty of dutiful comic kid-flick poses, it’s no accident that its big song is called “Remember Me,” or that its plot centers on Mexico’s Day of the Dead.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The final credits end with a note that Dia de Muertos is a tradition rooted in the lore of Indigenous peoples. “To learn more,” says a legend on the screen, “visit your local library.” I bet a lot of folks will — after they call their grandmothers.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13815807/in-coco-pixar-finds-joyous-life-in-death",
"authors": [
"byline_arts_13815807"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_977",
"arts_1900",
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13815808",
"label": "arts_137"
},
"arts_13815587": {
"type": "posts",
"id": "arts_13815587",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13815587",
"score": null,
"sort": [
1511298555000
]
},
"guestAuthors": [],
"slug": "disneypixar-head-john-lasseter-announces-temporary-leave-after-possible-misconduct",
"title": "Disney/Pixar Head on Temporary Leave After Possible Misconduct",
"publishDate": 1511298555,
"format": "standard",
"headTitle": "Disney/Pixar Head on Temporary Leave After Possible Misconduct | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Pixar co-founder John Lasseter is taking a six-month sabbatical as Walt Disney Animation Studios’ chief creative officer after possible misconduct during his leadership.\u003c/p>\n\u003cp>Lasseter, who co-founded Pixar in 1979 when it was under the purview of Lucasfilm, issued a memo on Tuesday, Nov. 20 to Disney/Pixar staff announcing his leave of absence and apologizing for his “missteps,” \u003ca href=\"https://www.hollywoodreporter.com/news/john-lasseter-taking-leave-absence-pixar-missteps-1057113\" target=\"_blank\" rel=\"noopener\">reports \u003cem>The Hollywood Reporter\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>“It’s been brought to my attention that I have made some of you feel disrespected or uncomfortable,” he writes in the memo. \u003c/p>\n\u003cblockquote>\u003cp>“That was never my intent. Collectively, you mean the world to me, and I deeply apologize if I have let you down. I especially want to apologize to anyone who has ever been on the receiving end of an unwanted hug or any other gesture they felt crossed the line in any way, shape, or form. No matter how benign my intent, everyone has the right to set their own boundaries and have them respected.\u003c/p>\u003c/blockquote>\n\u003cp>Lasseter, according to another report by \u003cem>THR\u003c/em>, has made unwanted physical advances at women working at Pixar — including Rashida Jones, who left her writing post at \u003cem>Toy Story 4\u003c/em> because of his inappropriate behavior. Other sources have witnessed Lasseter kissing, hugging and touching women at Pixar’s Emeryville office and during company events. He has an established reputation as a “hugger,” a fact that has been documented since a \u003ca href=\"https://usatoday30.usatoday.com/life/movies/news/2006-03-08-cars-main_x.htm\"> USA Today feature on him published back in 2006\u003c/a>.\u003c/p>\n\u003cp>Lasseter has been integral in Disney Studios’ revitalization since 2006, when the conglomerate purchased Pixar. As chief creative officer of both studios, he executive produces or produces every Pixar and Walt Disney Animation project, including \u003cem>Frozen, Tangled, \u003c/em>and \u003cem>Inside Out\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On Nov. 7, he received a Lifetime Achievement Award at a fundraising event held by the Walt Disney Family Museum in San Francisco. Lasseter is also slated to speak at the Hanna Boys Center in Sonoma as part of the city’s Speaker Series in December. Lasseter is a longtime Sonoma County resident, where he owns a winery with his wife, Nancy.\u003c/p>\n\u003cp>“We are committed to maintaining an environment in which all employees are respected and empowered to do their best work,” \u003ca href=\"https://io9.gizmodo.com/disney-executive-john-lasseter-taking-leave-of-absence-1820653126\" target=\"_blank\" rel=\"noopener\">reads a statement to io9 by a Disney spokesperson\u003c/a>. “We appreciate John’s candor and sincere apology and fully support his sabbatical.”\u003c/p>\n\u003cp>Pixar’s latest project, \u003cem>Coco\u003c/em>, will be released on Thanksgiving day.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The full memo can be found below.\u003c/p>\n\u003cblockquote>\u003cp>I have always wanted our animation studios to be places where creators can explore their vision with the support and collaboration of other gifted animators and storytellers. This kind of creative culture takes constant vigilance to maintain. It’s built on trust and respect, and it becomes fragile if any members of the team don’t feel valued. As a leader, it’s my responsibility to ensure that doesn’t happen; and I now believe I have been falling short in this regard.\u003c/p>\n\u003cp>I’ve recently had a number of difficult conversations that have been very painful for me. It’s never easy to face your missteps, but it’s the only way to learn from them. As a result, I’ve been giving a lot of thought to the leader I am today compared to the mentor, advocate and champion I want to be. It’s been brought to my attention that I have made some of you feel disrespected or uncomfortable. That was never my intent. Collectively, you mean the world to me, and I deeply apologize if I have let you down. I especially want to apologize to anyone who has ever been on the receiving end of an unwanted hug or any other gesture they felt crossed the line in any way, shape, or form. No matter how benign my intent, everyone has the right to set their own boundaries and have them respected.\u003c/p>\n\u003cp>In my conversations with Disney, we are united in our commitment to always treat any concerns you have with the seriousness they deserve, and to address them in an appropriate manner. We also share a desire to reinforce the vibrant, respectful culture that has been the foundation of our studios’ success since the beginning. And we agree the first step in that direction is for me to take some time away to reflect on how to move forward from here. As hard as it is for me to step away from a job I am so passionate about and a team I hold in the highest regard, not just as artists but as people, I know it’s the best thing for all of us right now. My hope is that a six-month sabbatical will give me the opportunity to start taking better care of myself, to recharge and be inspired, and ultimately return with the insight and perspective I need to be the leader you deserve.\u003c/p>\n\u003cp>I’m immensely proud of this team, and I know you will continue to wow the world in my absence. I wish you all a wonderful holiday season and look forward to working together again in the new year.\u003c/p>\n\u003cp>John\u003c/p>\u003c/blockquote>\n\n",
"blocks": [],
"excerpt": "Days before the release of 'Coco,' Lasseter — a Sonoma resident — issued a memo announcing his temporary leave",
"status": "publish",
"parent": 0,
"modified": 1726706836,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 17,
"wordCount": 890
},
"headData": {
"title": "Disney/Pixar Head on Temporary Leave After Possible Misconduct | KQED",
"description": "Days before the release of 'Coco,' Lasseter — a Sonoma resident — issued a memo announcing his temporary leave",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Disney/Pixar Head on Temporary Leave After Possible Misconduct",
"datePublished": "2017-11-21T13:09:15-08:00",
"dateModified": "2024-09-18T17:47:16-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/13815587/disneypixar-head-john-lasseter-announces-temporary-leave-after-possible-misconduct",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Pixar co-founder John Lasseter is taking a six-month sabbatical as Walt Disney Animation Studios’ chief creative officer after possible misconduct during his leadership.\u003c/p>\n\u003cp>Lasseter, who co-founded Pixar in 1979 when it was under the purview of Lucasfilm, issued a memo on Tuesday, Nov. 20 to Disney/Pixar staff announcing his leave of absence and apologizing for his “missteps,” \u003ca href=\"https://www.hollywoodreporter.com/news/john-lasseter-taking-leave-absence-pixar-missteps-1057113\" target=\"_blank\" rel=\"noopener\">reports \u003cem>The Hollywood Reporter\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>“It’s been brought to my attention that I have made some of you feel disrespected or uncomfortable,” he writes in the memo. \u003c/p>\n\u003cblockquote>\u003cp>“That was never my intent. Collectively, you mean the world to me, and I deeply apologize if I have let you down. I especially want to apologize to anyone who has ever been on the receiving end of an unwanted hug or any other gesture they felt crossed the line in any way, shape, or form. No matter how benign my intent, everyone has the right to set their own boundaries and have them respected.\u003c/p>\u003c/blockquote>\n\u003cp>Lasseter, according to another report by \u003cem>THR\u003c/em>, has made unwanted physical advances at women working at Pixar — including Rashida Jones, who left her writing post at \u003cem>Toy Story 4\u003c/em> because of his inappropriate behavior. Other sources have witnessed Lasseter kissing, hugging and touching women at Pixar’s Emeryville office and during company events. He has an established reputation as a “hugger,” a fact that has been documented since a \u003ca href=\"https://usatoday30.usatoday.com/life/movies/news/2006-03-08-cars-main_x.htm\"> USA Today feature on him published back in 2006\u003c/a>.\u003c/p>\n\u003cp>Lasseter has been integral in Disney Studios’ revitalization since 2006, when the conglomerate purchased Pixar. As chief creative officer of both studios, he executive produces or produces every Pixar and Walt Disney Animation project, including \u003cem>Frozen, Tangled, \u003c/em>and \u003cem>Inside Out\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On Nov. 7, he received a Lifetime Achievement Award at a fundraising event held by the Walt Disney Family Museum in San Francisco. Lasseter is also slated to speak at the Hanna Boys Center in Sonoma as part of the city’s Speaker Series in December. Lasseter is a longtime Sonoma County resident, where he owns a winery with his wife, Nancy.\u003c/p>\n\u003cp>“We are committed to maintaining an environment in which all employees are respected and empowered to do their best work,” \u003ca href=\"https://io9.gizmodo.com/disney-executive-john-lasseter-taking-leave-of-absence-1820653126\" target=\"_blank\" rel=\"noopener\">reads a statement to io9 by a Disney spokesperson\u003c/a>. “We appreciate John’s candor and sincere apology and fully support his sabbatical.”\u003c/p>\n\u003cp>Pixar’s latest project, \u003cem>Coco\u003c/em>, will be released on Thanksgiving day.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The full memo can be found below.\u003c/p>\n\u003cblockquote>\u003cp>I have always wanted our animation studios to be places where creators can explore their vision with the support and collaboration of other gifted animators and storytellers. This kind of creative culture takes constant vigilance to maintain. It’s built on trust and respect, and it becomes fragile if any members of the team don’t feel valued. As a leader, it’s my responsibility to ensure that doesn’t happen; and I now believe I have been falling short in this regard.\u003c/p>\n\u003cp>I’ve recently had a number of difficult conversations that have been very painful for me. It’s never easy to face your missteps, but it’s the only way to learn from them. As a result, I’ve been giving a lot of thought to the leader I am today compared to the mentor, advocate and champion I want to be. It’s been brought to my attention that I have made some of you feel disrespected or uncomfortable. That was never my intent. Collectively, you mean the world to me, and I deeply apologize if I have let you down. I especially want to apologize to anyone who has ever been on the receiving end of an unwanted hug or any other gesture they felt crossed the line in any way, shape, or form. No matter how benign my intent, everyone has the right to set their own boundaries and have them respected.\u003c/p>\n\u003cp>In my conversations with Disney, we are united in our commitment to always treat any concerns you have with the seriousness they deserve, and to address them in an appropriate manner. We also share a desire to reinforce the vibrant, respectful culture that has been the foundation of our studios’ success since the beginning. And we agree the first step in that direction is for me to take some time away to reflect on how to move forward from here. As hard as it is for me to step away from a job I am so passionate about and a team I hold in the highest regard, not just as artists but as people, I know it’s the best thing for all of us right now. My hope is that a six-month sabbatical will give me the opportunity to start taking better care of myself, to recharge and be inspired, and ultimately return with the insight and perspective I need to be the leader you deserve.\u003c/p>\n\u003cp>I’m immensely proud of this team, and I know you will continue to wow the world in my absence. I wish you all a wonderful holiday season and look forward to working together again in the new year.\u003c/p>\n\u003cp>John\u003c/p>\u003c/blockquote>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13815587/disneypixar-head-john-lasseter-announces-temporary-leave-after-possible-misconduct",
"authors": [
"11371"
],
"categories": [
"arts_74",
"arts_235"
],
"tags": [
"arts_1448",
"arts_3114",
"arts_596",
"arts_3217"
],
"featImg": "arts_13815585",
"label": "arts"
},
"arts_13815160": {
"type": "posts",
"id": "arts_13815160",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13815160",
"score": null,
"sort": [
1510927224000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1510927224,
"format": "standard",
"title": "Mourning Becomes Electrifying In 'Three Billboards Outside Ebbing, Missouri'",
"headTitle": "Mourning Becomes Electrifying In ‘Three Billboards Outside Ebbing, Missouri’ | KQED",
"content": "\u003cp>It was the Year of Our Lord Nineteen Hundred and Ninety-Seven when Frances McDormand collected her Academy Award for playing Marge Gunderson, the lovable pregnant cop heroine of \u003cem>Fargo.\u003c/em> At that same time, Martin McDonagh was fast establishing himself as the \u003cem>savant terrible\u003c/em> of the Irish and English stage, a brash and brilliant playwright who was more Noel Gallagher than Noel Coward — and more like a long-lost Coen Brother than either. Four of McDonagh caustic tragicomedies, all set in rural Ireland, premiered in 1996-7. At the age of 27, he became the first dramatist since Shakespeare to have four shows running simultaneously in London. When McDonagh started dabbling in film a few years later, his debut short \u003cem>Six Shooter \u003c/em>won an Oscar right out of the gate.\u003c/p>\n\u003cp>Only once McDonagh started telling stories set in America — the 2010 play \u003cem>A Behanding in Spokane,\u003c/em> the 2012 film\u003cem> Seven Psychopaths \u003c/em>— did his rocket-like ascent seem to level off. But with the new \u003cem>Three Billboards Outside Ebbing, Missouri,\u003c/em> his third and best feature, he’s finally begun to grapple with the violence of American life in a way that doesn’t feel like the work of a tourist. More than that, \u003cem>Three Billboards\u003c/em> reflects a greater sympathy for its broken characters than does \u003cem>Fargo\u003c/em> or a number of other well-loved Coen Brothers crime capers. That sympathy is what keeps McDonagh’s film consistently surprising — and what may keep some viewers from embracing it. The greatest trick a showman can pull in 2017 is to try to make you pity a violent, racist cop.\u003c/p>\n\u003cp>https://youtu.be/nefD7UOhLCo\u003c/p>\n\u003cp>The \u003cem>Billboards\u003c/em>‘ cast, a murderer’s row of great character actors who’ve played murderers, reunites several whom McDonagh has used before: Woody Harrelson, Abbie Cornish, Peter Dinklage. McDonagh has a particular yen for casting Sam Rockwell — whom I saw in the Broadway production of \u003cem>A Behanding in Spokane\u003c/em>, opposite Christopher Walken, Anthony Mackie, and Zoe Kazan — as loquacious idiots. In \u003cem>Billboards\u003c/em>, Rockwell plays a bigoted patrolman who has managed to hold onto his badge only through the mercy (and frankly, negligence) of Harrelson’s relatively even-tempered police chief. Of the many imperfect-to-straight-up-evil lawmen Harrelson has embodied in recent years, Chief Willoughby is the most compelling.\u003c/p>\n\u003cp>But this is McDormand’s movie all the way, and a fascinating bookend to \u003cem>Fargo\u003c/em>. In that film she was a dogged but reasonable investigator on the trail of two killers; her \u003cem>Billboards\u003c/em> character, Mildred, is herself the grieving victim of a horrific crime, the rape and murder of her adolescent daughter. (The assault is discussed in detail but never depicted onscreen.) Frustrated by the lack of progress in the case and enraged by reports of racially motivated police brutality (also discussed but never shown, though no one seriously disputes that these crimes-by-police occurred), Mildred publicly shames the department into redoubling its efforts. Those red billboards on a little-used country road make it plain to all passersby that something awful happened here, and justice has not been served. (The fictional town of Ebbing, Missouri is played in the film by the Smoky Mountain hideaway of Sylva, North Carolina, pop. 2,644.) Everyone feels sorry for Mildred — as a parish priest played by the great Nick Searcy conveys to her — but their empathy finds its operational limit when her demands for justice begin to reflect badly on the town.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That’s the movie. Mildred v. her neighbors, Mildred v. the cops, Mildred v. the menacing strangers who come out of the woodwork when one criticizes law enforcement, Mildred v. her abusive ex-husband (John Hawkes, another great character actor), Mildred v. her high-school-age son (20-year-old Lucas Hedges from \u003cem>Manchester by the Sea\u003c/em>, ditto), who just wants to work through the grieving process and try to salvage his life. Though it runs just under two hours and abandons the single-location milieu of most of McDonagh’s work for the stage, \u003cem>Three Billboards\u003c/em> still moves more like a play than a film, given its five or maybe even seven-act structure. It’s the first of McDonagh’s movies to match the maturity of his plays, and the first time he’s pushed past writing about hitmen and screenwriters to make something that feels like it could be about your neighbors. The most surprising development is that he’s at last exploring how to survive and escape the cycle of vengeance rather than simply working up to one. It’s not easy to write a glib movie about forgiveness. But if I were forced to summarize this one in a billboard, that’s how it would read.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 808,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 7
},
"modified": 1705029090,
"excerpt": "In this, Irish filmmaker Martin McDonagh's third and best feature, the director has finally begun to grapple with the violence of American life in a way that doesn't feel like the work of a tourist.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "In this, Irish filmmaker Martin McDonagh's third and best feature, the director has finally begun to grapple with the violence of American life in a way that doesn't feel like the work of a tourist.",
"title": "Mourning Becomes Electrifying In 'Three Billboards Outside Ebbing, Missouri' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Mourning Becomes Electrifying In 'Three Billboards Outside Ebbing, Missouri'",
"datePublished": "2017-11-17T06:00:24-08:00",
"dateModified": "2024-01-11T19:11:30-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "mourning-becomes-electrifying-in-three-billboards-outside-ebbing-missouri",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=561910163&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Chris Klimek",
"nprStoryDate": "Thu, 09 Nov 2017 17:00:49 -0500",
"nprLastModifiedDate": "Thu, 09 Nov 2017 17:00:50 -0500",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/2017/11/09/561910163/mourning-becomes-electrifying-in-three-billboards-outside-ebbing-missouri?ft=nprml&f=561910163",
"nprImageAgency": "Fox Searchlight Pictures",
"nprStoryId": "561910163",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 09 Nov 2017 17:00:00 -0500",
"path": "/arts/13815160/mourning-becomes-electrifying-in-three-billboards-outside-ebbing-missouri",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was the Year of Our Lord Nineteen Hundred and Ninety-Seven when Frances McDormand collected her Academy Award for playing Marge Gunderson, the lovable pregnant cop heroine of \u003cem>Fargo.\u003c/em> At that same time, Martin McDonagh was fast establishing himself as the \u003cem>savant terrible\u003c/em> of the Irish and English stage, a brash and brilliant playwright who was more Noel Gallagher than Noel Coward — and more like a long-lost Coen Brother than either. Four of McDonagh caustic tragicomedies, all set in rural Ireland, premiered in 1996-7. At the age of 27, he became the first dramatist since Shakespeare to have four shows running simultaneously in London. When McDonagh started dabbling in film a few years later, his debut short \u003cem>Six Shooter \u003c/em>won an Oscar right out of the gate.\u003c/p>\n\u003cp>Only once McDonagh started telling stories set in America — the 2010 play \u003cem>A Behanding in Spokane,\u003c/em> the 2012 film\u003cem> Seven Psychopaths \u003c/em>— did his rocket-like ascent seem to level off. But with the new \u003cem>Three Billboards Outside Ebbing, Missouri,\u003c/em> his third and best feature, he’s finally begun to grapple with the violence of American life in a way that doesn’t feel like the work of a tourist. More than that, \u003cem>Three Billboards\u003c/em> reflects a greater sympathy for its broken characters than does \u003cem>Fargo\u003c/em> or a number of other well-loved Coen Brothers crime capers. That sympathy is what keeps McDonagh’s film consistently surprising — and what may keep some viewers from embracing it. The greatest trick a showman can pull in 2017 is to try to make you pity a violent, racist cop.\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/nefD7UOhLCo'\n title='//www.youtube.com/embed/nefD7UOhLCo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The \u003cem>Billboards\u003c/em>‘ cast, a murderer’s row of great character actors who’ve played murderers, reunites several whom McDonagh has used before: Woody Harrelson, Abbie Cornish, Peter Dinklage. McDonagh has a particular yen for casting Sam Rockwell — whom I saw in the Broadway production of \u003cem>A Behanding in Spokane\u003c/em>, opposite Christopher Walken, Anthony Mackie, and Zoe Kazan — as loquacious idiots. In \u003cem>Billboards\u003c/em>, Rockwell plays a bigoted patrolman who has managed to hold onto his badge only through the mercy (and frankly, negligence) of Harrelson’s relatively even-tempered police chief. Of the many imperfect-to-straight-up-evil lawmen Harrelson has embodied in recent years, Chief Willoughby is the most compelling.\u003c/p>\n\u003cp>But this is McDormand’s movie all the way, and a fascinating bookend to \u003cem>Fargo\u003c/em>. In that film she was a dogged but reasonable investigator on the trail of two killers; her \u003cem>Billboards\u003c/em> character, Mildred, is herself the grieving victim of a horrific crime, the rape and murder of her adolescent daughter. (The assault is discussed in detail but never depicted onscreen.) Frustrated by the lack of progress in the case and enraged by reports of racially motivated police brutality (also discussed but never shown, though no one seriously disputes that these crimes-by-police occurred), Mildred publicly shames the department into redoubling its efforts. Those red billboards on a little-used country road make it plain to all passersby that something awful happened here, and justice has not been served. (The fictional town of Ebbing, Missouri is played in the film by the Smoky Mountain hideaway of Sylva, North Carolina, pop. 2,644.) Everyone feels sorry for Mildred — as a parish priest played by the great Nick Searcy conveys to her — but their empathy finds its operational limit when her demands for justice begin to reflect badly on the town.\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>That’s the movie. Mildred v. her neighbors, Mildred v. the cops, Mildred v. the menacing strangers who come out of the woodwork when one criticizes law enforcement, Mildred v. her abusive ex-husband (John Hawkes, another great character actor), Mildred v. her high-school-age son (20-year-old Lucas Hedges from \u003cem>Manchester by the Sea\u003c/em>, ditto), who just wants to work through the grieving process and try to salvage his life. Though it runs just under two hours and abandons the single-location milieu of most of McDonagh’s work for the stage, \u003cem>Three Billboards\u003c/em> still moves more like a play than a film, given its five or maybe even seven-act structure. It’s the first of McDonagh’s movies to match the maturity of his plays, and the first time he’s pushed past writing about hitmen and screenwriters to make something that feels like it could be about your neighbors. The most surprising development is that he’s at last exploring how to survive and escape the cycle of vengeance rather than simply working up to one. It’s not easy to write a glib movie about forgiveness. But if I were forced to summarize this one in a billboard, that’s how it would read.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13815160/mourning-becomes-electrifying-in-three-billboards-outside-ebbing-missouri",
"authors": [
"byline_arts_13815160"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_12322"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13815161",
"label": "arts_137"
},
"arts_13815091": {
"type": "posts",
"id": "arts_13815091",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13815091",
"score": null,
"sort": [
1510862401000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1510862401,
"format": "standard",
"title": "Bill Nye Takes on Climate Skeptics, Has Hope for the Future for Science",
"headTitle": "Bill Nye Takes on Climate Skeptics, Has Hope for the Future for Science | KQED",
"content": "\u003cp>Considering the whimsical iconography of Bill Nye, a documentary on him should only expect to have the lighthearted charm of the zany, perpetually bowtied educator whose PBS show \u003ci>Bill Nye the Science Guy\u003c/i> inspired a generation of kids to explore the sciences.\u003c/p>\n\u003cp>That was the original plan for the upcoming film \u003ci>\u003ca href=\"https://www.billnyefilm.com/\" target=\"_blank\" rel=\"noopener\">Bill Nye: Science Guy\u003c/a>\u003c/i>, an engaging documentary portrait of Nye premiering in the Bay Area this Friday, Nov. 17.\u003c/p>\n\u003cp>https://youtu.be/aQC2xqUXQb4\u003c/p>\n\u003cp>“But then Donald Trump got elected president, and everything got readjusted,” Nye said recently while backstage at the Marines Memorial Theatre before a public discussion with the environmental nonprofit \u003ca href=\"https://climateone.org/\" target=\"_blank\" rel=\"noopener\">Climate One\u003c/a>.\u003c/p>\n\u003cp>“We focused on his beginning as a comedian in Seattle on a show called \u003ci>Almost Live\u003c/i>. We actually saw Bill do stand-up in present day,” San Francisco filmmaker and co-director Jason Sussberg said of the film’s early focus. “We had to cut all this levity out because all of a sudden it felt wrong given the state of affairs, the state of science.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Instead, the film shifted toward Nye’s current efforts combating the growing anti-science movement, whether through his battles with influential climate skeptics and creationists, or his efforts with \u003ca href=\"http://www.planetary.org/\" target=\"_blank\" rel=\"noopener\">The Planetary Society\u003c/a>, the space exploration nonprofit that Carl Sagan (once Nye’s college professor) founded and for which Nye serves as CEO.\u003c/p>\n\u003cp>“Science has always been political. What you want is not have it be partisan,” Nye later said on-stage to applause from the visiting audience.\u003c/p>\n\u003cfigure id=\"attachment_13815143\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13815143\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/2-Bill-Nye-and-Neil-deGrasse-Tyson-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Photo-courtesy-of-Erika-Kapin-Structure-Films_1200.jpg\" alt=\"Bill Nye and Neil deGrasse Tyson in 'Bill Nye: Science Guy.'\" width=\"1200\" height=\"773\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2-Bill-Nye-and-Neil-deGrasse-Tyson-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Photo-courtesy-of-Erika-Kapin-Structure-Films_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2-Bill-Nye-and-Neil-deGrasse-Tyson-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Photo-courtesy-of-Erika-Kapin-Structure-Films_1200-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2-Bill-Nye-and-Neil-deGrasse-Tyson-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Photo-courtesy-of-Erika-Kapin-Structure-Films_1200-800x515.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2-Bill-Nye-and-Neil-deGrasse-Tyson-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Photo-courtesy-of-Erika-Kapin-Structure-Films_1200-768x495.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2-Bill-Nye-and-Neil-deGrasse-Tyson-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Photo-courtesy-of-Erika-Kapin-Structure-Films_1200-1020x657.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2-Bill-Nye-and-Neil-deGrasse-Tyson-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Photo-courtesy-of-Erika-Kapin-Structure-Films_1200-1180x760.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2-Bill-Nye-and-Neil-deGrasse-Tyson-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Photo-courtesy-of-Erika-Kapin-Structure-Films_1200-960x618.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2-Bill-Nye-and-Neil-deGrasse-Tyson-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Photo-courtesy-of-Erika-Kapin-Structure-Films_1200-240x155.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2-Bill-Nye-and-Neil-deGrasse-Tyson-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Photo-courtesy-of-Erika-Kapin-Structure-Films_1200-375x242.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2-Bill-Nye-and-Neil-deGrasse-Tyson-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Photo-courtesy-of-Erika-Kapin-Structure-Films_1200-520x335.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Bill Nye and Neil deGrasse Tyson in ‘Bill Nye: Science Guy.’ \u003ccite>(Erika Kapin/Structure Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the years since his PBS show ended in 1999, Nye, now 61, has ascended into a sort of cult hero status among millennials and eventually become, as his friend Neil Degrasse Tyson says in the film, our “science statesman.” Just this year, Nye has released a new book, \u003ci>\u003ca href=\"https://www.amazon.com/Everything-All-Once-Unleash-Curiosity/dp/1623367913\" target=\"_blank\" rel=\"noopener\">Everything All at Once\u003c/a>\u003c/i>, and another science education show on Netflix, \u003ci>\u003ca href=\"https://www.netflix.com/title/80117748\" target=\"_blank\" rel=\"noopener\">Bill Nye Saves the World\u003c/a>\u003c/i>.\u003c/p>\n\u003cp>Yet Nye remains somewhat perplexed when scientists the world over credit his \u003ci>Science Guy\u003c/i> show as the inspiration for their careers.\u003c/p>\n\u003cp>“I still am overwhelmed by it,” Nye said. “And understand, we made the thing in a warehouse in Seattle! And we did it there because the rent was cheap.”\u003c/p>\n\u003cp>The fame, though, carries its own scrutiny with it. Political pundits, and even scientists, have levied criticism at Nye as the spokesperson for concerns some claim he is untrained to deal in. Sussberg’s documentary partly chronicles these frustrations, along with the motivations and at times vulnerable personal history of Nye the person, under the weight of his icon status.\u003c/p>\n\u003cfigure id=\"attachment_13815142\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13815142\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/3-Bill-Nye-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Photo-courtesy-of-Derek-Knowles-Structure-Films_1200.jpg\" alt=\"Bill Nye in 'Bill Nye: Science Guy.'\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/3-Bill-Nye-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Photo-courtesy-of-Derek-Knowles-Structure-Films_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/3-Bill-Nye-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Photo-courtesy-of-Derek-Knowles-Structure-Films_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/3-Bill-Nye-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Photo-courtesy-of-Derek-Knowles-Structure-Films_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/3-Bill-Nye-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Photo-courtesy-of-Derek-Knowles-Structure-Films_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/3-Bill-Nye-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Photo-courtesy-of-Derek-Knowles-Structure-Films_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/3-Bill-Nye-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Photo-courtesy-of-Derek-Knowles-Structure-Films_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/3-Bill-Nye-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Photo-courtesy-of-Derek-Knowles-Structure-Films_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/3-Bill-Nye-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Photo-courtesy-of-Derek-Knowles-Structure-Films_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/3-Bill-Nye-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Photo-courtesy-of-Derek-Knowles-Structure-Films_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/3-Bill-Nye-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Photo-courtesy-of-Derek-Knowles-Structure-Films_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Bill Nye in ‘Bill Nye: Science Guy.’ \u003ccite>(Derek Knowles/Structure Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nye, who signed away creative control to the film for the sake of an honest portrait, squirms at these peeks behind the curtain. At one point in the film, a neurologist appears to psychoanalyze Nye, digging briefly into his personal life.\u003c/p>\n\u003cp>“None of your business, man!” Nye said with a laugh in reaction to seeing these moments on-screen.\u003c/p>\n\u003cp>But he still relishes the job — in spite of, if not because of, the heightened exposure. In another instance in the film, a friend tellingly explains that Nye’s desire was always to become famous, an assumption Nye takes slight issue with.\u003c/p>\n\u003cp>“I like being on television. I like it! The same way you’ll meet people who like being on stage,” he said. Backstage at the screening, Nye was noticeably more grounded than onstage, where he tilted answers with comedic add-ins for a readily indulgent audience. “But what I really wanted, I tell everybody — it wasn’t so much that I wanted to be famous. I wanted, still want, to be influential.”\u003c/p>\n\u003cfigure id=\"attachment_13815141\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13815141\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/1-Bill-Nye-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Image-courtesy-of-Lindsay-Mann-Structure-Films_1200.jpg\" alt=\"Bill Nye in 'Bill Nye: Science Guy.'\" width=\"1200\" height=\"675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/1-Bill-Nye-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Image-courtesy-of-Lindsay-Mann-Structure-Films_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/1-Bill-Nye-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Image-courtesy-of-Lindsay-Mann-Structure-Films_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/1-Bill-Nye-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Image-courtesy-of-Lindsay-Mann-Structure-Films_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/1-Bill-Nye-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Image-courtesy-of-Lindsay-Mann-Structure-Films_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/1-Bill-Nye-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Image-courtesy-of-Lindsay-Mann-Structure-Films_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/1-Bill-Nye-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Image-courtesy-of-Lindsay-Mann-Structure-Films_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/1-Bill-Nye-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Image-courtesy-of-Lindsay-Mann-Structure-Films_1200-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/1-Bill-Nye-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Image-courtesy-of-Lindsay-Mann-Structure-Films_1200-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/1-Bill-Nye-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Image-courtesy-of-Lindsay-Mann-Structure-Films_1200-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/1-Bill-Nye-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Image-courtesy-of-Lindsay-Mann-Structure-Films_1200-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Bill Nye in ‘Bill Nye: Science Guy.’ \u003ccite>(Lindsay Mann/Structure Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nye sees his influence as perhaps more urgent than ever amid the politically and culturally fraught moment surrounding climate change and science as a whole. The personal attacks are peripheral baggage to Nye’s concerns over the currently dubious treatment of fact and truth.\u003c/p>\n\u003cp>But Nye remains optimistic, especially on the response to climate change.\u003c/p>\n\u003cp>“I think it’s going to turn around like that,” Nye said, snapping his fingers. “Climate deniers are almost all of a certain age, and when they stop being influential, people who are young right now are going to take over and turn the whole thing around. The question is, will it be fast enough?”\u003c/p>\n\u003cp>While Nye and The Planetary Society look to revolutionize space travel with their solar-powered LightSail spacecraft (a large focus of the film), Nye sees an incoming wave of change, from none other than the generation who grew up watching the “Science Guy.”\u003c/p>\n\u003cp>“I think when they get to be captains of industry, the world is going to change for the better. People will respect facts again,” Nye said. “I think that’s coming, but it’s 10 years away.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Bill Nye: Science Guy’ opens Friday, Nov. 17 at the Opera Plaza Cinema in San Francisco, and Saturday, Nov. 18 at the Shattuck Cinema in Berkeley. Director Q&As will follow select showings. For tickets and more information, \u003ca href=\"https://www.billnyefilm.com/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 917,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 23
},
"modified": 1705029094,
"excerpt": "In a new documentary, the former children's TV icon steps into the role of \"science statesman,\" while maintaining his faith in the generations to come.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "In a new documentary, the former children's TV icon steps into the role of "science statesman," while maintaining his faith in the generations to come.",
"title": "Bill Nye Takes on Climate Skeptics, Has Hope for the Future for Science | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Bill Nye Takes on Climate Skeptics, Has Hope for the Future for Science",
"datePublished": "2017-11-16T12:00:01-08:00",
"dateModified": "2024-01-11T19:11:34-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "bill-nye-science-guy-movie",
"status": "publish",
"nprByline": "Brandon Yu",
"sticky": false,
"path": "/arts/13815091/bill-nye-science-guy-movie",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Considering the whimsical iconography of Bill Nye, a documentary on him should only expect to have the lighthearted charm of the zany, perpetually bowtied educator whose PBS show \u003ci>Bill Nye the Science Guy\u003c/i> inspired a generation of kids to explore the sciences.\u003c/p>\n\u003cp>That was the original plan for the upcoming film \u003ci>\u003ca href=\"https://www.billnyefilm.com/\" target=\"_blank\" rel=\"noopener\">Bill Nye: Science Guy\u003c/a>\u003c/i>, an engaging documentary portrait of Nye premiering in the Bay Area this Friday, Nov. 17.\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/aQC2xqUXQb4'\n title='//www.youtube.com/embed/aQC2xqUXQb4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“But then Donald Trump got elected president, and everything got readjusted,” Nye said recently while backstage at the Marines Memorial Theatre before a public discussion with the environmental nonprofit \u003ca href=\"https://climateone.org/\" target=\"_blank\" rel=\"noopener\">Climate One\u003c/a>.\u003c/p>\n\u003cp>“We focused on his beginning as a comedian in Seattle on a show called \u003ci>Almost Live\u003c/i>. We actually saw Bill do stand-up in present day,” San Francisco filmmaker and co-director Jason Sussberg said of the film’s early focus. “We had to cut all this levity out because all of a sudden it felt wrong given the state of affairs, the state of science.”\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>Instead, the film shifted toward Nye’s current efforts combating the growing anti-science movement, whether through his battles with influential climate skeptics and creationists, or his efforts with \u003ca href=\"http://www.planetary.org/\" target=\"_blank\" rel=\"noopener\">The Planetary Society\u003c/a>, the space exploration nonprofit that Carl Sagan (once Nye’s college professor) founded and for which Nye serves as CEO.\u003c/p>\n\u003cp>“Science has always been political. What you want is not have it be partisan,” Nye later said on-stage to applause from the visiting audience.\u003c/p>\n\u003cfigure id=\"attachment_13815143\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13815143\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/2-Bill-Nye-and-Neil-deGrasse-Tyson-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Photo-courtesy-of-Erika-Kapin-Structure-Films_1200.jpg\" alt=\"Bill Nye and Neil deGrasse Tyson in 'Bill Nye: Science Guy.'\" width=\"1200\" height=\"773\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2-Bill-Nye-and-Neil-deGrasse-Tyson-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Photo-courtesy-of-Erika-Kapin-Structure-Films_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2-Bill-Nye-and-Neil-deGrasse-Tyson-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Photo-courtesy-of-Erika-Kapin-Structure-Films_1200-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2-Bill-Nye-and-Neil-deGrasse-Tyson-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Photo-courtesy-of-Erika-Kapin-Structure-Films_1200-800x515.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2-Bill-Nye-and-Neil-deGrasse-Tyson-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Photo-courtesy-of-Erika-Kapin-Structure-Films_1200-768x495.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2-Bill-Nye-and-Neil-deGrasse-Tyson-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Photo-courtesy-of-Erika-Kapin-Structure-Films_1200-1020x657.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2-Bill-Nye-and-Neil-deGrasse-Tyson-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Photo-courtesy-of-Erika-Kapin-Structure-Films_1200-1180x760.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2-Bill-Nye-and-Neil-deGrasse-Tyson-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Photo-courtesy-of-Erika-Kapin-Structure-Films_1200-960x618.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2-Bill-Nye-and-Neil-deGrasse-Tyson-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Photo-courtesy-of-Erika-Kapin-Structure-Films_1200-240x155.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2-Bill-Nye-and-Neil-deGrasse-Tyson-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Photo-courtesy-of-Erika-Kapin-Structure-Films_1200-375x242.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2-Bill-Nye-and-Neil-deGrasse-Tyson-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Photo-courtesy-of-Erika-Kapin-Structure-Films_1200-520x335.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Bill Nye and Neil deGrasse Tyson in ‘Bill Nye: Science Guy.’ \u003ccite>(Erika Kapin/Structure Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the years since his PBS show ended in 1999, Nye, now 61, has ascended into a sort of cult hero status among millennials and eventually become, as his friend Neil Degrasse Tyson says in the film, our “science statesman.” Just this year, Nye has released a new book, \u003ci>\u003ca href=\"https://www.amazon.com/Everything-All-Once-Unleash-Curiosity/dp/1623367913\" target=\"_blank\" rel=\"noopener\">Everything All at Once\u003c/a>\u003c/i>, and another science education show on Netflix, \u003ci>\u003ca href=\"https://www.netflix.com/title/80117748\" target=\"_blank\" rel=\"noopener\">Bill Nye Saves the World\u003c/a>\u003c/i>.\u003c/p>\n\u003cp>Yet Nye remains somewhat perplexed when scientists the world over credit his \u003ci>Science Guy\u003c/i> show as the inspiration for their careers.\u003c/p>\n\u003cp>“I still am overwhelmed by it,” Nye said. “And understand, we made the thing in a warehouse in Seattle! And we did it there because the rent was cheap.”\u003c/p>\n\u003cp>The fame, though, carries its own scrutiny with it. Political pundits, and even scientists, have levied criticism at Nye as the spokesperson for concerns some claim he is untrained to deal in. Sussberg’s documentary partly chronicles these frustrations, along with the motivations and at times vulnerable personal history of Nye the person, under the weight of his icon status.\u003c/p>\n\u003cfigure id=\"attachment_13815142\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13815142\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/3-Bill-Nye-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Photo-courtesy-of-Derek-Knowles-Structure-Films_1200.jpg\" alt=\"Bill Nye in 'Bill Nye: Science Guy.'\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/3-Bill-Nye-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Photo-courtesy-of-Derek-Knowles-Structure-Films_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/3-Bill-Nye-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Photo-courtesy-of-Derek-Knowles-Structure-Films_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/3-Bill-Nye-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Photo-courtesy-of-Derek-Knowles-Structure-Films_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/3-Bill-Nye-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Photo-courtesy-of-Derek-Knowles-Structure-Films_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/3-Bill-Nye-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Photo-courtesy-of-Derek-Knowles-Structure-Films_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/3-Bill-Nye-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Photo-courtesy-of-Derek-Knowles-Structure-Films_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/3-Bill-Nye-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Photo-courtesy-of-Derek-Knowles-Structure-Films_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/3-Bill-Nye-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Photo-courtesy-of-Derek-Knowles-Structure-Films_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/3-Bill-Nye-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Photo-courtesy-of-Derek-Knowles-Structure-Films_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/3-Bill-Nye-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Photo-courtesy-of-Derek-Knowles-Structure-Films_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Bill Nye in ‘Bill Nye: Science Guy.’ \u003ccite>(Derek Knowles/Structure Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nye, who signed away creative control to the film for the sake of an honest portrait, squirms at these peeks behind the curtain. At one point in the film, a neurologist appears to psychoanalyze Nye, digging briefly into his personal life.\u003c/p>\n\u003cp>“None of your business, man!” Nye said with a laugh in reaction to seeing these moments on-screen.\u003c/p>\n\u003cp>But he still relishes the job — in spite of, if not because of, the heightened exposure. In another instance in the film, a friend tellingly explains that Nye’s desire was always to become famous, an assumption Nye takes slight issue with.\u003c/p>\n\u003cp>“I like being on television. I like it! The same way you’ll meet people who like being on stage,” he said. Backstage at the screening, Nye was noticeably more grounded than onstage, where he tilted answers with comedic add-ins for a readily indulgent audience. “But what I really wanted, I tell everybody — it wasn’t so much that I wanted to be famous. I wanted, still want, to be influential.”\u003c/p>\n\u003cfigure id=\"attachment_13815141\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13815141\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/1-Bill-Nye-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Image-courtesy-of-Lindsay-Mann-Structure-Films_1200.jpg\" alt=\"Bill Nye in 'Bill Nye: Science Guy.'\" width=\"1200\" height=\"675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/1-Bill-Nye-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Image-courtesy-of-Lindsay-Mann-Structure-Films_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/1-Bill-Nye-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Image-courtesy-of-Lindsay-Mann-Structure-Films_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/1-Bill-Nye-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Image-courtesy-of-Lindsay-Mann-Structure-Films_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/1-Bill-Nye-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Image-courtesy-of-Lindsay-Mann-Structure-Films_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/1-Bill-Nye-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Image-courtesy-of-Lindsay-Mann-Structure-Films_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/1-Bill-Nye-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Image-courtesy-of-Lindsay-Mann-Structure-Films_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/1-Bill-Nye-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Image-courtesy-of-Lindsay-Mann-Structure-Films_1200-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/1-Bill-Nye-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Image-courtesy-of-Lindsay-Mann-Structure-Films_1200-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/1-Bill-Nye-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Image-courtesy-of-Lindsay-Mann-Structure-Films_1200-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/1-Bill-Nye-in-BILL-NYE-SCIENCE-GUY-a-PBS-Distribution-release.-Image-courtesy-of-Lindsay-Mann-Structure-Films_1200-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Bill Nye in ‘Bill Nye: Science Guy.’ \u003ccite>(Lindsay Mann/Structure Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nye sees his influence as perhaps more urgent than ever amid the politically and culturally fraught moment surrounding climate change and science as a whole. The personal attacks are peripheral baggage to Nye’s concerns over the currently dubious treatment of fact and truth.\u003c/p>\n\u003cp>But Nye remains optimistic, especially on the response to climate change.\u003c/p>\n\u003cp>“I think it’s going to turn around like that,” Nye said, snapping his fingers. “Climate deniers are almost all of a certain age, and when they stop being influential, people who are young right now are going to take over and turn the whole thing around. The question is, will it be fast enough?”\u003c/p>\n\u003cp>While Nye and The Planetary Society look to revolutionize space travel with their solar-powered LightSail spacecraft (a large focus of the film), Nye sees an incoming wave of change, from none other than the generation who grew up watching the “Science Guy.”\u003c/p>\n\u003cp>“I think when they get to be captains of industry, the world is going to change for the better. People will respect facts again,” Nye said. “I think that’s coming, but it’s 10 years away.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Bill Nye: Science Guy’ opens Friday, Nov. 17 at the Opera Plaza Cinema in San Francisco, and Saturday, Nov. 18 at the Shattuck Cinema in Berkeley. Director Q&As will follow select showings. For tickets and more information, \u003ca href=\"https://www.billnyefilm.com/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13815091/bill-nye-science-guy-movie",
"authors": [
"byline_arts_13815091"
],
"categories": [
"arts_74",
"arts_235"
],
"tags": [
"arts_1118",
"arts_596",
"arts_769"
],
"featImg": "arts_13815140",
"label": "arts"
},
"arts_13814686": {
"type": "posts",
"id": "arts_13814686",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13814686",
"score": null,
"sort": [
1510588836000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1510588836,
"format": "standard",
"title": "Now Playing! James Baldwin and Marlon Riggs at BAMPFA",
"headTitle": "Now Playing! James Baldwin and Marlon Riggs at BAMPFA | KQED",
"content": "\u003cp>A little history: In 1989, Bay Area filmmaker Marlon Riggs took one of the biggest, bravest risks in the history of cinema. He made a poetic, experimental, first-person documentary about being black and gay, and loving black gay men. Not one to hide his face or his feelings, Riggs combined wrenching testimony and blistering manifesto into a confrontational and beautiful work of art. \u003cem>Tongues Untied\u003c/em> won a prize at Berlin, played countless festivals and aired on PBS’ \u003cem>P.O.V.\u003c/em> series in 1991.\u003c/p>\n\u003cp>Regrettably, it achieved its greatest notoriety on the floor of the U.S. Senate, where Sen. Jesse Helms (R-North Carolina) used \u003cem>Tongues Untied\u003c/em> to attack one of its funders, the National Endowment of the Arts. An out and proud racist and homophobe, Helms stoked the “culture wars” that roused the Religious Right and contributed in no small measure to bringing us to the present political moment. Riggs, a Harvard-educated professor in U.C. Berkeley’s Graduate School of Journalism, wrote a fiery, fearless \u003ca href=\"https://current.org/1991/08/tongues-re-tied-filmmaker-marlon-riggs-speaks-for-a-group-mainstream-america-would-prefer-to-erase/?wallit_nosession=1\" target=\"_blank\" rel=\"noopener\">essay\u003c/a> in response to the controversy that is well worth a read today.\u003c/p>\n\u003cp>Riggs cited James Baldwin in that op-ed, and BAMPFA hits the bulls-eye by including \u003cem>Tongues Untied\u003c/em> in its \u003ca href=\"https://bampfa.org/program/reflection-and-resistance-james-baldwin-and-cinema\" target=\"_blank\" rel=\"noopener\">Reflection and Resistance: James Baldwin and Cinema\u003c/a> series. \u003c/p>\n\u003cp>The \u003ca href=\"https://bampfa.org/event/tongues-untied-2\" target=\"_blank\" rel=\"noopener\">program\u003c/a> on Thursday, Nov. 16 also includes a rarely seen, one-hour film directed by Richard O. Moore and shot by Irving Saraf for KQED. \u003cem>Take This Hammer\u003c/em> documents Baldwin’s 1963 visit to San Francisco and his encounters with community leaders, as well as the young black people he sought to inspire. Two films, two courageous black artists, 25 years apart.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 280,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 7
},
"modified": 1705029129,
"excerpt": "Two films, two courageous black artists, 25 years apart.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Two films, two courageous black artists, 25 years apart.",
"title": "Now Playing! James Baldwin and Marlon Riggs at BAMPFA | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Now Playing! James Baldwin and Marlon Riggs at BAMPFA",
"datePublished": "2017-11-13T08:00:36-08:00",
"dateModified": "2024-01-11T19:12:09-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "now-playing-james-baldwin-and-marlon-riggs-at-bampfa",
"status": "publish",
"sticky": false,
"path": "/arts/13814686/now-playing-james-baldwin-and-marlon-riggs-at-bampfa",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A little history: In 1989, Bay Area filmmaker Marlon Riggs took one of the biggest, bravest risks in the history of cinema. He made a poetic, experimental, first-person documentary about being black and gay, and loving black gay men. Not one to hide his face or his feelings, Riggs combined wrenching testimony and blistering manifesto into a confrontational and beautiful work of art. \u003cem>Tongues Untied\u003c/em> won a prize at Berlin, played countless festivals and aired on PBS’ \u003cem>P.O.V.\u003c/em> series in 1991.\u003c/p>\n\u003cp>Regrettably, it achieved its greatest notoriety on the floor of the U.S. Senate, where Sen. Jesse Helms (R-North Carolina) used \u003cem>Tongues Untied\u003c/em> to attack one of its funders, the National Endowment of the Arts. An out and proud racist and homophobe, Helms stoked the “culture wars” that roused the Religious Right and contributed in no small measure to bringing us to the present political moment. Riggs, a Harvard-educated professor in U.C. Berkeley’s Graduate School of Journalism, wrote a fiery, fearless \u003ca href=\"https://current.org/1991/08/tongues-re-tied-filmmaker-marlon-riggs-speaks-for-a-group-mainstream-america-would-prefer-to-erase/?wallit_nosession=1\" target=\"_blank\" rel=\"noopener\">essay\u003c/a> in response to the controversy that is well worth a read today.\u003c/p>\n\u003cp>Riggs cited James Baldwin in that op-ed, and BAMPFA hits the bulls-eye by including \u003cem>Tongues Untied\u003c/em> in its \u003ca href=\"https://bampfa.org/program/reflection-and-resistance-james-baldwin-and-cinema\" target=\"_blank\" rel=\"noopener\">Reflection and Resistance: James Baldwin and Cinema\u003c/a> series. \u003c/p>\n\u003cp>The \u003ca href=\"https://bampfa.org/event/tongues-untied-2\" target=\"_blank\" rel=\"noopener\">program\u003c/a> on Thursday, Nov. 16 also includes a rarely seen, one-hour film directed by Richard O. Moore and shot by Irving Saraf for KQED. \u003cem>Take This Hammer\u003c/em> documents Baldwin’s 1963 visit to San Francisco and his encounters with community leaders, as well as the young black people he sought to inspire. Two films, two courageous black artists, 25 years apart.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "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/13814686/now-playing-james-baldwin-and-marlon-riggs-at-bampfa",
"authors": [
"22"
],
"categories": [
"arts_74"
],
"tags": [
"arts_2227",
"arts_1118",
"arts_1006",
"arts_3087",
"arts_596"
],
"featImg": "arts_13814704",
"label": "arts"
},
"arts_13814500": {
"type": "posts",
"id": "arts_13814500",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13814500",
"score": null,
"sort": [
1510322459000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1510322459,
"format": "standard",
"title": "Latest 'Murder On The Orient Express' Is A Classic Whydoit",
"headTitle": "Latest ‘Murder On The Orient Express’ Is A Classic Whydoit | KQED",
"content": "\u003cp>“Can we please stop with the remakes of \u003cem>Murder on the Orient Express\u003c/em>?” I ask upon exiting Kenneth Branagh’s fatally tepid new reading of the Agatha Christie classic.\u003c/p>\n\u003cp>For my money, David Suchet already nailed the most satisfying Hercule Poirot we’re ever likely to know. In the British television series \u003cem>Agatha Christie’s Poirot\u003c/em> (which aired on PBS in the States), if not the wholly unnecessary 2010 movie, Suchet’s Belgian detective came to us as his own complicated loner — sly, prissy, compulsive, sexually ambiguous and with a thoroughly earned tragic vision of humankind, yet full of compassion for its individual membership. When Suchet’s Poirot insisted he was happiest when alone, we believed him. But coming from Branagh’s Poirot, there is room for doubt — and not only because his lips can barely move beneath a mustache so humongous it curls around corners, possibly in an attempt at a getaway.\u003c/p>\n\u003cp>That hairy party favor — with Branagh behind it, incessantly cracking wise and foolish — leads the action. We meet Poirot at the Western Wall in Jerusalem, a scenic locale that may or may not connect to later events. For now it’s an excuse for the smirky private eye to launch into a lame gag about rabbis, imams and priests.\u003c/p>\n\u003cp>https://youtu.be/z68frP9Q7XA\u003c/p>\n\u003cp>Then it’s on to Istanbul, where the self-professed “greatest detective in the world” boards the famously deluxe locomotive for a hard-earned break among bejeweled toffs moping about in richly varnished wooden carriages with to-die-for light fixtures.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The mustache wears a coat in bed, where we dally with Poirot until Johnny Depp shows up as an iffy-looking “businessman” who, after trying in vain to hire the sleuth as his bodyguard, turns up dead on schedule.\u003c/p>\n\u003cp>In deference to the six people on this planet who don’t know that his multiple stab wounds weren’t inflicted by the butler, in the library, with a poker, I must keep heroically mum about whodunit. Truthfully it’s hard to work up a head of suspense about the killer because once the train screeches to a halt on a box girder bridge, it’s all tedious talk by name actors looking shifty or inscrutable or insisting against all odds that they’re the guilty party.\u003c/p>\n\u003cp>When Agatha Christie maneuvered a large crowd of potential perps into a confined space, she was not just plot-thickening, but finding a way to explore human character in all its rainbow of delusion, rationalization and displaced guilt. For Branagh, it’s little more than a golden opportunity to make us “ooh” and “aah” over a clutch of majorly attired big Hollywood guns from Judi Dench and Derek Jacobi to Michelle Pfeiffer, Willem Dafoe and Penelope Cruz, plus a strategic sprinkling of young ‘uns and a weak stab at diverse casting.\u003c/p>\n\u003cp>The slight twist that Branagh and screenwriter Michael Green have placed on this crew’s shared tie to the deceased doesn’t compel, because they generate no interest as characters. They’re movie stars draped in tableaux, and we are left following them through the carriages in showy aerial shots and tracking shots, or gazing at the expensive furs and the splendid snow-covered mountains.\u003c/p>\n\u003cp>After a stream of gags about how Poirot likes his \u003cem>oeufs \u003c/em>cooked, we transition to unearned poignancy as the movie lumbers home to a denouement — one that, in all fairness to the filmmakers, was never one of Christie’s finest and that has going for it only a ham-fisted democratic impulse. Violins soar amid snow-covered mountains. Poirot stops his quipping and gazes mournfully into the middle distance for a bit. A very short bit.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Poirot follows this brief lunge into gravitas with a cheery wink and a nod that having sorted this lot out, he is off to try his luck on the Nile, nudge nudge. Peeps of Hollywood, I beg you, pitch that pitch straight into turnaround.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Latest+%27Murder+On+The+Orient+Express%27+Is+A+Classic+Whydoit&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 706,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 12
},
"modified": 1705029141,
"excerpt": "Critic Ella Taylor says Kenneth Branagh's wildly unnecessary retread of the Agatha Christie tale is \"fatally tepid.\" ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Critic Ella Taylor says Kenneth Branagh's wildly unnecessary retread of the Agatha Christie tale is "fatally tepid." ",
"title": "Latest 'Murder On The Orient Express' Is A Classic Whydoit | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Latest 'Murder On The Orient Express' Is A Classic Whydoit",
"datePublished": "2017-11-10T06:00:59-08:00",
"dateModified": "2024-01-11T19:12:21-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "latest-murder-on-the-orient-express-is-a-classic-whydoit",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=561907207&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Ella Taylor",
"nprStoryDate": "Thu, 09 Nov 2017 17:01:19 -0500",
"nprLastModifiedDate": "Thu, 09 Nov 2017 17:01:20 -0500",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/2017/11/09/561907207/latest-murder-on-the-orient-express-is-a-classic-whydoit?ft=nprml&f=561907207",
"nprImageAgency": "Twentieth Century Fox",
"nprImageCredit": "Nicola Dove",
"nprStoryId": "561907207",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 09 Nov 2017 17:01:00 -0500",
"path": "/arts/13814500/latest-murder-on-the-orient-express-is-a-classic-whydoit",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Can we please stop with the remakes of \u003cem>Murder on the Orient Express\u003c/em>?” I ask upon exiting Kenneth Branagh’s fatally tepid new reading of the Agatha Christie classic.\u003c/p>\n\u003cp>For my money, David Suchet already nailed the most satisfying Hercule Poirot we’re ever likely to know. In the British television series \u003cem>Agatha Christie’s Poirot\u003c/em> (which aired on PBS in the States), if not the wholly unnecessary 2010 movie, Suchet’s Belgian detective came to us as his own complicated loner — sly, prissy, compulsive, sexually ambiguous and with a thoroughly earned tragic vision of humankind, yet full of compassion for its individual membership. When Suchet’s Poirot insisted he was happiest when alone, we believed him. But coming from Branagh’s Poirot, there is room for doubt — and not only because his lips can barely move beneath a mustache so humongous it curls around corners, possibly in an attempt at a getaway.\u003c/p>\n\u003cp>That hairy party favor — with Branagh behind it, incessantly cracking wise and foolish — leads the action. We meet Poirot at the Western Wall in Jerusalem, a scenic locale that may or may not connect to later events. For now it’s an excuse for the smirky private eye to launch into a lame gag about rabbis, imams and priests.\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/z68frP9Q7XA'\n title='//www.youtube.com/embed/z68frP9Q7XA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Then it’s on to Istanbul, where the self-professed “greatest detective in the world” boards the famously deluxe locomotive for a hard-earned break among bejeweled toffs moping about in richly varnished wooden carriages with to-die-for light fixtures.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The mustache wears a coat in bed, where we dally with Poirot until Johnny Depp shows up as an iffy-looking “businessman” who, after trying in vain to hire the sleuth as his bodyguard, turns up dead on schedule.\u003c/p>\n\u003cp>In deference to the six people on this planet who don’t know that his multiple stab wounds weren’t inflicted by the butler, in the library, with a poker, I must keep heroically mum about whodunit. Truthfully it’s hard to work up a head of suspense about the killer because once the train screeches to a halt on a box girder bridge, it’s all tedious talk by name actors looking shifty or inscrutable or insisting against all odds that they’re the guilty party.\u003c/p>\n\u003cp>When Agatha Christie maneuvered a large crowd of potential perps into a confined space, she was not just plot-thickening, but finding a way to explore human character in all its rainbow of delusion, rationalization and displaced guilt. For Branagh, it’s little more than a golden opportunity to make us “ooh” and “aah” over a clutch of majorly attired big Hollywood guns from Judi Dench and Derek Jacobi to Michelle Pfeiffer, Willem Dafoe and Penelope Cruz, plus a strategic sprinkling of young ‘uns and a weak stab at diverse casting.\u003c/p>\n\u003cp>The slight twist that Branagh and screenwriter Michael Green have placed on this crew’s shared tie to the deceased doesn’t compel, because they generate no interest as characters. They’re movie stars draped in tableaux, and we are left following them through the carriages in showy aerial shots and tracking shots, or gazing at the expensive furs and the splendid snow-covered mountains.\u003c/p>\n\u003cp>After a stream of gags about how Poirot likes his \u003cem>oeufs \u003c/em>cooked, we transition to unearned poignancy as the movie lumbers home to a denouement — one that, in all fairness to the filmmakers, was never one of Christie’s finest and that has going for it only a ham-fisted democratic impulse. Violins soar amid snow-covered mountains. Poirot stops his quipping and gazes mournfully into the middle distance for a bit. A very short bit.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Poirot follows this brief lunge into gravitas with a cheery wink and a nod that having sorted this lot out, he is off to try his luck on the Nile, nudge nudge. Peeps of Hollywood, I beg you, pitch that pitch straight into turnaround.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Latest+%27Murder+On+The+Orient+Express%27+Is+A+Classic+Whydoit&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13814500/latest-murder-on-the-orient-express-is-a-classic-whydoit",
"authors": [
"byline_arts_13814500"
],
"categories": [
"arts_74"
],
"tags": [
"arts_928",
"arts_1118",
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13814502",
"label": "arts_137"
},
"arts_13814048": {
"type": "posts",
"id": "arts_13814048",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13814048",
"score": null,
"sort": [
1510268432000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1510268432,
"format": "standard",
"title": "Conceptual Artwork Mirrors a Curator’s Downfall in ‘The Square’",
"headTitle": "Conceptual Artwork Mirrors a Curator’s Downfall in ‘The Square’ | KQED",
"content": "\u003cp>The off-center opening shot of Ruben Östlund’s film \u003ca href=\"http://www.squarethefilm.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Square\u003c/em>\u003c/a> focuses on a man who’s asleep on the job. Christian (Claes Bang), the chief curator of a contemporary art museum in Stockholm, is sprawled on the sofa in his office when an assistant enters the room to wake him. He’s due to meet a reporter in one of the galleries.\u003c/p>\n\u003cp>The Swedish director frames the press interview that follows with a neon installation reading “YOU HAVE NOTHING” directly above Christian’s head. The sign is both the measure of Christian’s spiritual capital and Östlund’s opening announcement; over the next 150 minutes, \u003cem>The Square\u003c/em> will expose this character’s moral bankruptcy to the audience.\u003c/p>\n\u003cfigure id=\"attachment_13814051\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13814051\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/8.jpg\" alt=\"Claes Bang in 'The Square.'\" width=\"1200\" height=\"675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/8.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/8-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/8-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/8-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/8-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/8-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/8-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/8-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/8-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/8-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Claes Bang in ‘The Square.’ \u003ccite>(Courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>From the outset, Christian, a lanky 6-foot-4 libertine, appears to be equal parts arrogance and absent-mindedness. Not a sinister man, certainly, but one with several recognizable flaws. But what makes this particular character so deserving of a comeuppance?\u003c/p>\n\u003cp>In a recent phone interview, Östlund discussed what interested him most in taking Christian to task. He explained that he “was looking at him from the power position that he has, as a privileged man, and the kind of pressure that you are under when you are in that position.” As the character makes a series of bad decisions, Östlund wanted to see how he’d react to losing that privilege.\u003c/p>\n\u003cp>Outside of his workplace obligations, Christian is a divorced father with two young daughters. These girls would be marked for tragedy in the hands of other Nordic filmmakers like Ingmar Bergman, Thomas Vinterberg and Lars von Trier — yet while Östlund’s vision is at times severe, it is not overwhelmed by gloom.\u003c/p>\n\u003cfigure id=\"attachment_13814293\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13814293\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/2_1200.jpg\" alt=\"A scene from 'The Square.'\" width=\"1200\" height=\"675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2_1200-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2_1200-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2_1200-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2_1200-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘The Square.’ \u003ccite>(Courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He pitches absurdity and wit against depression, citing Roy Andersson (\u003ca href=\"https://ww2.kqed.org/arts/2015/09/23/pigeon-reflects-a-comic-and-eerie-vision-of-humanity/\" target=\"_blank\" rel=\"noopener\">\u003cem>A Pigeon Sat on a Branch Reflecting on Existence\u003c/em>\u003c/a>) as an influence over Bergman. But he does admit that the \u003ca href=\"http://www.dogme95.dk/the-vow-of-chastity/\" target=\"_blank\" rel=\"noopener\">Dogme 95\u003c/a> movement, started by Vinterberg and von Trier, was “a very, very great inspiration because they used the energy of the low-budget movie in a creative way. I was in film school when they started to make movies. ”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Östlund presents his own set of dogmatic principles in \u003cem>The Square.\u003c/em> Outside the entrance of Christian’s museum, the titular artwork is an installation by the Argentinian artist Lola Arias. It’s a rectangular strip of neon embedded in a public space that any passerby can step into. The curatorial statement that accompanies the work reads, “\u003cem>The Square\u003c/em> is a sanctuary of trust and caring. Within it, we all share equal rights and obligations.” This sounds like an iteration of the director’s own artistic manifesto, but Östlund actually has something less esoteric in mind.\u003c/p>\n\u003cfigure id=\"attachment_13814052\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13814052\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/1.jpg\" alt=\"Claes Bang in 'The Square.'\" width=\"1200\" height=\"675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/1.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/1-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/1-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Claes Bang in ‘The Square.’ \u003ccite>(Courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He thinks of \u003cem>The Square\u003c/em> (artwork) as a pedestrian crossing on a busy city street, where car drivers agree to stop because of two white lines. How people agree to such conventions is what interests him. “What questions that would raise, what kind of values — that was the core for me when it comes to the film,” he says. “Our idea was to create something like a humanistic traffic sign.”\u003c/p>\n\u003cp>Only when Christian brings his daughters to the exhibit and reads the statement with them does the meaning of the work sink in. He reads it as a parent, not a curator.\u003c/p>\n\u003cp>At random intervals throughout the film, you can hear characters in the background ask the question, “Do you want to save a human life?” While a privileged few characters contemplate the meaning of art, the director also includes images of homeless people asking them for help. What kind of social contract, Östlund asks, allows for such extreme disparity?\u003c/p>\n\u003cfigure id=\"attachment_13814294\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13814294\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/7_1200.jpg\" alt=\"A scene from 'The Square.'\" width=\"1200\" height=\"649\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/7_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/7_1200-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/7_1200-800x433.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/7_1200-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/7_1200-1020x552.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/7_1200-1180x638.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/7_1200-960x519.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/7_1200-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/7_1200-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/7_1200-520x281.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘The Square.’ \u003ccite>(Courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Östlund expands on the idea of a broken society by placing audio or visual disruptions in nearly every scene. The most disruptive moment is also the movie’s most memorable set piece: At a museum gala, a performance artist destabilizes the posh atmosphere and the diners’ equilibrium by behaving like a rampaging ape.\u003c/p>\n\u003cp>Christian also behaves like an animal, acting on his basest instincts. The director, though, is ultimately an optimist. He believes that the curator, after causing some harm, can do better by the people around him. Östlund says, “When you have lost everything, maybe that’s the moment when you are free.”\u003c/p>\n\u003cp>\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\">\u003cem>‘The Square’ opens Friday, Nov. 10 in San Francisco at Embarcadero Center Cinema and the Alamo Drafthouse New Mission Theater. For more information, \u003ca href=\"http://www.squarethefilm.com/home/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 831,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 15
},
"modified": 1705029145,
"excerpt": "In Ruben Östlund’s latest film, a museum curator faces his own privilege and bad behavior -- and contemporary art helps destabilize the status quo.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "In Ruben Östlund’s latest film, a museum curator faces his own privilege and bad behavior -- and contemporary art helps destabilize the status quo.",
"title": "Conceptual Artwork Mirrors a Curator’s Downfall in ‘The Square’ | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Conceptual Artwork Mirrors a Curator’s Downfall in ‘The Square’",
"datePublished": "2017-11-09T15:00:32-08:00",
"dateModified": "2024-01-11T19:12:25-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "the-square-is-ruben-ostlunds-sanctuary-of-trust-and-caring",
"status": "publish",
"sticky": false,
"path": "/arts/13814048/the-square-is-ruben-ostlunds-sanctuary-of-trust-and-caring",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The off-center opening shot of Ruben Östlund’s film \u003ca href=\"http://www.squarethefilm.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Square\u003c/em>\u003c/a> focuses on a man who’s asleep on the job. Christian (Claes Bang), the chief curator of a contemporary art museum in Stockholm, is sprawled on the sofa in his office when an assistant enters the room to wake him. He’s due to meet a reporter in one of the galleries.\u003c/p>\n\u003cp>The Swedish director frames the press interview that follows with a neon installation reading “YOU HAVE NOTHING” directly above Christian’s head. The sign is both the measure of Christian’s spiritual capital and Östlund’s opening announcement; over the next 150 minutes, \u003cem>The Square\u003c/em> will expose this character’s moral bankruptcy to the audience.\u003c/p>\n\u003cfigure id=\"attachment_13814051\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13814051\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/8.jpg\" alt=\"Claes Bang in 'The Square.'\" width=\"1200\" height=\"675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/8.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/8-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/8-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/8-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/8-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/8-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/8-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/8-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/8-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/8-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Claes Bang in ‘The Square.’ \u003ccite>(Courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>From the outset, Christian, a lanky 6-foot-4 libertine, appears to be equal parts arrogance and absent-mindedness. Not a sinister man, certainly, but one with several recognizable flaws. But what makes this particular character so deserving of a comeuppance?\u003c/p>\n\u003cp>In a recent phone interview, Östlund discussed what interested him most in taking Christian to task. He explained that he “was looking at him from the power position that he has, as a privileged man, and the kind of pressure that you are under when you are in that position.” As the character makes a series of bad decisions, Östlund wanted to see how he’d react to losing that privilege.\u003c/p>\n\u003cp>Outside of his workplace obligations, Christian is a divorced father with two young daughters. These girls would be marked for tragedy in the hands of other Nordic filmmakers like Ingmar Bergman, Thomas Vinterberg and Lars von Trier — yet while Östlund’s vision is at times severe, it is not overwhelmed by gloom.\u003c/p>\n\u003cfigure id=\"attachment_13814293\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13814293\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/2_1200.jpg\" alt=\"A scene from 'The Square.'\" width=\"1200\" height=\"675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2_1200-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2_1200-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2_1200-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2_1200-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘The Square.’ \u003ccite>(Courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He pitches absurdity and wit against depression, citing Roy Andersson (\u003ca href=\"https://ww2.kqed.org/arts/2015/09/23/pigeon-reflects-a-comic-and-eerie-vision-of-humanity/\" target=\"_blank\" rel=\"noopener\">\u003cem>A Pigeon Sat on a Branch Reflecting on Existence\u003c/em>\u003c/a>) as an influence over Bergman. But he does admit that the \u003ca href=\"http://www.dogme95.dk/the-vow-of-chastity/\" target=\"_blank\" rel=\"noopener\">Dogme 95\u003c/a> movement, started by Vinterberg and von Trier, was “a very, very great inspiration because they used the energy of the low-budget movie in a creative way. I was in film school when they started to make movies. ”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Östlund presents his own set of dogmatic principles in \u003cem>The Square.\u003c/em> Outside the entrance of Christian’s museum, the titular artwork is an installation by the Argentinian artist Lola Arias. It’s a rectangular strip of neon embedded in a public space that any passerby can step into. The curatorial statement that accompanies the work reads, “\u003cem>The Square\u003c/em> is a sanctuary of trust and caring. Within it, we all share equal rights and obligations.” This sounds like an iteration of the director’s own artistic manifesto, but Östlund actually has something less esoteric in mind.\u003c/p>\n\u003cfigure id=\"attachment_13814052\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13814052\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/1.jpg\" alt=\"Claes Bang in 'The Square.'\" width=\"1200\" height=\"675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/1.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/1-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/1-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Claes Bang in ‘The Square.’ \u003ccite>(Courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He thinks of \u003cem>The Square\u003c/em> (artwork) as a pedestrian crossing on a busy city street, where car drivers agree to stop because of two white lines. How people agree to such conventions is what interests him. “What questions that would raise, what kind of values — that was the core for me when it comes to the film,” he says. “Our idea was to create something like a humanistic traffic sign.”\u003c/p>\n\u003cp>Only when Christian brings his daughters to the exhibit and reads the statement with them does the meaning of the work sink in. He reads it as a parent, not a curator.\u003c/p>\n\u003cp>At random intervals throughout the film, you can hear characters in the background ask the question, “Do you want to save a human life?” While a privileged few characters contemplate the meaning of art, the director also includes images of homeless people asking them for help. What kind of social contract, Östlund asks, allows for such extreme disparity?\u003c/p>\n\u003cfigure id=\"attachment_13814294\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13814294\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/7_1200.jpg\" alt=\"A scene from 'The Square.'\" width=\"1200\" height=\"649\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/7_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/7_1200-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/7_1200-800x433.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/7_1200-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/7_1200-1020x552.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/7_1200-1180x638.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/7_1200-960x519.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/7_1200-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/7_1200-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/7_1200-520x281.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘The Square.’ \u003ccite>(Courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Östlund expands on the idea of a broken society by placing audio or visual disruptions in nearly every scene. The most disruptive moment is also the movie’s most memorable set piece: At a museum gala, a performance artist destabilizes the posh atmosphere and the diners’ equilibrium by behaving like a rampaging ape.\u003c/p>\n\u003cp>Christian also behaves like an animal, acting on his basest instincts. The director, though, is ultimately an optimist. He believes that the curator, after causing some harm, can do better by the people around him. Östlund says, “When you have lost everything, maybe that’s the moment when you are free.”\u003c/p>\n\u003cp>\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\">\u003cem>‘The Square’ opens Friday, Nov. 10 in San Francisco at Embarcadero Center Cinema and the Alamo Drafthouse New Mission Theater. For more information, \u003ca href=\"http://www.squarethefilm.com/home/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13814048/the-square-is-ruben-ostlunds-sanctuary-of-trust-and-caring",
"authors": [
"42"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_596",
"arts_769"
],
"featImg": "arts_13814049",
"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": 1716,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 3264,
"relation": "eq"
},
"items": [
"arts_13816397",
"arts_13816067",
"arts_13815998",
"arts_13815858",
"arts_13815832",
"arts_13815807",
"arts_13815587",
"arts_13815160",
"arts_13815091",
"arts_13814686",
"arts_13814500",
"arts_13814048"
],
"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_11323": {
"type": "terms",
"id": "arts_11323",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "11323",
"found": true
},
"relationships": {},
"featImg": null,
"name": "celebrities",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "celebrities Archives | KQED Arts",
"ogDescription": null
},
"ttid": 11335,
"slug": "celebrities",
"isLoading": false,
"link": "/arts/tag/celebrities"
},
"arts_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_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_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_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_2777": {
"type": "terms",
"id": "arts_2777",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2777",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Harvey Weinstein",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Harvey Weinstein Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2789,
"slug": "harvey-weinstein",
"isLoading": false,
"link": "/arts/tag/harvey-weinstein"
},
"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_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_1367": {
"type": "terms",
"id": "arts_1367",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1367",
"found": true
},
"relationships": {},
"featImg": null,
"name": "San Francisco Symphony",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "San Francisco Symphony Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1379,
"slug": "san-francisco-symphony",
"isLoading": false,
"link": "/arts/tag/san-francisco-symphony"
},
"arts_75": {
"type": "terms",
"id": "arts_75",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "75",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Pop Culture",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Pop Culture Archives | KQED Arts",
"ogDescription": null
},
"ttid": 76,
"slug": "popculture",
"isLoading": false,
"link": "/arts/category/popculture"
},
"arts_3241": {
"type": "terms",
"id": "arts_3241",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3241",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Star Wars",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Star Wars Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3253,
"slug": "star-wars",
"isLoading": false,
"link": "/arts/tag/star-wars"
},
"arts_1900": {
"type": "terms",
"id": "arts_1900",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1900",
"found": true
},
"relationships": {},
"featImg": null,
"name": "pixar",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "pixar Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1912,
"slug": "pixar",
"isLoading": false,
"link": "/arts/tag/pixar"
},
"arts_3114": {
"type": "terms",
"id": "arts_3114",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3114",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Disney",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Disney Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3126,
"slug": "disney",
"isLoading": false,
"link": "/arts/tag/disney"
},
"arts_3217": {
"type": "terms",
"id": "arts_3217",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3217",
"found": true
},
"relationships": {},
"featImg": null,
"name": "sonoma county",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "sonoma county Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3229,
"slug": "sonoma-county",
"isLoading": false,
"link": "/arts/tag/sonoma-county"
},
"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_2227": {
"type": "terms",
"id": "arts_2227",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2227",
"found": true
},
"relationships": {},
"featImg": null,
"name": "BAMPFA",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "BAMPFA Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2239,
"slug": "bampfa",
"isLoading": false,
"link": "/arts/tag/bampfa"
},
"arts_3087": {
"type": "terms",
"id": "arts_3087",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3087",
"found": true
},
"relationships": {},
"featImg": null,
"name": "james baldwin",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "james baldwin Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3099,
"slug": "james-baldwin",
"isLoading": false,
"link": "/arts/tag/james-baldwin"
},
"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"
}
},
"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": {}
}
}
}