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_13304641": {
"type": "attachments",
"id": "arts_13304641",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13304641",
"found": true
},
"parent": 13304365,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/gettyimages-607402164-8171e5395b3bf6178d85c5e991eedc2276953dea-s800-c85-e1495744689999-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/gettyimages-607402164-8171e5395b3bf6178d85c5e991eedc2276953dea-s800-c85-800x576.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/gettyimages-607402164-8171e5395b3bf6178d85c5e991eedc2276953dea-s800-c85-e1495744689999-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/gettyimages-607402164-8171e5395b3bf6178d85c5e991eedc2276953dea-s800-c85-e1495744689999-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/gettyimages-607402164-8171e5395b3bf6178d85c5e991eedc2276953dea-s800-c85-e1495744689999-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/gettyimages-607402164-8171e5395b3bf6178d85c5e991eedc2276953dea-s800-c85-e1495744689999.jpg",
"width": 800,
"height": 450
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/gettyimages-607402164-8171e5395b3bf6178d85c5e991eedc2276953dea-s800-c85-e1495744689999-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/gettyimages-607402164-8171e5395b3bf6178d85c5e991eedc2276953dea-s800-c85-e1495744689999-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/gettyimages-607402164-8171e5395b3bf6178d85c5e991eedc2276953dea-s800-c85-e1495744689999-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/gettyimages-607402164-8171e5395b3bf6178d85c5e991eedc2276953dea-s800-c85-e1495744689999-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/gettyimages-607402164-8171e5395b3bf6178d85c5e991eedc2276953dea-s800-c85-e1495744689999-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/gettyimages-607402164-8171e5395b3bf6178d85c5e991eedc2276953dea-s800-c85-e1495744689999-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/gettyimages-607402164-8171e5395b3bf6178d85c5e991eedc2276953dea-s800-c85-e1495744689999-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/gettyimages-607402164-8171e5395b3bf6178d85c5e991eedc2276953dea-s800-c85-e1495744689999-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/gettyimages-607402164-8171e5395b3bf6178d85c5e991eedc2276953dea-s800-c85-e1495744689999-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1495744610,
"modified": 1495744729,
"caption": "Actors Mark Hamill, Carrie Fisher and Harrison Ford on the set of the original Star Wars film. The movie was originally released on May 25, 1977.",
"description": "Actors Mark Hamill, Carrie Fisher and Harrison Ford on the set of the original Star Wars film. The movie was originally released on May 25, 1977.",
"title": "gettyimages-607402164-8171e5395b3bf6178d85c5e991eedc2276953dea-s800-c85",
"credit": "Sunset Boulevard/Corbis via Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13304363": {
"type": "attachments",
"id": "arts_13304363",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13304363",
"found": true
},
"parent": 13304167,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Nicole-Kidman-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Nicole-Kidman-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Nicole-Kidman-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Nicole-Kidman-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Nicole-Kidman-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Nicole-Kidman-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Nicole-Kidman.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Nicole-Kidman-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Nicole-Kidman-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Nicole-Kidman-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Nicole-Kidman-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Nicole-Kidman-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Nicole-Kidman-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Nicole-Kidman-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Nicole-Kidman-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Nicole-Kidman-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Nicole-Kidman-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Nicole-Kidman-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Nicole-Kidman-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Nicole-Kidman-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Nicole-Kidman-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1495741716,
"modified": 1495741835,
"caption": "Elle Fanning and Nicole Kidman attend the 'The Beguiled' press conference during the 70th annual Cannes Film Festival. ",
"description": "Elle Fanning and Nicole Kidman attend the 'The Beguiled' press conference during the 70th annual Cannes Film Festival. ",
"title": "\"The Beguiled\" Press Conference - The 70th Annual Cannes Film Festival",
"credit": "Photo: Matthias Nareyek/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13298455": {
"type": "attachments",
"id": "arts_13298455",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13298455",
"found": true
},
"parent": 13297063,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/SummerMovies.MAIN_-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/SummerMovies.MAIN_-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/SummerMovies.MAIN_-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/SummerMovies.MAIN_-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/SummerMovies.MAIN_-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/SummerMovies.MAIN_-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/SummerMovies.MAIN_.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/SummerMovies.MAIN_-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/SummerMovies.MAIN_-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/SummerMovies.MAIN_-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/SummerMovies.MAIN_-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/SummerMovies.MAIN_-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/SummerMovies.MAIN_-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/SummerMovies.MAIN_-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/SummerMovies.MAIN_-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/SummerMovies.MAIN_-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/SummerMovies.MAIN_-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/SummerMovies.MAIN_-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/SummerMovies.MAIN_-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/SummerMovies.MAIN_-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/SummerMovies.MAIN_-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1495664636,
"modified": 1495664735,
"caption": "'Patti Cake$,' a story of an aspiring rapper, is an example of just the kind of diverting summer fare we all need.",
"description": "'Patti Cake$,' a story of an aspiring rapper, is an example of just the kind of diverting summer fare we all need.",
"title": "SummerMovies.MAIN",
"credit": "Courtesy Fox Searchlight Pictures",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13264943": {
"type": "attachments",
"id": "arts_13264943",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13264943",
"found": true
},
"parent": 13264941,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Tiffany-Shlain-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Tiffany-Shlain-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Tiffany-Shlain-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Tiffany-Shlain-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Tiffany-Shlain-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Tiffany-Shlain-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Tiffany-Shlain.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Tiffany-Shlain-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Tiffany-Shlain-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Tiffany-Shlain-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Tiffany-Shlain-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Tiffany-Shlain-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Tiffany-Shlain-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Tiffany-Shlain-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Tiffany-Shlain-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Tiffany-Shlain-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Tiffany-Shlain-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Tiffany-Shlain-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Tiffany-Shlain-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Tiffany-Shlain-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Tiffany-Shlain-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1495233423,
"modified": 1495237584,
"caption": "Tiffany Shlain attends Aol On Original Series presents \"The Future Starts Here\" in 2013. ",
"description": "Tiffany Shlain attends Aol On Original Series presents \"The Future Starts Here\" in 2013. ",
"title": "Aol On Original Series Presents \"The Future Starts Here\" By Tiffany Shlain Press Screening",
"credit": "Photo: Brad Barket/Getty Images for Aol",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13284578": {
"type": "attachments",
"id": "arts_13284578",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13284578",
"found": true
},
"parent": 13284273,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Rebel-Wilson-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Rebel-Wilson-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Rebel-Wilson-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Rebel-Wilson-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Rebel-Wilson-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Rebel-Wilson-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Rebel-Wilson.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Rebel-Wilson-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Rebel-Wilson-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Rebel-Wilson-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Rebel-Wilson-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Rebel-Wilson-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Rebel-Wilson-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Rebel-Wilson-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Rebel-Wilson-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Rebel-Wilson-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Rebel-Wilson-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Rebel-Wilson-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Rebel-Wilson-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Rebel-Wilson-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Rebel-Wilson-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1495484826,
"modified": 1495484903,
"caption": "Rebel Wilson attends the New York premiere of 'How To Be Single' in, 2016. ",
"description": "Rebel Wilson attends the New York premiere of 'How To Be Single' in, 2016. ",
"title": "\"How To Be Single\" New York Premiere",
"credit": "Photo: Dimitrios Kambouris/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13258132": {
"type": "attachments",
"id": "arts_13258132",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13258132",
"found": true
},
"parent": 13257696,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/25_Prospect_Street_Image_COVER-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/25_Prospect_Street_Image_COVER-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/25_Prospect_Street_Image_COVER-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/25_Prospect_Street_Image_COVER-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/25_Prospect_Street_Image_COVER-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/25_Prospect_Street_Image_COVER-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/25_Prospect_Street_Image_COVER.jpg",
"width": 1500,
"height": 844
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/25_Prospect_Street_Image_COVER-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/25_Prospect_Street_Image_COVER-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/25_Prospect_Street_Image_COVER-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/25_Prospect_Street_Image_COVER-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/25_Prospect_Street_Image_COVER-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/25_Prospect_Street_Image_COVER-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/25_Prospect_Street_Image_COVER-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/25_Prospect_Street_Image_COVER-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/25_Prospect_Street_Image_COVER-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/25_Prospect_Street_Image_COVER-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/25_Prospect_Street_Image_COVER-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/25_Prospect_Street_Image_COVER-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1495150704,
"modified": 1495150773,
"caption": "Kaveh Taherian’s '25 Prospect Street.'",
"description": "Kaveh Taherian’s '25 Prospect Street.'",
"title": "25_Prospect_Street_Image_COVER",
"credit": "Courtesy of Rough Cuts ",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13258143": {
"type": "attachments",
"id": "arts_13258143",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13258143",
"found": true
},
"parent": 13258142,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/alien-covenant-df-14740_rgb_wide-61d66d5970c68fd97705499c39f7f82742efa67a-1-520x292.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 292
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/alien-covenant-df-14740_rgb_wide-61d66d5970c68fd97705499c39f7f82742efa67a-1-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/alien-covenant-df-14740_rgb_wide-61d66d5970c68fd97705499c39f7f82742efa67a-1-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/alien-covenant-df-14740_rgb_wide-61d66d5970c68fd97705499c39f7f82742efa67a-1-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/alien-covenant-df-14740_rgb_wide-61d66d5970c68fd97705499c39f7f82742efa67a-1-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/alien-covenant-df-14740_rgb_wide-61d66d5970c68fd97705499c39f7f82742efa67a-1-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/alien-covenant-df-14740_rgb_wide-61d66d5970c68fd97705499c39f7f82742efa67a-1-e1495152843403.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/alien-covenant-df-14740_rgb_wide-61d66d5970c68fd97705499c39f7f82742efa67a-1-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/alien-covenant-df-14740_rgb_wide-61d66d5970c68fd97705499c39f7f82742efa67a-1-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/alien-covenant-df-14740_rgb_wide-61d66d5970c68fd97705499c39f7f82742efa67a-1-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/alien-covenant-df-14740_rgb_wide-61d66d5970c68fd97705499c39f7f82742efa67a-1-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/alien-covenant-df-14740_rgb_wide-61d66d5970c68fd97705499c39f7f82742efa67a-1-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/alien-covenant-df-14740_rgb_wide-61d66d5970c68fd97705499c39f7f82742efa67a-1-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/alien-covenant-df-14740_rgb_wide-61d66d5970c68fd97705499c39f7f82742efa67a-1-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/alien-covenant-df-14740_rgb_wide-61d66d5970c68fd97705499c39f7f82742efa67a-1-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/alien-covenant-df-14740_rgb_wide-61d66d5970c68fd97705499c39f7f82742efa67a-1-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/alien-covenant-df-14740_rgb_wide-61d66d5970c68fd97705499c39f7f82742efa67a-1-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/alien-covenant-df-14740_rgb_wide-61d66d5970c68fd97705499c39f7f82742efa67a-1-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/alien-covenant-df-14740_rgb_wide-61d66d5970c68fd97705499c39f7f82742efa67a-1-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/alien-covenant-df-14740_rgb_wide-61d66d5970c68fd97705499c39f7f82742efa67a-1-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/alien-covenant-df-14740_rgb_wide-61d66d5970c68fd97705499c39f7f82742efa67a-1-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1495152405,
"modified": 1495152879,
"caption": "Katherine Waterston as Daniels in 'Alien: Covenant.'",
"description": "Katherine Waterston as Daniels in 'Alien: Covenant.'",
"title": "Katherine Waterston as Daniels in Alien: Covenant.",
"credit": "Mark Rogers/Twentieth Century Fox",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13257118": {
"type": "attachments",
"id": "arts_13257118",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13257118",
"found": true
},
"parent": 13257117,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/gettyimages-485532810-8448e31ecccd0966af98922cd855b63bc3f1f87c-e1495137926227-520x299.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 299
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/gettyimages-485532810-8448e31ecccd0966af98922cd855b63bc3f1f87c-e1495137926227-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/gettyimages-485532810-8448e31ecccd0966af98922cd855b63bc3f1f87c-e1495137926227-160x92.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 92
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/gettyimages-485532810-8448e31ecccd0966af98922cd855b63bc3f1f87c-e1495137926227-960x552.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 552
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/gettyimages-485532810-8448e31ecccd0966af98922cd855b63bc3f1f87c-e1495137926227-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/gettyimages-485532810-8448e31ecccd0966af98922cd855b63bc3f1f87c-e1495137926227-375x216.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 216
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/gettyimages-485532810-8448e31ecccd0966af98922cd855b63bc3f1f87c-e1495137926227.jpg",
"width": 3272,
"height": 1881
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/gettyimages-485532810-8448e31ecccd0966af98922cd855b63bc3f1f87c-e1495137926227-1020x586.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 586
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/gettyimages-485532810-8448e31ecccd0966af98922cd855b63bc3f1f87c-e1495137926227-1180x678.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 678
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/gettyimages-485532810-8448e31ecccd0966af98922cd855b63bc3f1f87c-e1495137926227-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/gettyimages-485532810-8448e31ecccd0966af98922cd855b63bc3f1f87c-e1495137926227-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/gettyimages-485532810-8448e31ecccd0966af98922cd855b63bc3f1f87c-e1495137926227-800x460.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 460
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/gettyimages-485532810-8448e31ecccd0966af98922cd855b63bc3f1f87c-e1495137926227-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/gettyimages-485532810-8448e31ecccd0966af98922cd855b63bc3f1f87c-e1495137926227-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/gettyimages-485532810-8448e31ecccd0966af98922cd855b63bc3f1f87c-e1495137926227-1920x1104.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1104
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/gettyimages-485532810-8448e31ecccd0966af98922cd855b63bc3f1f87c-e1495137926227-1180x678.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 678
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/gettyimages-485532810-8448e31ecccd0966af98922cd855b63bc3f1f87c-e1495137926227-1920x1104.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1104
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/gettyimages-485532810-8448e31ecccd0966af98922cd855b63bc3f1f87c-e1495137926227-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/gettyimages-485532810-8448e31ecccd0966af98922cd855b63bc3f1f87c-e1495137926227-768x442.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 442
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/gettyimages-485532810-8448e31ecccd0966af98922cd855b63bc3f1f87c-e1495137926227-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/gettyimages-485532810-8448e31ecccd0966af98922cd855b63bc3f1f87c-e1495137926227-240x138.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 138
}
},
"publishDate": 1495137667,
"modified": 1495137879,
"caption": "Actor Daniel Dae Kim attends a cocktail party celebrating dynamic and diverse nominees for the 67th Emmy Awards hosted by the Academy of Television Arts",
"description": "Actor Daniel Dae Kim attends a cocktail party celebrating dynamic and diverse nominees for the 67th Emmy Awards hosted by the Academy of Television Arts",
"title": "Actor Daniel Dae Kim attends a cocktail party celebrating dynamic and diverse nominees for the 67th Emmy Awards hosted by the Academy of Television Arts & Sciences and SAG-AFTRA at Montage Beverly Hills on August 27, 2015 in Beverly Hills, California.",
"credit": "Photo: Alberto E. Rodriguez/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13235778": {
"type": "attachments",
"id": "arts_13235778",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13235778",
"found": true
},
"parent": 13235772,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/80-7-14-KQED-520x348.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 348
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/80-7-14-KQED-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/80-7-14-KQED-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/80-7-14-KQED-960x642.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 642
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/80-7-14-KQED-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/80-7-14-KQED-375x251.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 251
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/80-7-14-KQED.jpg",
"width": 4795,
"height": 3206
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/80-7-14-KQED-1020x682.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 682
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/80-7-14-KQED-1180x789.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 789
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/80-7-14-KQED-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/80-7-14-KQED-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/80-7-14-KQED-800x535.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 535
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/80-7-14-KQED-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/80-7-14-KQED-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/80-7-14-KQED-1920x1284.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1284
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/80-7-14-KQED-1180x789.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 789
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/80-7-14-KQED-1920x1284.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1284
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/80-7-14-KQED-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/80-7-14-KQED-768x513.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 513
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/80-7-14-KQED-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/80-7-14-KQED-240x160.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 160
}
},
"publishDate": 1494875268,
"modified": 1494875307,
"caption": "Ed Mock. ",
"description": null,
"title": "80-7-14-KQED",
"credit": "Courtesy Lynne Redding",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13249986": {
"type": "attachments",
"id": "arts_13249986",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13249986",
"found": true
},
"parent": 13249653,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Smith—H-E-L-L-O-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Smith—H-E-L-L-O-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Smith—H-E-L-L-O-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Smith—H-E-L-L-O-960x541.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 541
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Smith—H-E-L-L-O-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Smith—H-E-L-L-O-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Smith—H-E-L-L-O.jpg",
"width": 1280,
"height": 721
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Smith—H-E-L-L-O-1020x575.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 575
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Smith—H-E-L-L-O-1180x665.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 665
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Smith—H-E-L-L-O-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Smith—H-E-L-L-O-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Smith—H-E-L-L-O-800x451.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 451
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Smith—H-E-L-L-O-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Smith—H-E-L-L-O-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Smith—H-E-L-L-O-1180x665.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 665
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Smith—H-E-L-L-O-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Smith—H-E-L-L-O-768x433.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 433
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Smith—H-E-L-L-O-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Smith—H-E-L-L-O-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1495046198,
"modified": 1495046247,
"caption": "Cauleen Smith, Still from 'H-E-L-L-O,' 2014.",
"description": "Cauleen Smith, Still from 'H-E-L-L-O,' 2014.",
"title": "Smith—H-E-L-L-O",
"credit": "Courtesy of San Francisco Cinematheque",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13236668": {
"type": "attachments",
"id": "arts_13236668",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13236668",
"found": true
},
"parent": 13234842,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Radiodreams3-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Radiodreams3-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Radiodreams3-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Radiodreams3-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Radiodreams3-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Radiodreams3-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Radiodreams3.jpg",
"width": 2048,
"height": 1152
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Radiodreams3-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Radiodreams3-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Radiodreams3-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Radiodreams3-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Radiodreams3-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Radiodreams3-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Radiodreams3-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Radiodreams3-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Radiodreams3-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Radiodreams3-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Radiodreams3-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Radiodreams3-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Radiodreams3-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Radiodreams3-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1494885673,
"modified": 1494885716,
"caption": "Still from 'Radio Dreams.'",
"description": "Still from 'Radio Dreams.'",
"title": "Radiodreams3",
"credit": "Courtesy of the Roxie",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13236118": {
"type": "attachments",
"id": "arts_13236118",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13236118",
"found": true
},
"parent": 13235770,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Powers-Boothe-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Powers-Boothe-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Powers-Boothe-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Powers-Boothe-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Powers-Boothe-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Powers-Boothe-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Powers-Boothe.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Powers-Boothe-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Powers-Boothe-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Powers-Boothe-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Powers-Boothe-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Powers-Boothe-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Powers-Boothe-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Powers-Boothe-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Powers-Boothe-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Powers-Boothe-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Powers-Boothe-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Powers-Boothe-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Powers-Boothe-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Powers-Boothe-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/05/Powers-Boothe-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1494879463,
"modified": 1494879782,
"caption": "Powers Boothe attends 'Sin City: A Dame To Kill For' premiere in 2014.\n",
"description": "Powers Boothe attends 'Sin City: A Dame To Kill For' premiere in 2014.\n",
"title": "\"SIN CITY: A DAME TO KILL FOR\" Premiere Presented By Dimension Films In Partnership With Time Warner Cable, Dodge And DeLeon Tequila - Red Carpet",
"credit": "Photo: Charley Gallay/Getty Images for The Weinstein Company",
"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_13304365": {
"type": "authors",
"id": "byline_arts_13304365",
"meta": {
"override": true
},
"slug": "byline_arts_13304365",
"name": "Anastasia Tsioulcas",
"isLoading": false
},
"byline_arts_13304167": {
"type": "authors",
"id": "byline_arts_13304167",
"meta": {
"override": true
},
"slug": "byline_arts_13304167",
"name": "Jake Coyle, Associated Press",
"isLoading": false
},
"byline_arts_13284273": {
"type": "authors",
"id": "byline_arts_13284273",
"meta": {
"override": true
},
"slug": "byline_arts_13284273",
"name": "Associated Press",
"isLoading": false
},
"byline_arts_13258142": {
"type": "authors",
"id": "byline_arts_13258142",
"meta": {
"override": true
},
"slug": "byline_arts_13258142",
"name": "Chris Klimek",
"isLoading": false
},
"byline_arts_13257117": {
"type": "authors",
"id": "byline_arts_13257117",
"meta": {
"override": true
},
"slug": "byline_arts_13257117",
"name": "Leah Donnella",
"isLoading": false
},
"byline_arts_13249653": {
"type": "authors",
"id": "byline_arts_13249653",
"meta": {
"override": true
},
"slug": "byline_arts_13249653",
"name": "Max Goldberg",
"isLoading": false
},
"byline_arts_13235770": {
"type": "authors",
"id": "byline_arts_13235770",
"meta": {
"override": true
},
"slug": "byline_arts_13235770",
"name": "Doreen McCallister",
"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"
},
"kjones": {
"type": "authors",
"id": "93",
"meta": {
"index": "authors_1716337520",
"id": "93",
"found": true
},
"name": "Kevin L. Jones",
"firstName": "Kevin",
"lastName": "Jones",
"slug": "kjones",
"email": "kjones@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": null,
"avatar": "https://secure.gravatar.com/avatar/12c65b5633ed39d0a59bb7f497eff645?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"subscriber"
]
},
{
"site": "styleguide",
"roles": [
"contributor"
]
},
{
"site": "artschool",
"roles": [
"subscriber"
]
},
{
"site": "news",
"roles": [
"subscriber"
]
},
{
"site": "pop",
"roles": [
"subscriber"
]
}
],
"headData": {
"title": "Kevin L. Jones | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/12c65b5633ed39d0a59bb7f497eff645?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/12c65b5633ed39d0a59bb7f497eff645?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/kjones"
},
"sburke": {
"type": "authors",
"id": "11323",
"meta": {
"index": "authors_1716337520",
"id": "11323",
"found": true
},
"name": "Sarah Burke",
"firstName": "Sarah",
"lastName": "Burke",
"slug": "sburke",
"email": "sarahlburke@gmail.com",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "Sarah Burke is a journalist, critic, and curator living and working in Oakland, California. She is a regular contributor to KQED's Culture Cue, for which she writes about topics at the intersection of art, culture, and identity. Her work has been recognized with first place awards from the American Association of Alternative Newsmedia and The Society of Professional Journalists. Previously, she served as Managing Editor at the \u003cem>East Bay Express\u003c/em>. Find her on twitter at \u003ca href=\"https://twitter.com/sarahlubyburke\">@sarahlubyburke. \u003c/a>",
"avatar": "https://secure.gravatar.com/avatar/ea2a423eaf2fff65d31ec42d2a88bb6b96668e41e653ffa1945172c043a786b2?s=600&d=blank&r=g",
"twitter": "sarahlubyburke",
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"subscriber"
]
}
],
"headData": {
"title": "Sarah Burke | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/ea2a423eaf2fff65d31ec42d2a88bb6b96668e41e653ffa1945172c043a786b2?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/ea2a423eaf2fff65d31ec42d2a88bb6b96668e41e653ffa1945172c043a786b2?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/sburke"
}
},
"pagesReducer": {
"arts_category_movies": {
"type": "terms",
"id": "arts_74",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "74",
"score": 12.562749
},
"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": 155
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=movies",
"seeMore": false,
"paginated": true,
"page": 155
}
},
{
"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_13304365": {
"type": "posts",
"id": "arts_13304365",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13304365",
"score": null,
"sort": [
1495749612000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1495749612,
"format": "standard",
"title": "40 Years Ago, In A Galaxy Far, Far Away, an Iconic Film Score Was Born",
"headTitle": "40 Years Ago, In A Galaxy Far, Far Away, an Iconic Film Score Was Born | KQED",
"content": "\u003cp>How is this for a first day on the job: Maurice Murphy, the \u003ca href=\"https://lso.co.uk/\" target=\"_blank\" rel=\"noopener\">London Symphony Orchestra\u003c/a> (LSO)’s late principal trumpet player, spent his very first day with the orchestra recording \u003cem>Star Wars\u003c/em>‘ iconic opening theme, with its incredible brass fanfare — and Murphy leading the trumpets.\u003c/p>\n\u003cp>“It was an amazing moment, that blast of brass that opens the film. It was the first sound I heard from Maurice, really,” the film’s composer, John Williams, told the London Symphony Orchestra in a 2007 \u003ca href=\"https://soundcloud.com/london-symphony-orchestra/maurice-murphy-podcast\" target=\"_blank\" rel=\"noopener\">podcast\u003c/a> celebrating Murphy, who was then retiring from the orchestra. “It was electrifying … Everyone felt it. And I think people around the world, whenever they hear that piece now, there’s a kind of instant reaction that I think really was elicited in its initial spirit by Maurice’s sound, and just that heraldic spirit that lies within everything he plays … I think of his playing, or the effect of his playing, as having created the voice of a hero.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZSthLmvh6Fk\u003c/p>\n\u003cp>\u003cem>Star Wars\u003c/em> opened 40 years ago today — and pop culture was changed forever with its release and the ensuing constellation of shorthand cultural references. Its epically scaled, lushly orchestrated score, written by John Williams and played by the LSO, became a global touchstone in music.\u003c/p>\n\u003cp>The LSO is celebrating the 40th anniversary of its most-famous recording with a \u003ca href=\"https://lso.co.uk/more/blog/653-happy-40th-birthday-star-wars.html\" target=\"_blank\" rel=\"noopener\">page\u003c/a> of goodies, including the attendance sheet for that first recording session. (If you’re a film-score buff, by the way, you might want to check out that whole podcast about Maurice Murphy — Williams also talks about working with Murphy on other films throughout the \u003cem>Star Wars\u003c/em> series as well as on the \u003cem>Harry Potter\u003c/em> films.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/13577781″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>Williams’ heroic music, embedded with references to the music of composers like \u003ca href=\"http://www.npr.org/artists/91322541/gustav-holst\" target=\"_blank\" rel=\"noopener\">Gustav Holst\u003c/a>, \u003ca href=\"http://www.npr.org/artists/89337436/richard-wagner\" target=\"_blank\" rel=\"noopener\">Richard Wagner\u003c/a> and \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=15870129\" target=\"_blank\" rel=\"noopener\">Richard Strauss\u003c/a>, has been heralded as a musical landmark. When the Library of Congress added the \u003cem>Star Wars\u003c/em> soundtrack to the National Recording Registry in 2004, Emilio Audissino \u003ca href=\"https://www.loc.gov/programs/static/national-recording-preservation-board/documents/Star%20Wars-AUDISSINO.pdf\" target=\"_blank\" rel=\"noopener\">wrote\u003c/a> on behalf of the Library:\u003c/p>\n\u003cblockquote>\n\u003cp>“Apart from the huge popularity and the many awards, Williams’s ‘Star Wars’ is a milestone because it was instrumental in reviving the musical style of the Golden Age of Hollywood (1930s to 1950s), and was seminal in boosting a new interest for symphonic film music … The score is rich in leitmotivs — à la Wagner through the Hollywood tradition — and is lushly orchestrated and highly coloristic, and follows tightly and extensively the visual actions and narrative lines.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003cstrong>\u003c/strong>The matter of how a \u003cem>British\u003c/em> orchestra came to be associated with one of the U.S.’ most canonical pop-culture tentpoles might be simply a matter of economics. In those years — and in a situation that continues to this day — most American orchestras’ studio recording activities were tightly constrained by very strict union regulations and the associated costs of getting a major American orchestra into the recording studio under those union stipulations were, usually, deemed prohibitive. As a matter of comparison, the hourly rate for American players was roughly \u003ca href=\"https://www.stereophile.com/content/recording-rules-orchestras-page-2\" target=\"_blank\" rel=\"noopener\">three times\u003c/a> that of equally talented European musicians. According to a 1977 Twentieth Century-Fox budget breakdown \u003ca href=\"http://io9.gizmodo.com/5875998/behold-the-1977-budget-breakdown-for-star-wars\" target=\"_blank\" rel=\"noopener\">unearthed\u003c/a> a few years ago, the studio had allotted $100,000 for the score and recording costs, out of an $11 million total budget.\u003c/p>\n\u003cp>The LSO tells the story of their involvement from a different angle, recounted in the orchestra’s official history, the 2003 book \u003cem>\u003ca href=\"https://www.goodreads.com/book/show/874363.Orchestra\" target=\"_blank\" rel=\"noopener\">A Century of Triumph and Turbulence\u003c/a>\u003c/em>, written by Richard Morrison. According to Anthony Camden, the orchestra’s former oboist and chairman, he had a business meeting with then-principal conductor André Previn, who was a widely heralded Hollywood composer, particularly for his work in the 1950s and 60s. During their meeting, Camden suggested that Previn write a new film score that the orchestra could then record. Previn declined, but proposed that Camden get in touch with another American film composer by the name of John Williams.\u003c/p>\n\u003cp>Previn promptly called Williams, and passed the phone over to Camden. Williams said that he was, in fact, just starting to work on a new score, but that “it wouldn’t interest the LSO because it was all ‘up in the universe.'”\u003c/p>\n\u003cp>The LSO already had a \u003ca href=\"https://lso.co.uk/orchestra/history/lso-and-film-music.html\" target=\"_blank\" rel=\"noopener\">long history\u003c/a> of working within film music, going all the way back to 1935. Coincidentally, its very first recorded score was for another science-fiction fantasy, Arthur Bliss’ music for \u003cem>\u003ca href=\"http://www.imdb.com/title/tt0028358/\" target=\"_blank\" rel=\"noopener\">Things to Come\u003c/a>\u003c/em>\u003ca href=\"http://www.imdb.com/title/tt0028358/\" target=\"_blank\" rel=\"noopener\">\u003c/a>. It was H.G. Wells’ screen adaptation of his novel about the rebirth of civilization after a long world war — and whose population attempts space travel.\u003c/p>\n\u003cp>Even though the 1977 \u003cem>Star Wars\u003c/em> soundtrack became one of the most famous pieces of recorded music in the 20th century, it\u003cstrong> \u003c/strong>didn’t become a major money-maker for the British orchestra.\u003c/p>\n\u003cp>There’s a delicious-sounding, but apparently \u003ca href=\"http://www.theibanker.com/when-cash-is-not-king-star-wars-and-the-london-symphony-orchestra/\" target=\"_blank\" rel=\"noopener\">spurious\u003c/a>, anecdote floating online about supposed negotiations between the LSO musicians and the film’s director, George Lucas, in which Lucas allegedly offered the orchestra the choice of either receiving their regular fees for the work upfront, or waiting to receive a “small” share of any box-office profits.\u003c/p>\n\u003cp>The LSO’s archivist, Libby Rice, took a peek at the ensemble’s records for NPR, and confirmed that Twentieth Century-Fox paid the orchestra the standard British Musicians’ Union rates, as well as standard residuals from the album release and a standard administration fee to the LSO organization for arranging the sessions. According to the LSO, there is no record of any negotiations, or any discussions about the fee structure for \u003cem>Star Wars\u003c/em>, in the orchestra’s minute books.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That first \u003cem>Star Wars \u003c/em>film went on to earn more than \u003ca href=\"http://www.the-numbers.com/movies/franchise/Star-Wars#tab=summary\" target=\"_blank\" rel=\"noopener\">$786 million\u003c/a> worldwide. \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=40+Years+Ago%2C+In+A+Galaxy+Far%2C+Far+Away%2C+An+Iconic+Film+Score+Was+Born&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1044,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 17
},
"modified": 1705030530,
"excerpt": "'Star Wars' was released 40 years ago today — and it wasn't just the light sabers that changed pop culture. John Williams' epic music, played by the London Symphony Orchestra, became a touchstone.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "'Star Wars' was released 40 years ago today — and it wasn't just the light sabers that changed pop culture. John Williams' epic music, played by the London Symphony Orchestra, became a touchstone.",
"title": "40 Years Ago, In A Galaxy Far, Far Away, an Iconic Film Score Was Born | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "40 Years Ago, In A Galaxy Far, Far Away, an Iconic Film Score Was Born",
"datePublished": "2017-05-25T15:00:12-07:00",
"dateModified": "2024-01-11T19:35:30-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "40-years-ago-in-a-galaxy-far-far-away-an-iconic-film-score-was-born",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=530017993&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Anastasia Tsioulcas",
"nprStoryDate": "Thu, 25 May 2017 13:56:00 -0400",
"nprLastModifiedDate": "Thu, 25 May 2017 15:38:15 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/sections/deceptivecadence/2017/05/25/530017993/40-years-ago-in-a-galaxy-far-away-an-iconic-film-score-was-born?ft=nprml&f=530017993",
"nprStoryId": "530017993",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 25 May 2017 15:38:00 -0400",
"path": "/arts/13304365/40-years-ago-in-a-galaxy-far-far-away-an-iconic-film-score-was-born",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>How is this for a first day on the job: Maurice Murphy, the \u003ca href=\"https://lso.co.uk/\" target=\"_blank\" rel=\"noopener\">London Symphony Orchestra\u003c/a> (LSO)’s late principal trumpet player, spent his very first day with the orchestra recording \u003cem>Star Wars\u003c/em>‘ iconic opening theme, with its incredible brass fanfare — and Murphy leading the trumpets.\u003c/p>\n\u003cp>“It was an amazing moment, that blast of brass that opens the film. It was the first sound I heard from Maurice, really,” the film’s composer, John Williams, told the London Symphony Orchestra in a 2007 \u003ca href=\"https://soundcloud.com/london-symphony-orchestra/maurice-murphy-podcast\" target=\"_blank\" rel=\"noopener\">podcast\u003c/a> celebrating Murphy, who was then retiring from the orchestra. “It was electrifying … Everyone felt it. And I think people around the world, whenever they hear that piece now, there’s a kind of instant reaction that I think really was elicited in its initial spirit by Maurice’s sound, and just that heraldic spirit that lies within everything he plays … I think of his playing, or the effect of his playing, as having created the voice of a hero.”\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/ZSthLmvh6Fk'\n title='//www.youtube.com/embed/ZSthLmvh6Fk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Star Wars\u003c/em> opened 40 years ago today — and pop culture was changed forever with its release and the ensuing constellation of shorthand cultural references. Its epically scaled, lushly orchestrated score, written by John Williams and played by the LSO, became a global touchstone in music.\u003c/p>\n\u003cp>The LSO is celebrating the 40th anniversary of its most-famous recording with a \u003ca href=\"https://lso.co.uk/more/blog/653-happy-40th-birthday-star-wars.html\" target=\"_blank\" rel=\"noopener\">page\u003c/a> of goodies, including the attendance sheet for that first recording session. (If you’re a film-score buff, by the way, you might want to check out that whole podcast about Maurice Murphy — Williams also talks about working with Murphy on other films throughout the \u003cem>Star Wars\u003c/em> series as well as on the \u003cem>Harry Potter\u003c/em> films.)\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>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/13577781″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/13577781″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Williams’ heroic music, embedded with references to the music of composers like \u003ca href=\"http://www.npr.org/artists/91322541/gustav-holst\" target=\"_blank\" rel=\"noopener\">Gustav Holst\u003c/a>, \u003ca href=\"http://www.npr.org/artists/89337436/richard-wagner\" target=\"_blank\" rel=\"noopener\">Richard Wagner\u003c/a> and \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=15870129\" target=\"_blank\" rel=\"noopener\">Richard Strauss\u003c/a>, has been heralded as a musical landmark. When the Library of Congress added the \u003cem>Star Wars\u003c/em> soundtrack to the National Recording Registry in 2004, Emilio Audissino \u003ca href=\"https://www.loc.gov/programs/static/national-recording-preservation-board/documents/Star%20Wars-AUDISSINO.pdf\" target=\"_blank\" rel=\"noopener\">wrote\u003c/a> on behalf of the Library:\u003c/p>\n\u003cblockquote>\n\u003cp>“Apart from the huge popularity and the many awards, Williams’s ‘Star Wars’ is a milestone because it was instrumental in reviving the musical style of the Golden Age of Hollywood (1930s to 1950s), and was seminal in boosting a new interest for symphonic film music … The score is rich in leitmotivs — à la Wagner through the Hollywood tradition — and is lushly orchestrated and highly coloristic, and follows tightly and extensively the visual actions and narrative lines.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003cstrong>\u003c/strong>The matter of how a \u003cem>British\u003c/em> orchestra came to be associated with one of the U.S.’ most canonical pop-culture tentpoles might be simply a matter of economics. In those years — and in a situation that continues to this day — most American orchestras’ studio recording activities were tightly constrained by very strict union regulations and the associated costs of getting a major American orchestra into the recording studio under those union stipulations were, usually, deemed prohibitive. As a matter of comparison, the hourly rate for American players was roughly \u003ca href=\"https://www.stereophile.com/content/recording-rules-orchestras-page-2\" target=\"_blank\" rel=\"noopener\">three times\u003c/a> that of equally talented European musicians. According to a 1977 Twentieth Century-Fox budget breakdown \u003ca href=\"http://io9.gizmodo.com/5875998/behold-the-1977-budget-breakdown-for-star-wars\" target=\"_blank\" rel=\"noopener\">unearthed\u003c/a> a few years ago, the studio had allotted $100,000 for the score and recording costs, out of an $11 million total budget.\u003c/p>\n\u003cp>The LSO tells the story of their involvement from a different angle, recounted in the orchestra’s official history, the 2003 book \u003cem>\u003ca href=\"https://www.goodreads.com/book/show/874363.Orchestra\" target=\"_blank\" rel=\"noopener\">A Century of Triumph and Turbulence\u003c/a>\u003c/em>, written by Richard Morrison. According to Anthony Camden, the orchestra’s former oboist and chairman, he had a business meeting with then-principal conductor André Previn, who was a widely heralded Hollywood composer, particularly for his work in the 1950s and 60s. During their meeting, Camden suggested that Previn write a new film score that the orchestra could then record. Previn declined, but proposed that Camden get in touch with another American film composer by the name of John Williams.\u003c/p>\n\u003cp>Previn promptly called Williams, and passed the phone over to Camden. Williams said that he was, in fact, just starting to work on a new score, but that “it wouldn’t interest the LSO because it was all ‘up in the universe.'”\u003c/p>\n\u003cp>The LSO already had a \u003ca href=\"https://lso.co.uk/orchestra/history/lso-and-film-music.html\" target=\"_blank\" rel=\"noopener\">long history\u003c/a> of working within film music, going all the way back to 1935. Coincidentally, its very first recorded score was for another science-fiction fantasy, Arthur Bliss’ music for \u003cem>\u003ca href=\"http://www.imdb.com/title/tt0028358/\" target=\"_blank\" rel=\"noopener\">Things to Come\u003c/a>\u003c/em>\u003ca href=\"http://www.imdb.com/title/tt0028358/\" target=\"_blank\" rel=\"noopener\">\u003c/a>. It was H.G. Wells’ screen adaptation of his novel about the rebirth of civilization after a long world war — and whose population attempts space travel.\u003c/p>\n\u003cp>Even though the 1977 \u003cem>Star Wars\u003c/em> soundtrack became one of the most famous pieces of recorded music in the 20th century, it\u003cstrong> \u003c/strong>didn’t become a major money-maker for the British orchestra.\u003c/p>\n\u003cp>There’s a delicious-sounding, but apparently \u003ca href=\"http://www.theibanker.com/when-cash-is-not-king-star-wars-and-the-london-symphony-orchestra/\" target=\"_blank\" rel=\"noopener\">spurious\u003c/a>, anecdote floating online about supposed negotiations between the LSO musicians and the film’s director, George Lucas, in which Lucas allegedly offered the orchestra the choice of either receiving their regular fees for the work upfront, or waiting to receive a “small” share of any box-office profits.\u003c/p>\n\u003cp>The LSO’s archivist, Libby Rice, took a peek at the ensemble’s records for NPR, and confirmed that Twentieth Century-Fox paid the orchestra the standard British Musicians’ Union rates, as well as standard residuals from the album release and a standard administration fee to the LSO organization for arranging the sessions. According to the LSO, there is no record of any negotiations, or any discussions about the fee structure for \u003cem>Star Wars\u003c/em>, in the orchestra’s minute books.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That first \u003cem>Star Wars \u003c/em>film went on to earn more than \u003ca href=\"http://www.the-numbers.com/movies/franchise/Star-Wars#tab=summary\" target=\"_blank\" rel=\"noopener\">$786 million\u003c/a> worldwide. \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=40+Years+Ago%2C+In+A+Galaxy+Far%2C+Far+Away%2C+An+Iconic+Film+Score+Was+Born&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13304365/40-years-ago-in-a-galaxy-far-far-away-an-iconic-film-score-was-born",
"authors": [
"byline_arts_13304365"
],
"categories": [
"arts_74",
"arts_69",
"arts_235"
],
"tags": [
"arts_991",
"arts_1118",
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13304641",
"label": "arts_137"
},
"arts_13304167": {
"type": "posts",
"id": "arts_13304167",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13304167",
"score": null,
"sort": [
1495741865000
]
},
"guestAuthors": [],
"slug": "kidman-pattinson-and-sandler-lead-oscar-contenders-out-of-cannes",
"title": "Kidman, Pattinson and Sandler Lead Oscar Contenders Out of Cannes",
"publishDate": 1495741865,
"format": "standard",
"headTitle": "Kidman, Pattinson and Sandler Lead Oscar Contenders Out of Cannes | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>It’s a long way from May in France to February in Los Angeles, but the Cannes Film Festival has often been a breeding ground for Academy Awards campaigns.\u003c/p>\n\u003cp>The Oscars aren’t much on the minds of the filmmakers or attendees in Cannes; the festival is its own achievement, with nearly as much spectacle and prestige as the Academy Awards. Oscar potential, though, is often born in Cannes, and some early handshaking with the Hollywood Foreign Press, which puts on the Golden Globes, is sometimes sneaked into busy schedules.\u003c/p>\n\u003cp>Not since 2011’s \u003cem>The Artist\u003c/em> has a Cannes Palme d’Or winner gone on to win best picture. And, if anything, the fall gauntlet of festivals — Telluride, Toronto, Venice, New York — has recently only reasserted itself as the premiere path to the Oscars. Such was the road of most of the recent best-picture winners, including \u003cem>Moonlight\u003c/em>, \u003cem>Birdman\u003c/em> and \u003cem>12 Years a Slav\u003c/em>e.\u003c/p>\n\u003cp>Still, Cannes last year kick-started eventual nominees like the best-picture candidate \u003cem>Hell or High Water\u003c/em>, Isabelle Huppert (\u003cem>Elle\u003c/em>), Ruth Negga (\u003cem>Loving\u003c/em>), \u003cem>The Lobster\u003c/em> (which scored a screenplay nod) and foreign-language winner \u003cem>The Salesman\u003c/em>. The 2015 Cannes accounted for nearly 20 nominations, including \u003cem>Mad Max: Fury Road\u003c/em>, \u003cem>Carol\u003c/em>, \u003cem>Inside Out\u003c/em> and \u003cem>Son of Saul\u003c/em>.\u003c/p>\n\u003cp>This year’s festival, which concludes Sunday with the Palme d’Or presentation, might not produce such a haul as that. But standing ovations on the Croisette appear likely to lead to awards consideration for a number of big names — some of whom aren’t the usual suspects.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Adam Sandler\u003c/strong> — When Sandler has waded into drama, he’s often won raves. But even more than his turns in \u003cem>Punch Drunk Love\u003c/em> and \u003cem>Spanglish\u003c/em>, Sandler’s tender, rumpled performance as a recently divorced father in Noah Baumbach’s \u003cem>The Meyerowitz Stories (New and Selected)\u003c/em> was hailed as a new high point for the Sand Man. The Netflix release could also earn some attention for Dustin Hoffman, who with typical distinction plays the prickly father of Sandler in the film.\u003c/p>\n\u003cp>\u003cstrong>Nicole Kidman\u003c/strong> — It’s less a question of whether Kidman will be back in the Oscar hunt than for which film. She had two in competition in Cannes: Yorgos Lanthimos’ \u003cem>The Lobster\u003c/em> follow-up \u003cem>The Killing of a Sacred Deer\u003c/em> and Sofia Coppola’s \u003cem>The Beguiled\u003c/em>, a remake of Don Siegel’s 1971 Civil War thriller. While the nod for \u003cem>The Lobster\u003c/em> suggests considerable support for Lanthimos’ grandly demented comedies, the handsome period piece \u003cem>The Beguiled\u003c/em> — in which Kidman plays the headmaster of a Virginia girls’ boarding school — is probably the more likely shot. If the movie, which opens June 30, earned enough buzz, it could lead to attention for others, too, like Colin Farrell (Kidman’s co-star in \u003cem>Sacred Deer\u003c/em>), Kirsten Dunst and Coppola’s directing.\u003c/p>\n\u003cp>\u003cstrong>Robert Pattinson\u003c/strong> — Pattinson’s former \u003cem>Twilight\u003c/em> co-star, Kristen Stewart, has used Cannes to show a new side to herself in films like \u003cem>Clouds of Sils Maria\u003c/em> and \u003cem>Personal Shopper\u003c/em>. Now, Pattinson has, too. His scruffy, scuzzy performance as a Queens bank robber in Benny and Josh Safdie’s \u003cem>Good Time\u003c/em> was immediately hailed at a career-best for the 31-year-old actor.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Wind River\u003c/em>\u003c/strong> — As the writer of \u003cem>Hell or High Water\u003c/em> and \u003cem>Sicario\u003c/em>, Taylor Sheridan’s Texas tales have already earned him a reputation for intense and weighty crime dramas. \u003cem>Wind River\u003c/em>, which first premiered at Sundance in January, makes it three in a row for Sheridan, now making his directorial debut. The film is about a murder investigation on an Indian Reservation and its lead, Jeremy Renner, is also a standout.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Florida Project\u003c/em>\u003c/strong> — Sean Baker’s previous film, \u003cem>Tangerine\u003c/em>, didn’t make it to the Oscars, but it nearly did, landing on top-10 lists and taking critics awards — all despite being shot on an iPhone. For \u003cem>The Florida Project\u003c/em>, Baker switched to 35mm for this story about a pair of poor 6-year-old girls living in Orlando budget motels and in the shadow of Walt Disney World. It was one of the few runaway hits of the festival.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Wonderstruck\u003c/em>\u003c/strong> — Todd Haynes’ \u003cem>Wonderstruck\u003c/em> might not boast awards-friendly lead performances like Cate Blanchett and Rooney Mara in his last film, \u003cem>Carol\u003c/em>. But \u003cem>Wonderstruck\u003c/em>, Haynes’ adaptation of Brian Selznick’s young-adult book, is every bit as finely crafted in stitching together two parallel story lines between 1927 and 1977. Large parts of the film are also mostly wordless — there have been \u003cem>The Artist\u003c/em> comparisons — with Haynes using all his cinematic abilities to weave his magic. Carter Burwell’s score, at the least, should be an automatic.\u003c/p>\n\u003cp>\u003cstrong>Others\u003c/strong> — Cannes entries will surely help fill the foreign-language category, and early possibilities include the French AIDS drama \u003cem>120 Beats Per Minute\u003c/em>; Andrey Zvyagintsev’s \u003cem>Leviathan\u003c/em> follow-up, \u003cem>Loveless\u003c/em>; and Ruben Ostlund’s \u003cem>The Square\u003c/em>. And it would be difficult to ever count out Tilda Swinton, who — as she did in the Coen brothers’ \u003cem>Hail, Caesar!\u003c/em> — plays twin sisters, this time in Bong Joon-ho’s \u003cem>Okja\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Few would have guessed that Huppert or, for that matter, \u003cem>Mad Max\u003c/em>, would become such an awards force coming out the last two festivals. But with eight months to go until the Oscars, the bounty from Cannes surely holds more surprises in store.\u003c/p>\n\n",
"blocks": [],
"excerpt": "The Cannes Film Festival has often been a breeding ground for Academy Awards campaigns.",
"status": "publish",
"parent": 0,
"modified": 1726707429,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 15,
"wordCount": 929
},
"headData": {
"title": "Kidman, Pattinson and Sandler Lead Oscar Contenders Out of Cannes | KQED",
"description": "The Cannes Film Festival has often been a breeding ground for Academy Awards campaigns.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Kidman, Pattinson and Sandler Lead Oscar Contenders Out of Cannes",
"datePublished": "2017-05-25T12:51:05-07:00",
"dateModified": "2024-09-18T17:57:09-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Jake Coyle, Associated Press",
"path": "/arts/13304167/kidman-pattinson-and-sandler-lead-oscar-contenders-out-of-cannes",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s a long way from May in France to February in Los Angeles, but the Cannes Film Festival has often been a breeding ground for Academy Awards campaigns.\u003c/p>\n\u003cp>The Oscars aren’t much on the minds of the filmmakers or attendees in Cannes; the festival is its own achievement, with nearly as much spectacle and prestige as the Academy Awards. Oscar potential, though, is often born in Cannes, and some early handshaking with the Hollywood Foreign Press, which puts on the Golden Globes, is sometimes sneaked into busy schedules.\u003c/p>\n\u003cp>Not since 2011’s \u003cem>The Artist\u003c/em> has a Cannes Palme d’Or winner gone on to win best picture. And, if anything, the fall gauntlet of festivals — Telluride, Toronto, Venice, New York — has recently only reasserted itself as the premiere path to the Oscars. Such was the road of most of the recent best-picture winners, including \u003cem>Moonlight\u003c/em>, \u003cem>Birdman\u003c/em> and \u003cem>12 Years a Slav\u003c/em>e.\u003c/p>\n\u003cp>Still, Cannes last year kick-started eventual nominees like the best-picture candidate \u003cem>Hell or High Water\u003c/em>, Isabelle Huppert (\u003cem>Elle\u003c/em>), Ruth Negga (\u003cem>Loving\u003c/em>), \u003cem>The Lobster\u003c/em> (which scored a screenplay nod) and foreign-language winner \u003cem>The Salesman\u003c/em>. The 2015 Cannes accounted for nearly 20 nominations, including \u003cem>Mad Max: Fury Road\u003c/em>, \u003cem>Carol\u003c/em>, \u003cem>Inside Out\u003c/em> and \u003cem>Son of Saul\u003c/em>.\u003c/p>\n\u003cp>This year’s festival, which concludes Sunday with the Palme d’Or presentation, might not produce such a haul as that. But standing ovations on the Croisette appear likely to lead to awards consideration for a number of big names — some of whom aren’t the usual suspects.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Adam Sandler\u003c/strong> — When Sandler has waded into drama, he’s often won raves. But even more than his turns in \u003cem>Punch Drunk Love\u003c/em> and \u003cem>Spanglish\u003c/em>, Sandler’s tender, rumpled performance as a recently divorced father in Noah Baumbach’s \u003cem>The Meyerowitz Stories (New and Selected)\u003c/em> was hailed as a new high point for the Sand Man. The Netflix release could also earn some attention for Dustin Hoffman, who with typical distinction plays the prickly father of Sandler in the film.\u003c/p>\n\u003cp>\u003cstrong>Nicole Kidman\u003c/strong> — It’s less a question of whether Kidman will be back in the Oscar hunt than for which film. She had two in competition in Cannes: Yorgos Lanthimos’ \u003cem>The Lobster\u003c/em> follow-up \u003cem>The Killing of a Sacred Deer\u003c/em> and Sofia Coppola’s \u003cem>The Beguiled\u003c/em>, a remake of Don Siegel’s 1971 Civil War thriller. While the nod for \u003cem>The Lobster\u003c/em> suggests considerable support for Lanthimos’ grandly demented comedies, the handsome period piece \u003cem>The Beguiled\u003c/em> — in which Kidman plays the headmaster of a Virginia girls’ boarding school — is probably the more likely shot. If the movie, which opens June 30, earned enough buzz, it could lead to attention for others, too, like Colin Farrell (Kidman’s co-star in \u003cem>Sacred Deer\u003c/em>), Kirsten Dunst and Coppola’s directing.\u003c/p>\n\u003cp>\u003cstrong>Robert Pattinson\u003c/strong> — Pattinson’s former \u003cem>Twilight\u003c/em> co-star, Kristen Stewart, has used Cannes to show a new side to herself in films like \u003cem>Clouds of Sils Maria\u003c/em> and \u003cem>Personal Shopper\u003c/em>. Now, Pattinson has, too. His scruffy, scuzzy performance as a Queens bank robber in Benny and Josh Safdie’s \u003cem>Good Time\u003c/em> was immediately hailed at a career-best for the 31-year-old actor.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Wind River\u003c/em>\u003c/strong> — As the writer of \u003cem>Hell or High Water\u003c/em> and \u003cem>Sicario\u003c/em>, Taylor Sheridan’s Texas tales have already earned him a reputation for intense and weighty crime dramas. \u003cem>Wind River\u003c/em>, which first premiered at Sundance in January, makes it three in a row for Sheridan, now making his directorial debut. The film is about a murder investigation on an Indian Reservation and its lead, Jeremy Renner, is also a standout.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Florida Project\u003c/em>\u003c/strong> — Sean Baker’s previous film, \u003cem>Tangerine\u003c/em>, didn’t make it to the Oscars, but it nearly did, landing on top-10 lists and taking critics awards — all despite being shot on an iPhone. For \u003cem>The Florida Project\u003c/em>, Baker switched to 35mm for this story about a pair of poor 6-year-old girls living in Orlando budget motels and in the shadow of Walt Disney World. It was one of the few runaway hits of the festival.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Wonderstruck\u003c/em>\u003c/strong> — Todd Haynes’ \u003cem>Wonderstruck\u003c/em> might not boast awards-friendly lead performances like Cate Blanchett and Rooney Mara in his last film, \u003cem>Carol\u003c/em>. But \u003cem>Wonderstruck\u003c/em>, Haynes’ adaptation of Brian Selznick’s young-adult book, is every bit as finely crafted in stitching together two parallel story lines between 1927 and 1977. Large parts of the film are also mostly wordless — there have been \u003cem>The Artist\u003c/em> comparisons — with Haynes using all his cinematic abilities to weave his magic. Carter Burwell’s score, at the least, should be an automatic.\u003c/p>\n\u003cp>\u003cstrong>Others\u003c/strong> — Cannes entries will surely help fill the foreign-language category, and early possibilities include the French AIDS drama \u003cem>120 Beats Per Minute\u003c/em>; Andrey Zvyagintsev’s \u003cem>Leviathan\u003c/em> follow-up, \u003cem>Loveless\u003c/em>; and Ruben Ostlund’s \u003cem>The Square\u003c/em>. And it would be difficult to ever count out Tilda Swinton, who — as she did in the Coen brothers’ \u003cem>Hail, Caesar!\u003c/em> — plays twin sisters, this time in Bong Joon-ho’s \u003cem>Okja\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Few would have guessed that Huppert or, for that matter, \u003cem>Mad Max\u003c/em>, would become such an awards force coming out the last two festivals. But with eight months to go until the Oscars, the bounty from Cannes surely holds more surprises in store.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13304167/kidman-pattinson-and-sandler-lead-oscar-contenders-out-of-cannes",
"authors": [
"byline_arts_13304167"
],
"categories": [
"arts_74",
"arts_235"
],
"tags": [
"arts_1448",
"arts_596"
],
"featImg": "arts_13304363",
"label": "arts"
},
"arts_13297063": {
"type": "posts",
"id": "arts_13297063",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13297063",
"score": null,
"sort": [
1495670418000
]
},
"guestAuthors": [],
"slug": "summer-movies-blockbusters-2017-cgi",
"title": "Okay World, You Win — Bring on the Escapist Summer Movie Onslaught",
"publishDate": 1495670418,
"format": "image",
"headTitle": "Okay World, You Win — Bring on the Escapist Summer Movie Onslaught | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>The over-the-top poppycock that is Hollywood’s summer stock-in-trade has a certain appeal to me at the moment, I have to admit.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/series/hot-days-and-summer-nights-guide-2017/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px.jpg\" alt=\"\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-13376303\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Between the domestic political horror du jour and tragedy and turmoil abroad, I’ve rarely found escapism so inviting. If I’m going to listen to delusional declarations with horrific consequences for millions, I’d prefer they be uttered by supervillains in kitschy costumes rather than the President. I’m even willing to accept the spectacle of several dozen digital explosions, and all that CGI-generated CO\u003csub>2\u003c/sub>, as part of the deal.\u003c/p>\n\u003cp>On that optimistic note, let’s check out our best options and most enticing alternatives.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Cars3.1100-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" class=\"alignleft size-medium wp-image-13298459\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cars3.1100-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cars3.1100-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cars3.1100-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cars3.1100-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cars3.1100-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cars3.1100-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cars3.1100-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cars3.1100-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cars3.1100.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch3>‘Cars 3’ (June 16) \u003c/h3>\n\u003cp>In support of the Bay Area economy, and the stock options of Pixar’s hard-working employees, I’m waiving my longstanding objection to sequels for this one. It’s a comeback story this time around, with graybeard Lightning McQueen overtaken by a field of next-generation racers and compelled to rely on a young female race tech to regain his mojo. The hour-and-49-minute running time seems more suited to grownups than kids, which I interpret as Pixar’s contribution to our tenuous national sanity.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Beguiled.1000-800x420.jpg\" alt=\"\" width=\"800\" height=\"420\" class=\"alignleft size-medium wp-image-13298458\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Beguiled.1000-800x420.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Beguiled.1000-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Beguiled.1000-768x404.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Beguiled.1000-1020x536.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Beguiled.1000-960x504.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Beguiled.1000-240x126.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Beguiled.1000-375x197.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Beguiled.1000-520x273.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Beguiled.1000.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch3>‘The Beguiled’ (June 23) \u003c/h3>\n\u003cp>Remakes generally don’t find favor with this curmudgeonly correspondent, but I’ll make an exception for Bay Area product Sofia Coppola. In her sixth feature behind the camera, Coppola revisits Thomas Cullinan’s novel about a wounded Union soldier recuperating in a Confederate girls’ boarding school. The director has been fascinated by the behavior of women in groups since her debut with \u003cem>The Virgin Suicides\u003c/em>, and she explores the built-in sexual tension and shifting power dynamics through low-light naturalism rather than hothouse melodrama. Don Siegel and Clint Eastwood took a rather different approach, shall we say, to this material in 1971.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/WarForPlanet.1000-800x377.jpg\" alt=\"\" width=\"800\" height=\"377\" class=\"alignleft size-medium wp-image-13298464\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/WarForPlanet.1000-800x377.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/WarForPlanet.1000-160x75.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/WarForPlanet.1000-768x362.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/WarForPlanet.1000-1020x481.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/WarForPlanet.1000-960x453.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/WarForPlanet.1000-240x113.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/WarForPlanet.1000-375x177.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/WarForPlanet.1000-520x245.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/WarForPlanet.1000.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch3>‘War for the Planet of the Apes’ (July 14)\u003c/h3>\n\u003cp>The previous installment, \u003cem>Dawn of the Planet of the Apes\u003c/em>, boasted a script that was as serious as it was smart, and a San Francisco setting. That’s ample reason to tout the next chapter in this apocalypse-courting science-fiction saga over the numerous other threats-to-our-species exercises in ersatz heroism clogging the multiplexes in the next few months. That, and Woody Harrelson as the villain.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Dunkirk1000-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" class=\"alignleft size-medium wp-image-13298461\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Dunkirk1000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Dunkirk1000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Dunkirk1000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Dunkirk1000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Dunkirk1000-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Dunkirk1000-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Dunkirk1000-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Dunkirk1000-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Dunkirk1000.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch3>‘Dunkirk’ (July 21)\u003c/h3>\n\u003cp>At long last, Christopher Nolan (\u003cem>Inception\u003c/em>, \u003cem>Interstellar\u003c/em>) has abandoned the sham profundity of his bloated sci-fi morality tales for a chunk of actual history. Or, to be less charitable, he’s tired of being Ridley Scott and aspires to David Lean. Featuring a roster of familiar names and faces alongside battalions of extras, \u003cem>Dunkirk\u003c/em> reenacts the 1940 evacuation of some 300,000 Allied troops from France over 10 days. Pack a lunch — and earplugs. (Nolan has a notoriously heavy hand when it comes to sound, especially in the third act.)\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/InconvenientSequel-2.1000-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" class=\"alignleft size-medium wp-image-13298463\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/InconvenientSequel-2.1000-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/InconvenientSequel-2.1000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/InconvenientSequel-2.1000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/InconvenientSequel-2.1000-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/InconvenientSequel-2.1000-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/InconvenientSequel-2.1000-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/InconvenientSequel-2.1000-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/InconvenientSequel-2.1000-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/InconvenientSequel-2.1000.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch3>‘An Inconvenient Sequel: Truth to Power’ (July 28)\u003c/h3>\n\u003cp>Local documentary makers Bonni Cohen and Jon Shenk (\u003cem>Audrie & Daisy\u003c/em>, now on Netflix) pick up Al Gore’s ongoing global crusade to light a fire under the tushes of elected officials, CEOs and the greater population. Along with a treatise on the imminent dangers of climate change, the film necessarily delivers an upbeat assessment of the human potential — through now-existing technology and public will — to take major action before we reach the point where another \u003cem>Inconvenient\u003c/em> sequel will play as tragedy. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Detroit1000-800x535.jpg\" alt=\"\" width=\"800\" height=\"535\" class=\"alignleft size-medium wp-image-13298460\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Detroit1000-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Detroit1000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Detroit1000-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Detroit1000-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Detroit1000-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Detroit1000-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Detroit1000-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Detroit1000-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Detroit1000.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch3>‘Detroit’ (Aug. 4)\u003c/h3>\n\u003cp>Aiming to duplicate the August box-office success of \u003cem>Straight Outta Compton\u003c/em> in 2015, director Kathryn Bigelow and writer Mark Boal’s third nerve-shattering collaboration (\u003cem>The Hurt Locker\u003c/em>, \u003cem>Zero Dark Thirty\u003c/em>) immerses us in a different summer in the (inner) city. \u003ci>Detroit\u003c/i> dramatizes the misguided and ruthless police raid of an interracial party at the Algiers Motel 50 years ago this July, and the ensuing public outcry. Escapist? Hardly. Timely? Plus ça change, and all that jazz.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/GlassCastle.1000-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"alignleft size-medium wp-image-13298462\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GlassCastle.1000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GlassCastle.1000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GlassCastle.1000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GlassCastle.1000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GlassCastle.1000-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GlassCastle.1000-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GlassCastle.1000-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GlassCastle.1000-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GlassCastle.1000.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch3>‘The Glass Castle’ (Aug. 11)\u003c/h3>\n\u003cp>Newspaper reporter and columnist Jeannette Walls’ best-selling memoir, published in 2005, described a complicated childhood and adolescence spent with an alcoholic father and artistic mother in poverty and constant movement from town to town (including a stint in the Tenderloin). Brie Larson portrays the writer in Destin Daniel Cretton’s screen adaptation, a high-profile reunion following their breakthrough work on the 2013 indie drama \u003cem>Short Term 12\u003c/em>. If all that isn’t enough to pique your interest, Naomi Watts and the redoubtable Woody Harrelson play Rex and Rose Mary Wells. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/PattiC-akes.1000-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"alignleft size-medium wp-image-13298465\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/PattiC-akes.1000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/PattiC-akes.1000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/PattiC-akes.1000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/PattiC-akes.1000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/PattiC-akes.1000-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/PattiC-akes.1000-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/PattiC-akes.1000-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/PattiC-akes.1000-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/PattiC-akes.1000.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\"> \u003c/p>\n\u003ch3>‘Patti Cake$’ (Aug. 25)\u003c/h3>\n\u003cp>Flash-bulb acclaim at Sundance is no guarantee that a film will receive a sunny reception on general release. Here’s hoping that writer-director Geremy Jasper’s acclaimed debut, and his indomitable heroine, find an audience. Danielle MacDonald plays a New Jersey ugly duckling who trades her prosaic given name of Patricia Dombrowski for the titular moniker while pursuing an identity (and a career, possibly) as a rapper. An urban underdog saga forged from the time-tested triumvirate of family troubles, societal indifference and artistic expression, \u003ci>Patti Cake$\u003c/i> may be the most hopeful movie of the summer.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
"blocks": [],
"excerpt": "The over-the-top poppycock that is Hollywood’s summer stock-in-trade has a certain appeal at the moment.",
"status": "publish",
"parent": 0,
"modified": 1726702835,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 23,
"wordCount": 902
},
"headData": {
"title": "Okay World, You Win — Bring on the Escapist Summer Movie Onslaught | KQED",
"description": "The over-the-top poppycock that is Hollywood’s summer stock-in-trade has a certain appeal at the moment.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Okay World, You Win — Bring on the Escapist Summer Movie Onslaught",
"datePublished": "2017-05-24T17:00:18-07:00",
"dateModified": "2024-09-18T16:40:35-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/13297063/summer-movies-blockbusters-2017-cgi",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The over-the-top poppycock that is Hollywood’s summer stock-in-trade has a certain appeal to me at the moment, I have to admit.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/series/hot-days-and-summer-nights-guide-2017/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px.jpg\" alt=\"\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-13376303\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Between the domestic political horror du jour and tragedy and turmoil abroad, I’ve rarely found escapism so inviting. If I’m going to listen to delusional declarations with horrific consequences for millions, I’d prefer they be uttered by supervillains in kitschy costumes rather than the President. I’m even willing to accept the spectacle of several dozen digital explosions, and all that CGI-generated CO\u003csub>2\u003c/sub>, as part of the deal.\u003c/p>\n\u003cp>On that optimistic note, let’s check out our best options and most enticing alternatives.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Cars3.1100-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" class=\"alignleft size-medium wp-image-13298459\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cars3.1100-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cars3.1100-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cars3.1100-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cars3.1100-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cars3.1100-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cars3.1100-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cars3.1100-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cars3.1100-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cars3.1100.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch3>‘Cars 3’ (June 16) \u003c/h3>\n\u003cp>In support of the Bay Area economy, and the stock options of Pixar’s hard-working employees, I’m waiving my longstanding objection to sequels for this one. It’s a comeback story this time around, with graybeard Lightning McQueen overtaken by a field of next-generation racers and compelled to rely on a young female race tech to regain his mojo. The hour-and-49-minute running time seems more suited to grownups than kids, which I interpret as Pixar’s contribution to our tenuous national sanity.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Beguiled.1000-800x420.jpg\" alt=\"\" width=\"800\" height=\"420\" class=\"alignleft size-medium wp-image-13298458\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Beguiled.1000-800x420.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Beguiled.1000-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Beguiled.1000-768x404.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Beguiled.1000-1020x536.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Beguiled.1000-960x504.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Beguiled.1000-240x126.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Beguiled.1000-375x197.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Beguiled.1000-520x273.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Beguiled.1000.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch3>‘The Beguiled’ (June 23) \u003c/h3>\n\u003cp>Remakes generally don’t find favor with this curmudgeonly correspondent, but I’ll make an exception for Bay Area product Sofia Coppola. In her sixth feature behind the camera, Coppola revisits Thomas Cullinan’s novel about a wounded Union soldier recuperating in a Confederate girls’ boarding school. The director has been fascinated by the behavior of women in groups since her debut with \u003cem>The Virgin Suicides\u003c/em>, and she explores the built-in sexual tension and shifting power dynamics through low-light naturalism rather than hothouse melodrama. Don Siegel and Clint Eastwood took a rather different approach, shall we say, to this material in 1971.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/WarForPlanet.1000-800x377.jpg\" alt=\"\" width=\"800\" height=\"377\" class=\"alignleft size-medium wp-image-13298464\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/WarForPlanet.1000-800x377.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/WarForPlanet.1000-160x75.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/WarForPlanet.1000-768x362.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/WarForPlanet.1000-1020x481.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/WarForPlanet.1000-960x453.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/WarForPlanet.1000-240x113.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/WarForPlanet.1000-375x177.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/WarForPlanet.1000-520x245.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/WarForPlanet.1000.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch3>‘War for the Planet of the Apes’ (July 14)\u003c/h3>\n\u003cp>The previous installment, \u003cem>Dawn of the Planet of the Apes\u003c/em>, boasted a script that was as serious as it was smart, and a San Francisco setting. That’s ample reason to tout the next chapter in this apocalypse-courting science-fiction saga over the numerous other threats-to-our-species exercises in ersatz heroism clogging the multiplexes in the next few months. That, and Woody Harrelson as the villain.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Dunkirk1000-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" class=\"alignleft size-medium wp-image-13298461\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Dunkirk1000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Dunkirk1000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Dunkirk1000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Dunkirk1000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Dunkirk1000-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Dunkirk1000-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Dunkirk1000-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Dunkirk1000-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Dunkirk1000.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch3>‘Dunkirk’ (July 21)\u003c/h3>\n\u003cp>At long last, Christopher Nolan (\u003cem>Inception\u003c/em>, \u003cem>Interstellar\u003c/em>) has abandoned the sham profundity of his bloated sci-fi morality tales for a chunk of actual history. Or, to be less charitable, he’s tired of being Ridley Scott and aspires to David Lean. Featuring a roster of familiar names and faces alongside battalions of extras, \u003cem>Dunkirk\u003c/em> reenacts the 1940 evacuation of some 300,000 Allied troops from France over 10 days. Pack a lunch — and earplugs. (Nolan has a notoriously heavy hand when it comes to sound, especially in the third act.)\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/InconvenientSequel-2.1000-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" class=\"alignleft size-medium wp-image-13298463\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/InconvenientSequel-2.1000-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/InconvenientSequel-2.1000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/InconvenientSequel-2.1000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/InconvenientSequel-2.1000-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/InconvenientSequel-2.1000-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/InconvenientSequel-2.1000-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/InconvenientSequel-2.1000-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/InconvenientSequel-2.1000-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/InconvenientSequel-2.1000.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch3>‘An Inconvenient Sequel: Truth to Power’ (July 28)\u003c/h3>\n\u003cp>Local documentary makers Bonni Cohen and Jon Shenk (\u003cem>Audrie & Daisy\u003c/em>, now on Netflix) pick up Al Gore’s ongoing global crusade to light a fire under the tushes of elected officials, CEOs and the greater population. Along with a treatise on the imminent dangers of climate change, the film necessarily delivers an upbeat assessment of the human potential — through now-existing technology and public will — to take major action before we reach the point where another \u003cem>Inconvenient\u003c/em> sequel will play as tragedy. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Detroit1000-800x535.jpg\" alt=\"\" width=\"800\" height=\"535\" class=\"alignleft size-medium wp-image-13298460\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Detroit1000-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Detroit1000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Detroit1000-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Detroit1000-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Detroit1000-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Detroit1000-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Detroit1000-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Detroit1000-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Detroit1000.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch3>‘Detroit’ (Aug. 4)\u003c/h3>\n\u003cp>Aiming to duplicate the August box-office success of \u003cem>Straight Outta Compton\u003c/em> in 2015, director Kathryn Bigelow and writer Mark Boal’s third nerve-shattering collaboration (\u003cem>The Hurt Locker\u003c/em>, \u003cem>Zero Dark Thirty\u003c/em>) immerses us in a different summer in the (inner) city. \u003ci>Detroit\u003c/i> dramatizes the misguided and ruthless police raid of an interracial party at the Algiers Motel 50 years ago this July, and the ensuing public outcry. Escapist? Hardly. Timely? Plus ça change, and all that jazz.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/GlassCastle.1000-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"alignleft size-medium wp-image-13298462\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GlassCastle.1000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GlassCastle.1000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GlassCastle.1000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GlassCastle.1000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GlassCastle.1000-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GlassCastle.1000-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GlassCastle.1000-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GlassCastle.1000-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GlassCastle.1000.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch3>‘The Glass Castle’ (Aug. 11)\u003c/h3>\n\u003cp>Newspaper reporter and columnist Jeannette Walls’ best-selling memoir, published in 2005, described a complicated childhood and adolescence spent with an alcoholic father and artistic mother in poverty and constant movement from town to town (including a stint in the Tenderloin). Brie Larson portrays the writer in Destin Daniel Cretton’s screen adaptation, a high-profile reunion following their breakthrough work on the 2013 indie drama \u003cem>Short Term 12\u003c/em>. If all that isn’t enough to pique your interest, Naomi Watts and the redoubtable Woody Harrelson play Rex and Rose Mary Wells. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/PattiC-akes.1000-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"alignleft size-medium wp-image-13298465\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/PattiC-akes.1000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/PattiC-akes.1000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/PattiC-akes.1000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/PattiC-akes.1000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/PattiC-akes.1000-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/PattiC-akes.1000-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/PattiC-akes.1000-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/PattiC-akes.1000-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/PattiC-akes.1000.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\"> \u003c/p>\n\u003ch3>‘Patti Cake$’ (Aug. 25)\u003c/h3>\n\u003cp>Flash-bulb acclaim at Sundance is no guarantee that a film will receive a sunny reception on general release. Here’s hoping that writer-director Geremy Jasper’s acclaimed debut, and his indomitable heroine, find an audience. Danielle MacDonald plays a New Jersey ugly duckling who trades her prosaic given name of Patricia Dombrowski for the titular moniker while pursuing an identity (and a career, possibly) as a rapper. An urban underdog saga forged from the time-tested triumvirate of family troubles, societal indifference and artistic expression, \u003ci>Patti Cake$\u003c/i> may be the most hopeful movie of the summer.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13297063/summer-movies-blockbusters-2017-cgi",
"authors": [
"22"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_977",
"arts_1006",
"arts_596"
],
"featImg": "arts_13298455",
"label": "arts"
},
"arts_13263887": {
"type": "posts",
"id": "arts_13263887",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13263887",
"score": null,
"sort": [
1495574105000
]
},
"guestAuthors": [],
"slug": "study-women-underrepresented-in-indie-films-documentaries-yes-still",
"title": "Study: Women Underrepresented in Indie Films, Documentaries (Yes, Still)",
"publishDate": 1495574105,
"format": "standard",
"headTitle": "Study: Women Underrepresented in Indie Films, Documentaries (Yes, Still) | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Since the Golden Age of Hollywood, movies have largely lacked a woman’s perspective. Auteurs like \u003ca href=\"https://wfpp.cdrs.columbia.edu/pioneer/ccp-dorothy-arzner/\" target=\"_blank\" rel=\"noopener noreferrer\">Dorothy Arzner\u003c/a> were rare in the studio system, and 60 years later, things haven’t changed much.\u003c/p>\n\u003cp>According to \u003ca href=\"http://time.com/4087813/female-directors-study/\" target=\"_blank\" rel=\"noopener\">a 2015 San Diego State University study\u003c/a>, just 20 percent of all directors, writers, producers, executive producers, editors and cinematographers working on films released in 2014 were women. A woman didn’t win the Oscar for Best Director until 2010 — and none have won it since.\u003c/p>\n\u003cp>The lack of women at major studios has become such a problem that earlier this year, the \u003ca href=\"http://deadline.com/2017/02/hollywood-studios-female-directors-eeoc-investigation-1201912590/\" target=\"_blank\" rel=\"noopener noreferrer\">federal government threatened to sue the major studios\u003c/a> unless they hired more women.\u003c/p>\n\u003cp>But it’s not just limited to the Hollywood system: a \u003ca href=\"http://womenintvfilm.sdsu.edu/wp-content/uploads/2017/05/2016-17_Women_in_Independent_Film_Report.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">study released last week\u003c/a> by San Diego State University determined that women are also underrepresented in the independent film industry. The university’s Center for the Study of Women in Television & Film looked at 1,472 indie films released in the U.S. last year, and found that women made up just 25 percent of the directors of features, and 33 percent of the directors of documentaries.\u003c/p>\n\u003cfigure id=\"attachment_10286283\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10286283\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/selma02-62452763187ce7260782f661f723bcbc1143130a-e1471475466594-800x450.jpg\" alt=\"Director Ava DuVernay on the set of 'Selma'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/selma02-62452763187ce7260782f661f723bcbc1143130a-e1471475466594-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/selma02-62452763187ce7260782f661f723bcbc1143130a-e1471475466594-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/selma02-62452763187ce7260782f661f723bcbc1143130a-e1471475466594-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/selma02-62452763187ce7260782f661f723bcbc1143130a-e1471475466594-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/selma02-62452763187ce7260782f661f723bcbc1143130a-e1471475466594-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/selma02-62452763187ce7260782f661f723bcbc1143130a-e1471475466594.jpg 1243w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Director Ava DuVernay on the set of ‘Selma’\u003c/figcaption>\u003c/figure>\n\u003cp>The study also examined 23 major film festivals in the U.S. and found that they favored films made by men. On average, festivals screened three times as many male-directed features, and twice as many male-helmed documentaries.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Inclusion in these festivals provides the vital first step in the public life cycle of films with limited marketing resources, and can boost the reputation of their directors,” says Martha Lauzen, researcher and executive director of the center, and the author of the new study about the lack of opportunities for women on the festival circuit.\u003c/p>\n\u003cp>One of the festivals included in the study was the \u003ca href=\"http://www.sffilm.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Film Festival\u003c/a>. Representatives from the festival did not answer KQED’s requests for comment.\u003c/p>\n\u003cp>But there are some bright spots in the study. Lauzen found that the number of women working on films crews is increasing. On projects with women directing last year, women made up 74 percent of the writers, as opposed to only 7 percent on projects directed by men.\u003c/p>\n\u003cfigure id=\"attachment_13290818\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Tiffany-Shlain-2-800x450.jpg\" alt=\"Chief Content Officer, Refinery29, Inc. Amy Emmerich, Tiffany Shlain attend the Women At Sundance Brunch - 2017.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13290818\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Tiffany-Shlain-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Tiffany-Shlain-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Tiffany-Shlain-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Tiffany-Shlain-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Tiffany-Shlain-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Tiffany-Shlain-2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Tiffany-Shlain-2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Tiffany-Shlain-2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Tiffany-Shlain-2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Tiffany-Shlain-2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chief Content Officer, Refinery29, Inc. Amy Emmerich, Tiffany Shlain attend the Women At Sundance Brunch – 2017.\u003cbr> \u003ccite>( Photo: Alberto E. Rodriguez/Getty Images for Sundance Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tiffany Shlain, a local documentarian who founded the Webby Awards, says the disparity between the number of men and women being hired to work on films is blatant. But she doesn’t understand why male crews don’t want more diversity. When making a film, Shlain says she wants to access as many perspectives as possible as it only benefits the picture.\u003c/p>\n\u003cp>“On a whole, there are so many studies that show that when you have a more diverse perspective working on any project, whether it’s corporate board, whether it’s on a creative project, you are going to come to better ideas, more innovation and better reflect our society,” Shlain says.\u003c/p>\n\u003cp>But Shlain says she’s seeing improvement in terms of diversity on film crews. She says expects the trend will continue, thanks to those pushing for change like the \u003ca href=\"https://seejane.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Geena Davis Institute\u003c/a> and \u003ca href=\"http://gamechanger-films.com/\" target=\"_blank\" rel=\"noopener noreferrer\">GAMECHANGER Films\u003c/a>. (Shlain herself works to create a more gender-balanced world through her project, \u003ca href=\"http://www.letitripple.org/films/50-50/5050-day/\" target=\"_blank\" rel=\"noopener noreferrer\">50/50 Day\u003c/a>.)\u003c/p>\n\u003cp>“The way change happens is through awareness, consciousness, talking about it, accountability, doing tactical actions,” Shlain says. “So many people are trying to tackle this issue, and I believe it’s going to change.”\u003c/p>\n\u003cp>Shlain says she doesn’t let the inequalities get in her way as a flimmaker. Her attitude is reminiscent of Kathryn Bigelow, the first, and to date, only woman to win an Oscar for Best Director.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“If there’s specific resistance to women making movies, I just choose to ignore that as an obstacle for two reasons,” Bigelow once said. “I can’t change my gender, and I refuse to stop making movies.”\u003c/p>\n\n",
"blocks": [],
"excerpt": "A new San Diego State University study finds gender discrimination still thriving in the movie industry.",
"status": "publish",
"parent": 0,
"modified": 1726707440,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 16,
"wordCount": 703
},
"headData": {
"title": "Study: Women Underrepresented in Indie Films, Documentaries (Yes, Still) | KQED",
"description": "A new San Diego State University study finds gender discrimination still thriving in the movie industry.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Study: Women Underrepresented in Indie Films, Documentaries (Yes, Still)",
"datePublished": "2017-05-23T14:15:05-07:00",
"dateModified": "2024-09-18T17:57:20-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/13263887/study-women-underrepresented-in-indie-films-documentaries-yes-still",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Since the Golden Age of Hollywood, movies have largely lacked a woman’s perspective. Auteurs like \u003ca href=\"https://wfpp.cdrs.columbia.edu/pioneer/ccp-dorothy-arzner/\" target=\"_blank\" rel=\"noopener noreferrer\">Dorothy Arzner\u003c/a> were rare in the studio system, and 60 years later, things haven’t changed much.\u003c/p>\n\u003cp>According to \u003ca href=\"http://time.com/4087813/female-directors-study/\" target=\"_blank\" rel=\"noopener\">a 2015 San Diego State University study\u003c/a>, just 20 percent of all directors, writers, producers, executive producers, editors and cinematographers working on films released in 2014 were women. A woman didn’t win the Oscar for Best Director until 2010 — and none have won it since.\u003c/p>\n\u003cp>The lack of women at major studios has become such a problem that earlier this year, the \u003ca href=\"http://deadline.com/2017/02/hollywood-studios-female-directors-eeoc-investigation-1201912590/\" target=\"_blank\" rel=\"noopener noreferrer\">federal government threatened to sue the major studios\u003c/a> unless they hired more women.\u003c/p>\n\u003cp>But it’s not just limited to the Hollywood system: a \u003ca href=\"http://womenintvfilm.sdsu.edu/wp-content/uploads/2017/05/2016-17_Women_in_Independent_Film_Report.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">study released last week\u003c/a> by San Diego State University determined that women are also underrepresented in the independent film industry. The university’s Center for the Study of Women in Television & Film looked at 1,472 indie films released in the U.S. last year, and found that women made up just 25 percent of the directors of features, and 33 percent of the directors of documentaries.\u003c/p>\n\u003cfigure id=\"attachment_10286283\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10286283\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/selma02-62452763187ce7260782f661f723bcbc1143130a-e1471475466594-800x450.jpg\" alt=\"Director Ava DuVernay on the set of 'Selma'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/selma02-62452763187ce7260782f661f723bcbc1143130a-e1471475466594-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/selma02-62452763187ce7260782f661f723bcbc1143130a-e1471475466594-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/selma02-62452763187ce7260782f661f723bcbc1143130a-e1471475466594-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/selma02-62452763187ce7260782f661f723bcbc1143130a-e1471475466594-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/selma02-62452763187ce7260782f661f723bcbc1143130a-e1471475466594-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/selma02-62452763187ce7260782f661f723bcbc1143130a-e1471475466594.jpg 1243w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Director Ava DuVernay on the set of ‘Selma’\u003c/figcaption>\u003c/figure>\n\u003cp>The study also examined 23 major film festivals in the U.S. and found that they favored films made by men. On average, festivals screened three times as many male-directed features, and twice as many male-helmed documentaries.\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>“Inclusion in these festivals provides the vital first step in the public life cycle of films with limited marketing resources, and can boost the reputation of their directors,” says Martha Lauzen, researcher and executive director of the center, and the author of the new study about the lack of opportunities for women on the festival circuit.\u003c/p>\n\u003cp>One of the festivals included in the study was the \u003ca href=\"http://www.sffilm.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Film Festival\u003c/a>. Representatives from the festival did not answer KQED’s requests for comment.\u003c/p>\n\u003cp>But there are some bright spots in the study. Lauzen found that the number of women working on films crews is increasing. On projects with women directing last year, women made up 74 percent of the writers, as opposed to only 7 percent on projects directed by men.\u003c/p>\n\u003cfigure id=\"attachment_13290818\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Tiffany-Shlain-2-800x450.jpg\" alt=\"Chief Content Officer, Refinery29, Inc. Amy Emmerich, Tiffany Shlain attend the Women At Sundance Brunch - 2017.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13290818\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Tiffany-Shlain-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Tiffany-Shlain-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Tiffany-Shlain-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Tiffany-Shlain-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Tiffany-Shlain-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Tiffany-Shlain-2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Tiffany-Shlain-2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Tiffany-Shlain-2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Tiffany-Shlain-2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Tiffany-Shlain-2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chief Content Officer, Refinery29, Inc. Amy Emmerich, Tiffany Shlain attend the Women At Sundance Brunch – 2017.\u003cbr> \u003ccite>( Photo: Alberto E. Rodriguez/Getty Images for Sundance Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tiffany Shlain, a local documentarian who founded the Webby Awards, says the disparity between the number of men and women being hired to work on films is blatant. But she doesn’t understand why male crews don’t want more diversity. When making a film, Shlain says she wants to access as many perspectives as possible as it only benefits the picture.\u003c/p>\n\u003cp>“On a whole, there are so many studies that show that when you have a more diverse perspective working on any project, whether it’s corporate board, whether it’s on a creative project, you are going to come to better ideas, more innovation and better reflect our society,” Shlain says.\u003c/p>\n\u003cp>But Shlain says she’s seeing improvement in terms of diversity on film crews. She says expects the trend will continue, thanks to those pushing for change like the \u003ca href=\"https://seejane.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Geena Davis Institute\u003c/a> and \u003ca href=\"http://gamechanger-films.com/\" target=\"_blank\" rel=\"noopener noreferrer\">GAMECHANGER Films\u003c/a>. (Shlain herself works to create a more gender-balanced world through her project, \u003ca href=\"http://www.letitripple.org/films/50-50/5050-day/\" target=\"_blank\" rel=\"noopener noreferrer\">50/50 Day\u003c/a>.)\u003c/p>\n\u003cp>“The way change happens is through awareness, consciousness, talking about it, accountability, doing tactical actions,” Shlain says. “So many people are trying to tackle this issue, and I believe it’s going to change.”\u003c/p>\n\u003cp>Shlain says she doesn’t let the inequalities get in her way as a flimmaker. Her attitude is reminiscent of Kathryn Bigelow, the first, and to date, only woman to win an Oscar for Best Director.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“If there’s specific resistance to women making movies, I just choose to ignore that as an obstacle for two reasons,” Bigelow once said. “I can’t change my gender, and I refuse to stop making movies.”\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13263887/study-women-underrepresented-in-indie-films-documentaries-yes-still",
"authors": [
"93"
],
"categories": [
"arts_74",
"arts_235"
],
"tags": [
"arts_1448",
"arts_1118",
"arts_596"
],
"featImg": "arts_13264943",
"label": "arts"
},
"arts_13284273": {
"type": "posts",
"id": "arts_13284273",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13284273",
"score": null,
"sort": [
1495484976000
]
},
"guestAuthors": [],
"slug": "rebel-wilsons-defamation-trial-against-publisher-begins",
"title": "Rebel Wilson's Defamation Trial Against Publisher Begins",
"publishDate": 1495484976,
"format": "standard",
"headTitle": "Rebel Wilson’s Defamation Trial Against Publisher Begins | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Rebel Wilson was devastated by a series of magazine articles that she says painted her as a liar and subsequently cost her roles in Hollywood, a lawyer for the actress said Monday.\u003c/p>\n\u003cp>Wilson is suing Australian publisher Bauer Media for defamation over several articles published in 2015 that the Australian-born actress said led to her film contracts being terminated.\u003c/p>\n\u003cp>At the opening of the trial in the Supreme Court of Victoria on Monday, Wilson’s lawyer, Matthew Collins, said his client was “cut to the core” when she learned 1.5 million people had read an article online that said she had lied about her name, age and upbringing in Australia. Collins said the articles were published to coincide with a high point in Wilson’s acting career, including the release of \u003cem>Pitch Perfect 2\u003c/em>.\u003c/p>\n\u003cp>“She thought she’d never been hit with such nastiness, coincided to time with the pinnacle of her career,” Collins told the court.\u003c/p>\n\u003cp>Collins said Wilson was subsequently fired from several movie roles.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The actress, known for her work in comedies such as \u003cem>Pitch Perfect\u003c/em> and \u003cem>Bridesmaids\u003c/em>, flew to Melbourne for the three-week trial and sat in court on Monday alongside her sister. She is expected to testify at a later date.\u003c/p>\n\u003cp>Wilson is seeking unspecified damages from the publisher.\u003c/p>\n\u003cp>A lawyer for Bauer Media rejected the argument that the articles had harmed Wilson, telling the court that no reasonable reader would have thought any less of the actress by reading them.\u003c/p>\n\u003cp>“They weren’t nasty articles,” lawyer Georgina Schoff said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Schoff also said the articles were factual, telling the court that Wilson did not grow up in the “ghetto” of Sydney as the actress previously said in interviews. In fact, Schoff said, Wilson attended an elite private boarding school.\u003c/p>\n\n",
"blocks": [],
"excerpt": "Wilson was devastated by magazine articles that she says painted her as a liar and cost her roles",
"status": "publish",
"parent": 0,
"modified": 1726707448,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 12,
"wordCount": 311
},
"headData": {
"title": "Rebel Wilson's Defamation Trial Against Publisher Begins | KQED",
"description": "Wilson was devastated by magazine articles that she says painted her as a liar and cost her roles",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Rebel Wilson's Defamation Trial Against Publisher Begins",
"datePublished": "2017-05-22T13:29:36-07:00",
"dateModified": "2024-09-18T17:57:28-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Associated Press",
"path": "/arts/13284273/rebel-wilsons-defamation-trial-against-publisher-begins",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rebel Wilson was devastated by a series of magazine articles that she says painted her as a liar and subsequently cost her roles in Hollywood, a lawyer for the actress said Monday.\u003c/p>\n\u003cp>Wilson is suing Australian publisher Bauer Media for defamation over several articles published in 2015 that the Australian-born actress said led to her film contracts being terminated.\u003c/p>\n\u003cp>At the opening of the trial in the Supreme Court of Victoria on Monday, Wilson’s lawyer, Matthew Collins, said his client was “cut to the core” when she learned 1.5 million people had read an article online that said she had lied about her name, age and upbringing in Australia. Collins said the articles were published to coincide with a high point in Wilson’s acting career, including the release of \u003cem>Pitch Perfect 2\u003c/em>.\u003c/p>\n\u003cp>“She thought she’d never been hit with such nastiness, coincided to time with the pinnacle of her career,” Collins told the court.\u003c/p>\n\u003cp>Collins said Wilson was subsequently fired from several movie roles.\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 actress, known for her work in comedies such as \u003cem>Pitch Perfect\u003c/em> and \u003cem>Bridesmaids\u003c/em>, flew to Melbourne for the three-week trial and sat in court on Monday alongside her sister. She is expected to testify at a later date.\u003c/p>\n\u003cp>Wilson is seeking unspecified damages from the publisher.\u003c/p>\n\u003cp>A lawyer for Bauer Media rejected the argument that the articles had harmed Wilson, telling the court that no reasonable reader would have thought any less of the actress by reading them.\u003c/p>\n\u003cp>“They weren’t nasty articles,” lawyer Georgina Schoff said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Schoff also said the articles were factual, telling the court that Wilson did not grow up in the “ghetto” of Sydney as the actress previously said in interviews. In fact, Schoff said, Wilson attended an elite private boarding school.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13284273/rebel-wilsons-defamation-trial-against-publisher-begins",
"authors": [
"byline_arts_13284273"
],
"categories": [
"arts_74",
"arts_235"
],
"tags": [
"arts_1448",
"arts_596"
],
"featImg": "arts_13284578",
"label": "arts"
},
"arts_13257696": {
"type": "posts",
"id": "arts_13257696",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13257696",
"score": null,
"sort": [
1495465210000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1495465210,
"format": "standard",
"title": "Now Playing! Rough Cuts Spotlights One-of-a-Kind Movie House",
"headTitle": "Now Playing! Rough Cuts Spotlights One-of-a-Kind Movie House | KQED",
"content": "\u003cp>When Ridgefield, Connecticut schoolteacher Valerie Jensen set out to transform an abandoned, 1930s-era single-screen movie theater into a modern multiplex a couple years ago, her primary goal was neither cinematic nor financial. Informed and influenced by growing up with a sister with Down syndrome, Jensen conceived of a business that would specifically train and hire adults with disabilities. With a colorful cast of unique personalities in the house, along with Bay Area native Kaveh Taherian’s camera, the four-screen \u003ca href=\"http://www.prospectortheater.org/mission/\" target=\"_blank\" rel=\"noopener\">Prospector Theater\u003c/a> whirled to life. If you’re in the mood for a feel-good social-issue documentary, \u003cem>25 Prospect Street\u003c/em> is it.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/111762871?color=f263ab&byline=0&portrait=0\" width=\"800\" height=\"450\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>That’s a rather aggressive claim, I confess, given 1) I’ve only seen the trailer for Taherian’s debut long-form doc and 2) \u003cem>25 Prospect Street\u003c/em> is unfinished. That’s the whole point, you see, of the Tuesday, May 23 screening at San Francisco’s Ninth Street Independent Film Center in the ongoing \u003ca href=\"http://sfroughcuts.com/nextevent.html\" target=\"_blank\" rel=\"noopener\">Rough Cuts\u003c/a> series, which invites the public to watch and constructively respond to a work in progress. The audience sees a free (version of a) documentary before anyone else, and the filmmaker gets valuable feedback about the film’s pacing, character development, emotional impact and, sometimes, the title.\u003c/p>\n\u003cp>Where’s the second-act dramatic conflict in such a heartwarming film, you ask? Jensen’s sister, Hope, isn’t particularly jazzed about hanging out with her, let alone working at the Prospector.\u003c/p>\n\u003cp>The reception begins at 7pm and \u003ci>25 Prospect Street\u003c/i> rolls at 7:30pm, followed by a discussion moderated by the astute Bay Area editor and director Gina Leibrecht (whose work with the late Les Blank resulted in \u003cem>All in This Tea\u003c/em> and \u003cem>How to Smell a Rose: A Visit with Ricky Leacock in Normandy\u003c/em>). \u003ca href=\"http://sfroughcuts.com/nextevent.html\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 310,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 8
},
"modified": 1705030591,
"excerpt": "Connecticut schoolteacher Valerie Jensen conceived of a business that would specifically train and hire adults with disabilities; Bay Area native Kaveh Taherian follows the venture with his documentary lens.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Connecticut schoolteacher Valerie Jensen conceived of a business that would specifically train and hire adults with disabilities; Bay Area native Kaveh Taherian follows the venture with his documentary lens.",
"title": "Now Playing! Rough Cuts Spotlights One-of-a-Kind Movie House | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Now Playing! Rough Cuts Spotlights One-of-a-Kind Movie House",
"datePublished": "2017-05-22T08:00:10-07:00",
"dateModified": "2024-01-11T19:36:31-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "now-playing-rough-cuts-spotlights-one-of-a-kind-movie-house",
"status": "publish",
"sticky": false,
"path": "/arts/13257696/now-playing-rough-cuts-spotlights-one-of-a-kind-movie-house",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Ridgefield, Connecticut schoolteacher Valerie Jensen set out to transform an abandoned, 1930s-era single-screen movie theater into a modern multiplex a couple years ago, her primary goal was neither cinematic nor financial. Informed and influenced by growing up with a sister with Down syndrome, Jensen conceived of a business that would specifically train and hire adults with disabilities. With a colorful cast of unique personalities in the house, along with Bay Area native Kaveh Taherian’s camera, the four-screen \u003ca href=\"http://www.prospectortheater.org/mission/\" target=\"_blank\" rel=\"noopener\">Prospector Theater\u003c/a> whirled to life. If you’re in the mood for a feel-good social-issue documentary, \u003cem>25 Prospect Street\u003c/em> is it.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/111762871?color=f263ab&byline=0&portrait=0\" width=\"800\" height=\"450\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>That’s a rather aggressive claim, I confess, given 1) I’ve only seen the trailer for Taherian’s debut long-form doc and 2) \u003cem>25 Prospect Street\u003c/em> is unfinished. That’s the whole point, you see, of the Tuesday, May 23 screening at San Francisco’s Ninth Street Independent Film Center in the ongoing \u003ca href=\"http://sfroughcuts.com/nextevent.html\" target=\"_blank\" rel=\"noopener\">Rough Cuts\u003c/a> series, which invites the public to watch and constructively respond to a work in progress. The audience sees a free (version of a) documentary before anyone else, and the filmmaker gets valuable feedback about the film’s pacing, character development, emotional impact and, sometimes, the title.\u003c/p>\n\u003cp>Where’s the second-act dramatic conflict in such a heartwarming film, you ask? Jensen’s sister, Hope, isn’t particularly jazzed about hanging out with her, let alone working at the Prospector.\u003c/p>\n\u003cp>The reception begins at 7pm and \u003ci>25 Prospect Street\u003c/i> rolls at 7:30pm, followed by a discussion moderated by the astute Bay Area editor and director Gina Leibrecht (whose work with the late Les Blank resulted in \u003cem>All in This Tea\u003c/em> and \u003cem>How to Smell a Rose: A Visit with Ricky Leacock in Normandy\u003c/em>). \u003ca href=\"http://sfroughcuts.com/nextevent.html\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13257696/now-playing-rough-cuts-spotlights-one-of-a-kind-movie-house",
"authors": [
"22"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_1006",
"arts_596",
"arts_1072"
],
"featImg": "arts_13258132",
"label": "arts"
},
"arts_13258142": {
"type": "posts",
"id": "arts_13258142",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13258142",
"score": null,
"sort": [
1495206052000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1495206052,
"format": "standard",
"title": "'Alien: Covenant' Continues to Mine Old Ground",
"headTitle": "‘Alien: Covenant’ Continues to Mine Old Ground | KQED",
"content": "\u003cp>Almost 40 years ago, \u003cem>Alien\u003c/em> was a B-movie with A+ production values and performances, and \u003ca href=\"http://www.npr.org/sections/monkeysee/2014/05/13/312139053/thanks-to-h-r-giger-for-all-the-sleepless-nights\" target=\"_blank\" rel=\"noopener\">the scariest monster the movies ever gave us\u003c/a>. The new \u003cem>Alien: Covenant\u003c/em> is a shamelessly high-minded, Byron-and-Shelley-quoting existential inquiry into the origin of three species and the nature of belief that goes slumming in genre territory just enough to get itself greenlit.\u003c/p>\n\u003cp>Guess which one is going to last? My money’s on the one that already has.\u003c/p>\n\u003cp>At least \u003cem>Covenant\u003c/em> is an artistic upgrade to \u003cem>Prometheus\u003c/em>, the \u003ca href=\"http://www.npr.org/sections/monkeysee/2012/06/08/154572020/hello-again-my-gooey-friends-on-loving-alien-and-seeing-prometheus\" target=\"_blank\" rel=\"noopener\">frustrating 2012 preamble\u003c/a> to which it is a direct sequel. In that film, septuagenarian director Ridley Scott returned to the \u003cem>Alien\u003c/em>-iverse he created and then left to others. Specifically, others who’ve had careers as celebrated and far more consistent than his own: James Cameron, David Fincher, Jean-Pierre Jeunet. Their follow-ups varied in quality and ambition (and yes, \u003cem>Aliens\u003c/em> is \u003ca href=\"http://www.npr.org/2016/07/18/486507610/aliens-turns-30-celebrating-the-iconic-sci-fi-sequel\" target=\"_blank\" rel=\"noopener\">a masterpiece in its own right\u003c/a>), but none addressed where their nightmare beasts came from, or who the long-dead, inhuman “space jockey” seen briefly in \u003cem>Alien\u003c/em> was. To Scott, this apparently amounted to artistic negligence. Because after 35 years away from the chest-bursting game, the thrice-Oscar-nominated director of the wretched \u003cem>Silence of the Lambs\u003c/em> sequel \u003cem>Hannibal\u003c/em>, among too many other films, opted to answer these questions… in the most ponderous, deflating way possible.\u003c/p>\n\u003cp>https://youtu.be/svnAD0TApb8\u003c/p>\n\u003cp>\u003cem>Prometheus\u003c/em> left enough of us — and \u003ca href=\"https://chrisklimek.com/2012/10/18/making-of-documentary-the-furious-gods-reveals-the-people-who-actually-made-prometheus-had-no-idea-wtf-either/\" target=\"_blank\" rel=\"noopener\">some members of its own creative team\u003c/a> — confounded that Sir Ridley has been forced to make a few concessions this time: Putting the word \u003cem>Alien\u003c/em> in the movie’s name, using the opening title cards from his 1979 landmark, and reprising elements of Jerry Goldsmith’s haunting \u003cem>Alien\u003c/em> score. These remedies all come from the latter-day “legacyquel” playbook that helped the likes of \u003cem>Jurassic World\u003c/em> and \u003cem>Creed\u003c/em> and \u003cem>Mad Max: Fury Road\u003c/em> and \u003cem>Star Wars: The Force Awakens\u003c/em> give their long-running franchises a second or third generation of fans. For \u003cem>Covenant\u003c/em>‘s CGI-slathered, perfunctory-feeling all-action finale, Scott even revives the classic H.R. Giger-designed “xenomorph” incarnation of the species, despite having publicly opined for years that too much acid-blood had been wrung from that particular stone.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As in \u003cem>Prometheus\u003c/em>, a religious subtext is introduced and then immediately abandoned. The mostly doomed space travelers this time around are 22nd-century pilgrims, ferrying a couple of thousand or so hibernating humans (and unborn human embryos) to their new lives on the off-world colonies. (The distance between these movies and \u003cem>Blade Runner\u003c/em>, Scott’s other landmark sci-fi movie, grows narrower still.) After an exciting series of in-flight catastrophes, the Starship Covenant’s shaky new captain (a superb Billy Crudup) redirects the ship to a previously undetected planet—one suspiciously suitable for human habitation. Katherine Waterston steps into Sigourney Weaver’s sweaty old flight-suit to challenge this decision. She does an admirable job as the movie’s surrogate Ripley, the skeptical problem-solver who is clearly smarter and more reliable than the dude (always a dude) above her in the chain of command. Comedian Danny McBride plays Tennessee, a pilot whose enthusiasm for 20th century country music becomes one of \u003cem>Covenant\u003c/em>‘s weirder plot points. There are a lot of other crew members, but they don’t make an impression the way the crew of the Nostromo or the squad of Marines aboard the Sulaco did. (I did not have to look up the names of these spacecraft, people.)\u003c/p>\n\u003cp>But even more than \u003cem>Prometheus\u003c/em> did, \u003cem>Covenant\u003c/em> belongs to Michael Fassbender. As David — the megalomaniacal, \u003cem>Lawrence of Arabia\u003c/em>-loving android whose betrayal of his human creators is the sustained chord between these two 21st century \u003cem>Alien\u003c/em> flicks — he is the only character in whom Scott seems truly interested. Fassbender occupies two roles in \u003cem>Covenant\u003c/em>, the unbound David and also Walter, a later-model synthetic who is outwardly identical, but with hardwired inhibitions on his behavior and thinking. (David evokes Ash, the devious Ian Holm android from \u003cem>Alien\u003c/em>, while Walter represents Lance Henriksen’s tried-and-true Bishop from \u003cem>Aliens\u003c/em>.) The scenes wherein Fassbender engages himself in an existential rap session (and attempted seduction!) are surreal and campy and the freshest part of the movie. When David hands Walter a wind instrument to put in his mouth and says, “I’ll handle the fingering,” the snickering in the theatre will likely drown out the androids’ duet: It’s the title theme from \u003cem>Prometheus\u003c/em>, a weirdly meta… touch.\u003c/p>\n\u003cp>It’s also a clue that viewers of a certain stripe (hi!) will once again find it more fulfilling to mine this thing for subtext than to take anything Scott shows us at facehugging value. Though he certainly works himself into a lather trying to make \u003cem>Covenant’s\u003c/em> third act feel like the first two, universally beloved \u003cem>Alien\u003c/em> flicks, his emphasis on Fassbender represents a dramatic course-change for the series. The first trio of films presented unchecked intergalactic capitalism as a villain as vicious and amoral as any slime-dripping beast. The Weyland-Yutani Corporation was willing to bear whatever loss of life was necessary to obtain and patent xeno specimens. Scott’s latter-day chapters aren’t concerned with economic justice. Their Big Bad isn’t a corporation, but an individual, one endowed by his creator with free will and impatient with the weakness of the puny humans to whom he must feign subservience. “No one understands the lonely perfection of my dreams,” David murmurs.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ridley Scott knows the feeling.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 961,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 10
},
"modified": 1705030605,
"excerpt": "While 'Alien: Covenant' is better than 'Prometheus,' the last franchise entry, it still lacks the basic elements that made 'Alien' and 'Aliens' so widely admired.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "While 'Alien: Covenant' is better than 'Prometheus,' the last franchise entry, it still lacks the basic elements that made 'Alien' and 'Aliens' so widely admired.",
"title": "'Alien: Covenant' Continues to Mine Old Ground | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Alien: Covenant' Continues to Mine Old Ground",
"datePublished": "2017-05-19T08:00:52-07:00",
"dateModified": "2024-01-11T19:36:45-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "alien-covenant-continues-to-mine-old-ground",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=528651125&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Chris Klimek",
"nprStoryDate": "Thu, 18 May 2017 17:00:30 -0400",
"nprLastModifiedDate": "Thu, 18 May 2017 17:00:30 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/2017/05/18/528651125/alien-covenant-continues-to-mine-old-ground?ft=nprml&f=528651125",
"nprImageAgency": "Twentieth Century Fox",
"nprImageCredit": "Mark Rogers",
"nprStoryId": "528651125",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 18 May 2017 17:00:00 -0400",
"path": "/arts/13258142/alien-covenant-continues-to-mine-old-ground",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Almost 40 years ago, \u003cem>Alien\u003c/em> was a B-movie with A+ production values and performances, and \u003ca href=\"http://www.npr.org/sections/monkeysee/2014/05/13/312139053/thanks-to-h-r-giger-for-all-the-sleepless-nights\" target=\"_blank\" rel=\"noopener\">the scariest monster the movies ever gave us\u003c/a>. The new \u003cem>Alien: Covenant\u003c/em> is a shamelessly high-minded, Byron-and-Shelley-quoting existential inquiry into the origin of three species and the nature of belief that goes slumming in genre territory just enough to get itself greenlit.\u003c/p>\n\u003cp>Guess which one is going to last? My money’s on the one that already has.\u003c/p>\n\u003cp>At least \u003cem>Covenant\u003c/em> is an artistic upgrade to \u003cem>Prometheus\u003c/em>, the \u003ca href=\"http://www.npr.org/sections/monkeysee/2012/06/08/154572020/hello-again-my-gooey-friends-on-loving-alien-and-seeing-prometheus\" target=\"_blank\" rel=\"noopener\">frustrating 2012 preamble\u003c/a> to which it is a direct sequel. In that film, septuagenarian director Ridley Scott returned to the \u003cem>Alien\u003c/em>-iverse he created and then left to others. Specifically, others who’ve had careers as celebrated and far more consistent than his own: James Cameron, David Fincher, Jean-Pierre Jeunet. Their follow-ups varied in quality and ambition (and yes, \u003cem>Aliens\u003c/em> is \u003ca href=\"http://www.npr.org/2016/07/18/486507610/aliens-turns-30-celebrating-the-iconic-sci-fi-sequel\" target=\"_blank\" rel=\"noopener\">a masterpiece in its own right\u003c/a>), but none addressed where their nightmare beasts came from, or who the long-dead, inhuman “space jockey” seen briefly in \u003cem>Alien\u003c/em> was. To Scott, this apparently amounted to artistic negligence. Because after 35 years away from the chest-bursting game, the thrice-Oscar-nominated director of the wretched \u003cem>Silence of the Lambs\u003c/em> sequel \u003cem>Hannibal\u003c/em>, among too many other films, opted to answer these questions… in the most ponderous, deflating way possible.\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/svnAD0TApb8'\n title='//www.youtube.com/embed/svnAD0TApb8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Prometheus\u003c/em> left enough of us — and \u003ca href=\"https://chrisklimek.com/2012/10/18/making-of-documentary-the-furious-gods-reveals-the-people-who-actually-made-prometheus-had-no-idea-wtf-either/\" target=\"_blank\" rel=\"noopener\">some members of its own creative team\u003c/a> — confounded that Sir Ridley has been forced to make a few concessions this time: Putting the word \u003cem>Alien\u003c/em> in the movie’s name, using the opening title cards from his 1979 landmark, and reprising elements of Jerry Goldsmith’s haunting \u003cem>Alien\u003c/em> score. These remedies all come from the latter-day “legacyquel” playbook that helped the likes of \u003cem>Jurassic World\u003c/em> and \u003cem>Creed\u003c/em> and \u003cem>Mad Max: Fury Road\u003c/em> and \u003cem>Star Wars: The Force Awakens\u003c/em> give their long-running franchises a second or third generation of fans. For \u003cem>Covenant\u003c/em>‘s CGI-slathered, perfunctory-feeling all-action finale, Scott even revives the classic H.R. Giger-designed “xenomorph” incarnation of the species, despite having publicly opined for years that too much acid-blood had been wrung from that particular stone.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As in \u003cem>Prometheus\u003c/em>, a religious subtext is introduced and then immediately abandoned. The mostly doomed space travelers this time around are 22nd-century pilgrims, ferrying a couple of thousand or so hibernating humans (and unborn human embryos) to their new lives on the off-world colonies. (The distance between these movies and \u003cem>Blade Runner\u003c/em>, Scott’s other landmark sci-fi movie, grows narrower still.) After an exciting series of in-flight catastrophes, the Starship Covenant’s shaky new captain (a superb Billy Crudup) redirects the ship to a previously undetected planet—one suspiciously suitable for human habitation. Katherine Waterston steps into Sigourney Weaver’s sweaty old flight-suit to challenge this decision. She does an admirable job as the movie’s surrogate Ripley, the skeptical problem-solver who is clearly smarter and more reliable than the dude (always a dude) above her in the chain of command. Comedian Danny McBride plays Tennessee, a pilot whose enthusiasm for 20th century country music becomes one of \u003cem>Covenant\u003c/em>‘s weirder plot points. There are a lot of other crew members, but they don’t make an impression the way the crew of the Nostromo or the squad of Marines aboard the Sulaco did. (I did not have to look up the names of these spacecraft, people.)\u003c/p>\n\u003cp>But even more than \u003cem>Prometheus\u003c/em> did, \u003cem>Covenant\u003c/em> belongs to Michael Fassbender. As David — the megalomaniacal, \u003cem>Lawrence of Arabia\u003c/em>-loving android whose betrayal of his human creators is the sustained chord between these two 21st century \u003cem>Alien\u003c/em> flicks — he is the only character in whom Scott seems truly interested. Fassbender occupies two roles in \u003cem>Covenant\u003c/em>, the unbound David and also Walter, a later-model synthetic who is outwardly identical, but with hardwired inhibitions on his behavior and thinking. (David evokes Ash, the devious Ian Holm android from \u003cem>Alien\u003c/em>, while Walter represents Lance Henriksen’s tried-and-true Bishop from \u003cem>Aliens\u003c/em>.) The scenes wherein Fassbender engages himself in an existential rap session (and attempted seduction!) are surreal and campy and the freshest part of the movie. When David hands Walter a wind instrument to put in his mouth and says, “I’ll handle the fingering,” the snickering in the theatre will likely drown out the androids’ duet: It’s the title theme from \u003cem>Prometheus\u003c/em>, a weirdly meta… touch.\u003c/p>\n\u003cp>It’s also a clue that viewers of a certain stripe (hi!) will once again find it more fulfilling to mine this thing for subtext than to take anything Scott shows us at facehugging value. Though he certainly works himself into a lather trying to make \u003cem>Covenant’s\u003c/em> third act feel like the first two, universally beloved \u003cem>Alien\u003c/em> flicks, his emphasis on Fassbender represents a dramatic course-change for the series. The first trio of films presented unchecked intergalactic capitalism as a villain as vicious and amoral as any slime-dripping beast. The Weyland-Yutani Corporation was willing to bear whatever loss of life was necessary to obtain and patent xeno specimens. Scott’s latter-day chapters aren’t concerned with economic justice. Their Big Bad isn’t a corporation, but an individual, one endowed by his creator with free will and impatient with the weakness of the puny humans to whom he must feign subservience. “No one understands the lonely perfection of my dreams,” David murmurs.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ridley Scott knows the feeling.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13258142/alien-covenant-continues-to-mine-old-ground",
"authors": [
"byline_arts_13258142"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_596",
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13258143",
"label": "arts_137"
},
"arts_13257117": {
"type": "posts",
"id": "arts_13257117",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13257117",
"score": null,
"sort": [
1495138401000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1495138401,
"format": "standard",
"title": "Asian Americans in Hollywood Still Waiting for the Spotlight",
"headTitle": "Asian Americans in Hollywood Still Waiting for the Spotlight | KQED",
"content": "\u003cp>Ask some actors about their dream role, and they’re likely to offer range of answers: a character from Shakespeare, a superhero, the lead in \u003cem>Phantom of the Opera\u003c/em>. As for Daniel Dae Kim, a Korean-American actor who’s had roles in \u003cem>Lost\u003c/em>, \u003cem>Crash\u003c/em>, and most recently \u003cem>Hawaii Five-0\u003c/em>, his dream is to play a romantic lead. \u003cem>Any\u003c/em> romantic lead.\u003c/p>\n\u003cp>But Dae Kim said that there’s a reluctance on the part of many studio heads to cast Asian-American actors in romantic roles. He said he has asked people in every level of the film industry for data to show that casting white actors is more profitable, and they can’t provide any. “It’s just this institutionalized thinking,” he said. “[They] have it in their minds that it cannot be that way.”\u003c/p>\n\u003cp>Dae Kim joined Arden Cho, Sang H. Cho, and John C. Yang on Wednesday night for a panel discussion hosted by \u003ca href=\"http://www.mnetamerica.com/\">Mnet America\u003c/a> and the \u003ca href=\"https://capac-chu.house.gov/\" target=\"_blank\" rel=\"noopener\">Congressional Asian Pacific American Caucus\u003c/a> on Asian Americans in entertainment. The discussion was led by Traci G. Lee, the digital editorial manager for NBC Asian America. She asked the group about the challenges and opportunities that come with being Asian American in Hollywood today, and how those obstacles connect to broader dynamics that impact Asian Americans.\u003c/p>\n\u003cp>The panelists touched on familiar frustrations — lack of representation and mentoring; whitewashing of Asian characters; ossified power structures. Arden Cho, of \u003cem>Teen Wolf\u003c/em> and YouTube fame, talked about how limited opportunities for Asian American actors affect self-perception.\u003c/p>\n\u003cfigure id=\"attachment_13257119\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/daekim-76c85fbf70e33b88e734a0fd3ccbf3bec122cb32-800x600.jpg\" alt=\"Actors and industry experts sat down for a panel discussion on Asian Americans in entertainment on Wednesday, May 17 at the U.S. Capitol Visitor Center.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13257119\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/daekim-76c85fbf70e33b88e734a0fd3ccbf3bec122cb32-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/daekim-76c85fbf70e33b88e734a0fd3ccbf3bec122cb32-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/daekim-76c85fbf70e33b88e734a0fd3ccbf3bec122cb32-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/daekim-76c85fbf70e33b88e734a0fd3ccbf3bec122cb32-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/daekim-76c85fbf70e33b88e734a0fd3ccbf3bec122cb32-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/daekim-76c85fbf70e33b88e734a0fd3ccbf3bec122cb32-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/daekim-76c85fbf70e33b88e734a0fd3ccbf3bec122cb32-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/daekim-76c85fbf70e33b88e734a0fd3ccbf3bec122cb32-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/daekim-76c85fbf70e33b88e734a0fd3ccbf3bec122cb32-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/daekim-76c85fbf70e33b88e734a0fd3ccbf3bec122cb32-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Actors and industry experts sat down for a panel discussion on Asian Americans in entertainment on Wednesday, May 17 at the U.S. Capitol Visitor Center. \u003ccite>(Leah Donnella)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I can remember one of the first times I saw an Asian American on TV,” Cho said. It was Whitney, a minor character in the 2000 movie \u003cem>Bring It On\u003c/em>. Still, the moment was meaningful for Cho. “I was like, oh my God. I could be a cheerleader.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But Cho said that the landscape for Asian-American actors hasn’t changed that much in the past 17 years. She gets frustrated by being repeatedly asked to read for secondary characters but never for the leads. She said she asks her agent, “Can I read for A? And he goes, ‘No. They’re gonna go white on the lead.'”\u003c/p>\n\u003cp>Cho is looking forward to the day that changes — she said her dream is to play James Bond. “I want to be badass,” she said. “I want to be the one that’s saving the day. I want to be the hero.” In the meantime, she said, she’ll continue to make her own opportunities on platforms like YouTube.\u003c/p>\n\u003cp>Dae Kim, who is currently producing his own show, \u003cem>The Good Doctor\u003c/em>, was also excited about carving out space for a more diverse group of actors and stories. He started working on \u003cem>\u003ca href=\"http://www.imdb.com/title/tt6470478/\" target=\"_blank\" rel=\"noopener\">The Good Doctor\u003c/a>\u003c/em>, he said, because Asian Americans “were waiting for a space that never came.” Now that he’s producing his own material, Dae Kim said he can “create worlds from the ground up. How I envision them. How I would populate them.” But, he said, that also means the shape of the obstacles he faces has changed. He said that when you’re a young actor, “you see systemic racism as being out there in the ether.” These days, he said, he’s looking at it face to face when he works directly with people to produce, write and cast the work he’s involved with.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Dae Kim added that despite the obstacles, he thinks Asian-American actors need to be prepared to blow casting directors away. “We like to talk about the ways in which we’re overlooked,” Dae Kim said. “Our responsibility is to be good at what we do… It’s important for us not to ask for charity.” \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=Asian+Americans+In+Hollywood+Still+Waiting+For+The+Spotlight&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 701,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 11
},
"modified": 1705030612,
"excerpt": "In the meantime, some are producing their own shows or creating material for alternative platforms like YouTube.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "In the meantime, some are producing their own shows or creating material for alternative platforms like YouTube.",
"title": "Asian Americans in Hollywood Still Waiting for the Spotlight | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Asian Americans in Hollywood Still Waiting for the Spotlight",
"datePublished": "2017-05-18T13:13:21-07:00",
"dateModified": "2024-01-11T19:36:52-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "asian-americans-in-hollywood-still-waiting-for-the-spotlight",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=467808270&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Leah Donnella",
"nprStoryDate": "Thu, 18 May 2017 13:45:00 -0400",
"nprLastModifiedDate": "Thu, 18 May 2017 13:46:13 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/sections/codeswitch/2017/05/18/467808270/asian-americans-in-hollywood-still-waiting-for-the-spotlight?ft=nprml&f=467808270",
"nprImageAgency": "Getty Images",
"nprImageCredit": "Alberto E. Rodriguez",
"nprStoryId": "467808270",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 18 May 2017 13:45:00 -0400",
"path": "/arts/13257117/asian-americans-in-hollywood-still-waiting-for-the-spotlight",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ask some actors about their dream role, and they’re likely to offer range of answers: a character from Shakespeare, a superhero, the lead in \u003cem>Phantom of the Opera\u003c/em>. As for Daniel Dae Kim, a Korean-American actor who’s had roles in \u003cem>Lost\u003c/em>, \u003cem>Crash\u003c/em>, and most recently \u003cem>Hawaii Five-0\u003c/em>, his dream is to play a romantic lead. \u003cem>Any\u003c/em> romantic lead.\u003c/p>\n\u003cp>But Dae Kim said that there’s a reluctance on the part of many studio heads to cast Asian-American actors in romantic roles. He said he has asked people in every level of the film industry for data to show that casting white actors is more profitable, and they can’t provide any. “It’s just this institutionalized thinking,” he said. “[They] have it in their minds that it cannot be that way.”\u003c/p>\n\u003cp>Dae Kim joined Arden Cho, Sang H. Cho, and John C. Yang on Wednesday night for a panel discussion hosted by \u003ca href=\"http://www.mnetamerica.com/\">Mnet America\u003c/a> and the \u003ca href=\"https://capac-chu.house.gov/\" target=\"_blank\" rel=\"noopener\">Congressional Asian Pacific American Caucus\u003c/a> on Asian Americans in entertainment. The discussion was led by Traci G. Lee, the digital editorial manager for NBC Asian America. She asked the group about the challenges and opportunities that come with being Asian American in Hollywood today, and how those obstacles connect to broader dynamics that impact Asian Americans.\u003c/p>\n\u003cp>The panelists touched on familiar frustrations — lack of representation and mentoring; whitewashing of Asian characters; ossified power structures. Arden Cho, of \u003cem>Teen Wolf\u003c/em> and YouTube fame, talked about how limited opportunities for Asian American actors affect self-perception.\u003c/p>\n\u003cfigure id=\"attachment_13257119\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/daekim-76c85fbf70e33b88e734a0fd3ccbf3bec122cb32-800x600.jpg\" alt=\"Actors and industry experts sat down for a panel discussion on Asian Americans in entertainment on Wednesday, May 17 at the U.S. Capitol Visitor Center.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13257119\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/daekim-76c85fbf70e33b88e734a0fd3ccbf3bec122cb32-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/daekim-76c85fbf70e33b88e734a0fd3ccbf3bec122cb32-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/daekim-76c85fbf70e33b88e734a0fd3ccbf3bec122cb32-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/daekim-76c85fbf70e33b88e734a0fd3ccbf3bec122cb32-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/daekim-76c85fbf70e33b88e734a0fd3ccbf3bec122cb32-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/daekim-76c85fbf70e33b88e734a0fd3ccbf3bec122cb32-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/daekim-76c85fbf70e33b88e734a0fd3ccbf3bec122cb32-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/daekim-76c85fbf70e33b88e734a0fd3ccbf3bec122cb32-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/daekim-76c85fbf70e33b88e734a0fd3ccbf3bec122cb32-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/daekim-76c85fbf70e33b88e734a0fd3ccbf3bec122cb32-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Actors and industry experts sat down for a panel discussion on Asian Americans in entertainment on Wednesday, May 17 at the U.S. Capitol Visitor Center. \u003ccite>(Leah Donnella)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I can remember one of the first times I saw an Asian American on TV,” Cho said. It was Whitney, a minor character in the 2000 movie \u003cem>Bring It On\u003c/em>. Still, the moment was meaningful for Cho. “I was like, oh my God. I could be a cheerleader.”\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>But Cho said that the landscape for Asian-American actors hasn’t changed that much in the past 17 years. She gets frustrated by being repeatedly asked to read for secondary characters but never for the leads. She said she asks her agent, “Can I read for A? And he goes, ‘No. They’re gonna go white on the lead.'”\u003c/p>\n\u003cp>Cho is looking forward to the day that changes — she said her dream is to play James Bond. “I want to be badass,” she said. “I want to be the one that’s saving the day. I want to be the hero.” In the meantime, she said, she’ll continue to make her own opportunities on platforms like YouTube.\u003c/p>\n\u003cp>Dae Kim, who is currently producing his own show, \u003cem>The Good Doctor\u003c/em>, was also excited about carving out space for a more diverse group of actors and stories. He started working on \u003cem>\u003ca href=\"http://www.imdb.com/title/tt6470478/\" target=\"_blank\" rel=\"noopener\">The Good Doctor\u003c/a>\u003c/em>, he said, because Asian Americans “were waiting for a space that never came.” Now that he’s producing his own material, Dae Kim said he can “create worlds from the ground up. How I envision them. How I would populate them.” But, he said, that also means the shape of the obstacles he faces has changed. He said that when you’re a young actor, “you see systemic racism as being out there in the ether.” These days, he said, he’s looking at it face to face when he works directly with people to produce, write and cast the work he’s involved with.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Dae Kim added that despite the obstacles, he thinks Asian-American actors need to be prepared to blow casting directors away. “We like to talk about the ways in which we’re overlooked,” Dae Kim said. “Our responsibility is to be good at what we do… It’s important for us not to ask for charity.” \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=Asian+Americans+In+Hollywood+Still+Waiting+For+The+Spotlight&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13257117/asian-americans-in-hollywood-still-waiting-for-the-spotlight",
"authors": [
"byline_arts_13257117"
],
"categories": [
"arts_74",
"arts_69"
],
"tags": [
"arts_1448",
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13257118",
"label": "arts_137"
},
"arts_13235772": {
"type": "posts",
"id": "arts_13235772",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13235772",
"score": null,
"sort": [
1495134016000
]
},
"guestAuthors": [],
"slug": "dancer-ed-mocks-unstoppable-feat-chronicled-in-new-documentary",
"title": "Dancer Ed Mock's 'Unstoppable Feat' Chronicled in New Documentary",
"publishDate": 1495134016,
"format": "image",
"headTitle": "Dancer Ed Mock’s ‘Unstoppable Feat’ Chronicled in New Documentary | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>“‘Pioneer’ — I have trouble with that word,” says Brontez Purnell, sitting in the sunny backyard of his West Oakland home and grasping for the best language with which to describe Ed Mock.\u003c/p>\n\u003cp>It’s a task that the popular dancer, musician, author, and visual artist has meditated on for the past two years while directing his first documentary — about influential San Francisco dancer Ed Mock, who died from AIDS in 1986. Mock’s work was definitely daring: experimental, free, genre-bending performance at the forefront of the alternative West Coast dance scene in the 1970s. But with \u003cem>Unstoppable Feat: The Dances of Ed Mock\u003c/em>, Purnell is more interested in identifying lineages than he is in applauding originality.\u003c/p>\n\u003cp>“It’s not always to me about being so cutting-edge, I feel like we are soldiers in a tradition,” Purnell says in a rough cut of the film. “I want people to look at this and know that we have brothers and sisters all throughout history, and we also have to keep in the tradition of knowing what our past is.”\u003c/p>\n\u003cfigure id=\"attachment_13235777\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13235777\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/80-25-7-KQED-800x1136.jpg\" alt=\"\" width=\"800\" height=\"1136\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/80-25-7-KQED-800x1136.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/80-25-7-KQED-160x227.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/80-25-7-KQED-768x1091.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/80-25-7-KQED-1020x1449.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/80-25-7-KQED-1920x2727.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/80-25-7-KQED-1180x1676.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/80-25-7-KQED-960x1364.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/80-25-7-KQED-240x341.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/80-25-7-KQED-375x533.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/80-25-7-KQED-520x739.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ed Mock. \u003ccite>(Courtesy Lynne Redding)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Originally from Chicago, story has it that Mock’s first time dancing was when he climbed on top of his parents’ poolroom as a child and did a little number for the customers. Mock went on to study with esteemed teachers such as Jimmy Payne, Katherine Dunham, and Lester Horton. In 1966, he moved to San Francisco and became a choreographer and dance instructor himself, teaching at ACT and elsewhere. With a specialty in improvisation and blending an array of styles, from mime techniques to jazz dance, Mock soon became a star of the San Francisco dance scene.\u003c/p>\n\u003cp>Purnell describes Mock’s work as proto-performance art — before the discipline had really taken hold — as well as crucial, under-historicized influence. “For my own work, Mock represents the missing choreographic link between Alvin Ailey, Anna Halprin, and Bill T. Jones,” he writes in a statement about the film.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The documentary is filled with joyous recollections of not only Mock’s dancing, but his magnetic personality. In interviews interspersed with clips of Mock performing and portraits of him from Lynne Redding’s beautiful photographic homage \u003ca href=\"http://www.edmockbook.com/\">\u003cem>Ed Mock and Company Dance\u003c/em>\u003c/a>, Mock’s former friends and students describe him as a revered instructor, a widely desired and fluid romantic partner, and an always-fashionable socialite who unwaveringly commanded the room.\u003c/p>\n\u003cfigure id=\"attachment_13235775\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13235775\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/81-121a-15-KQED-800x1009.jpg\" alt=\"\" width=\"800\" height=\"1009\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/81-121a-15-KQED-800x1009.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/81-121a-15-KQED-160x202.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/81-121a-15-KQED-768x969.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/81-121a-15-KQED-1020x1287.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/81-121a-15-KQED-1920x2422.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/81-121a-15-KQED-1180x1489.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/81-121a-15-KQED-960x1211.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/81-121a-15-KQED-240x303.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/81-121a-15-KQED-375x473.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/81-121a-15-KQED-520x656.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ed Mock. \u003ccite>(Courtesy Lynne Redding)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He knew that he was a black man who was also a beacon for us young people of color,” says dancer Rhodessa Jones in the film. “He knew that all of that was going down when we were watching him in class.”\u003c/p>\n\u003cp>The documentary serves as a peek into the artistic culture of San Francisco in the ’60s and ’70s: spontaneous, bohemian, sexual, flamboyant. It’s also a reflection on the abruptness with which so many artistic lineages were cut short due to the AIDS epidemic. Throughout, a lingering question hovers over the film: What else would Mock have achieved; how many more dancers would Mock have directly influenced if he hadn’t died so young?\u003c/p>\n\u003cp>“It’s really satisfying to me to just know that there \u003cem>was\u003c/em> an Ed,” say Purnell. “I feel like it’s kind of engrained that dance is a matriarchal tradition, which is totally fine, but with the AIDS epidemic and having so many of those artists swept away, it was like: Who was this generation of men making this kind of abstract work; What were their lives like?”\u003c/p>\n\u003cp>Purnell, who now heads the Brontez Purnell Dance Company, first became aware of Mock when prolific Bay Area dancer and choreographer Amara Tabor-Smith, who studied with Mock and appears in the film, told Purnell that a dance piece of his reminded her of Mock’s work. Years later, Tabor-Smith produced a ritualistic public performance tribute to Mock entitled \u003cem>He Moved Swiftly but Gently Down a Not Too Crowded Street: Ed Mock and Other True Tales in a City That Once Was\u003c/em>, in which Purnell took part. The experience cemented his interest in researching and preserving Mock’s legacy.\u003c/p>\n\u003cp>“I was just like, ‘Oh my god, that’s my dad,’” Purnell recalls. “’That is definitely an ancestor I never knew existed.’”\u003c/p>\n\u003cfigure id=\"attachment_13235774\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13235774\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/84-1-24-KQED-800x639.jpg\" alt=\"\" width=\"800\" height=\"639\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/84-1-24-KQED-800x639.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/84-1-24-KQED-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/84-1-24-KQED-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/84-1-24-KQED-1020x815.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/84-1-24-KQED-1180x943.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/84-1-24-KQED-960x767.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/84-1-24-KQED-240x192.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/84-1-24-KQED-375x300.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/84-1-24-KQED-520x415.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/84-1-24-KQED.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ed Mock. \u003ccite>(Courtesy Lynne Redding. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Purnell finally received funding for the project about two years ago, and is currently in the final stages of post-production. As part of the process, he did a residency at The Lab in San Francisco that consisted of multiple events and culminated in a screening of a rough cut of the film at the end of March. In mid-March, Purnell threw the No New Art No New Dance Fest. That night at The Lab, he stalked around the room in white overalls covered in the words “STOP MEN” wearing a painting like a poncho and pasted paper to his forehead with spit while a collaborator scribbled on the stage with a mop and a bucket of black paint.\u003c/p>\n\u003cp>\u003ca href=\"http://https://youtu.be/fbxspKZA7Zc\">http://https://youtu.be/fbxspKZA7Zc\u003c/a>\u003c/p>\n\u003cp>Although Purnell is definitely a multidisciplinary artist, those who know his in-your-face work might be surprised at the thought of him making a straight-forward documentary. Purnell promises to enliven the format with poetry by Marvin K White and dance interludes featuring remixed choreographies of Mock’s work — in effect, taking up and expanding a creative lineage cut short.\u003c/p>\n\u003cp>“The cross-section of his career, placement in the underground dance world, and experiences as a gay black man who died of AIDS early in the pandemic, these parallel my life and are barely written or recorded,” writes Purnell in his statement. “We — artists, Black queers, Bay Area dancers, HIV+ gay men — have to extract our collective past and create the historical record.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Unstoppable Feat: The Dances of Ed Mock’ screens at the \u003ca href=\"http://www.starlinesocialclub.com\">Starline Social Club\u003c/a> on Friday, May 26, at 7:30pm and at \u003ca href=\"http://www.thelab.org/\">The Lab\u003c/a> on Wednesday, May 31, at 8pm.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "To director Brontez Purnell, the genre-bending dancer who died of AIDS in 1986 was like 'an ancestor I never knew existed.'",
"status": "publish",
"parent": 0,
"modified": 1726785635,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 18,
"wordCount": 1061
},
"headData": {
"title": "Dancer Ed Mock's 'Unstoppable Feat' Chronicled in New Documentary | KQED",
"description": "To director Brontez Purnell, the genre-bending dancer who died of AIDS in 1986 was like 'an ancestor I never knew existed.'",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Dancer Ed Mock's 'Unstoppable Feat' Chronicled in New Documentary",
"datePublished": "2017-05-18T12:00:16-07:00",
"dateModified": "2024-09-19T15:40:35-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/13235772/dancer-ed-mocks-unstoppable-feat-chronicled-in-new-documentary",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“‘Pioneer’ — I have trouble with that word,” says Brontez Purnell, sitting in the sunny backyard of his West Oakland home and grasping for the best language with which to describe Ed Mock.\u003c/p>\n\u003cp>It’s a task that the popular dancer, musician, author, and visual artist has meditated on for the past two years while directing his first documentary — about influential San Francisco dancer Ed Mock, who died from AIDS in 1986. Mock’s work was definitely daring: experimental, free, genre-bending performance at the forefront of the alternative West Coast dance scene in the 1970s. But with \u003cem>Unstoppable Feat: The Dances of Ed Mock\u003c/em>, Purnell is more interested in identifying lineages than he is in applauding originality.\u003c/p>\n\u003cp>“It’s not always to me about being so cutting-edge, I feel like we are soldiers in a tradition,” Purnell says in a rough cut of the film. “I want people to look at this and know that we have brothers and sisters all throughout history, and we also have to keep in the tradition of knowing what our past is.”\u003c/p>\n\u003cfigure id=\"attachment_13235777\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13235777\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/80-25-7-KQED-800x1136.jpg\" alt=\"\" width=\"800\" height=\"1136\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/80-25-7-KQED-800x1136.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/80-25-7-KQED-160x227.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/80-25-7-KQED-768x1091.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/80-25-7-KQED-1020x1449.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/80-25-7-KQED-1920x2727.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/80-25-7-KQED-1180x1676.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/80-25-7-KQED-960x1364.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/80-25-7-KQED-240x341.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/80-25-7-KQED-375x533.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/80-25-7-KQED-520x739.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ed Mock. \u003ccite>(Courtesy Lynne Redding)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Originally from Chicago, story has it that Mock’s first time dancing was when he climbed on top of his parents’ poolroom as a child and did a little number for the customers. Mock went on to study with esteemed teachers such as Jimmy Payne, Katherine Dunham, and Lester Horton. In 1966, he moved to San Francisco and became a choreographer and dance instructor himself, teaching at ACT and elsewhere. With a specialty in improvisation and blending an array of styles, from mime techniques to jazz dance, Mock soon became a star of the San Francisco dance scene.\u003c/p>\n\u003cp>Purnell describes Mock’s work as proto-performance art — before the discipline had really taken hold — as well as crucial, under-historicized influence. “For my own work, Mock represents the missing choreographic link between Alvin Ailey, Anna Halprin, and Bill T. Jones,” he writes in a statement about the film.\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 documentary is filled with joyous recollections of not only Mock’s dancing, but his magnetic personality. In interviews interspersed with clips of Mock performing and portraits of him from Lynne Redding’s beautiful photographic homage \u003ca href=\"http://www.edmockbook.com/\">\u003cem>Ed Mock and Company Dance\u003c/em>\u003c/a>, Mock’s former friends and students describe him as a revered instructor, a widely desired and fluid romantic partner, and an always-fashionable socialite who unwaveringly commanded the room.\u003c/p>\n\u003cfigure id=\"attachment_13235775\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13235775\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/81-121a-15-KQED-800x1009.jpg\" alt=\"\" width=\"800\" height=\"1009\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/81-121a-15-KQED-800x1009.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/81-121a-15-KQED-160x202.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/81-121a-15-KQED-768x969.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/81-121a-15-KQED-1020x1287.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/81-121a-15-KQED-1920x2422.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/81-121a-15-KQED-1180x1489.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/81-121a-15-KQED-960x1211.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/81-121a-15-KQED-240x303.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/81-121a-15-KQED-375x473.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/81-121a-15-KQED-520x656.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ed Mock. \u003ccite>(Courtesy Lynne Redding)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He knew that he was a black man who was also a beacon for us young people of color,” says dancer Rhodessa Jones in the film. “He knew that all of that was going down when we were watching him in class.”\u003c/p>\n\u003cp>The documentary serves as a peek into the artistic culture of San Francisco in the ’60s and ’70s: spontaneous, bohemian, sexual, flamboyant. It’s also a reflection on the abruptness with which so many artistic lineages were cut short due to the AIDS epidemic. Throughout, a lingering question hovers over the film: What else would Mock have achieved; how many more dancers would Mock have directly influenced if he hadn’t died so young?\u003c/p>\n\u003cp>“It’s really satisfying to me to just know that there \u003cem>was\u003c/em> an Ed,” say Purnell. “I feel like it’s kind of engrained that dance is a matriarchal tradition, which is totally fine, but with the AIDS epidemic and having so many of those artists swept away, it was like: Who was this generation of men making this kind of abstract work; What were their lives like?”\u003c/p>\n\u003cp>Purnell, who now heads the Brontez Purnell Dance Company, first became aware of Mock when prolific Bay Area dancer and choreographer Amara Tabor-Smith, who studied with Mock and appears in the film, told Purnell that a dance piece of his reminded her of Mock’s work. Years later, Tabor-Smith produced a ritualistic public performance tribute to Mock entitled \u003cem>He Moved Swiftly but Gently Down a Not Too Crowded Street: Ed Mock and Other True Tales in a City That Once Was\u003c/em>, in which Purnell took part. The experience cemented his interest in researching and preserving Mock’s legacy.\u003c/p>\n\u003cp>“I was just like, ‘Oh my god, that’s my dad,’” Purnell recalls. “’That is definitely an ancestor I never knew existed.’”\u003c/p>\n\u003cfigure id=\"attachment_13235774\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13235774\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/84-1-24-KQED-800x639.jpg\" alt=\"\" width=\"800\" height=\"639\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/84-1-24-KQED-800x639.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/84-1-24-KQED-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/84-1-24-KQED-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/84-1-24-KQED-1020x815.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/84-1-24-KQED-1180x943.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/84-1-24-KQED-960x767.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/84-1-24-KQED-240x192.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/84-1-24-KQED-375x300.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/84-1-24-KQED-520x415.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/84-1-24-KQED.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ed Mock. \u003ccite>(Courtesy Lynne Redding. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Purnell finally received funding for the project about two years ago, and is currently in the final stages of post-production. As part of the process, he did a residency at The Lab in San Francisco that consisted of multiple events and culminated in a screening of a rough cut of the film at the end of March. In mid-March, Purnell threw the No New Art No New Dance Fest. That night at The Lab, he stalked around the room in white overalls covered in the words “STOP MEN” wearing a painting like a poncho and pasted paper to his forehead with spit while a collaborator scribbled on the stage with a mop and a bucket of black paint.\u003c/p>\n\u003cp>\u003ca href=\"http://https://youtu.be/fbxspKZA7Zc\">http://https://youtu.be/fbxspKZA7Zc\u003c/a>\u003c/p>\n\u003cp>Although Purnell is definitely a multidisciplinary artist, those who know his in-your-face work might be surprised at the thought of him making a straight-forward documentary. Purnell promises to enliven the format with poetry by Marvin K White and dance interludes featuring remixed choreographies of Mock’s work — in effect, taking up and expanding a creative lineage cut short.\u003c/p>\n\u003cp>“The cross-section of his career, placement in the underground dance world, and experiences as a gay black man who died of AIDS early in the pandemic, these parallel my life and are barely written or recorded,” writes Purnell in his statement. “We — artists, Black queers, Bay Area dancers, HIV+ gay men — have to extract our collective past and create the historical record.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Unstoppable Feat: The Dances of Ed Mock’ screens at the \u003ca href=\"http://www.starlinesocialclub.com\">Starline Social Club\u003c/a> on Friday, May 26, at 7:30pm and at \u003ca href=\"http://www.thelab.org/\">The Lab\u003c/a> on Wednesday, May 31, at 8pm.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13235772/dancer-ed-mocks-unstoppable-feat-chronicled-in-new-documentary",
"authors": [
"11323"
],
"categories": [
"arts_966",
"arts_74"
],
"tags": [
"arts_1831",
"arts_1522",
"arts_1119",
"arts_1118",
"arts_596"
],
"featImg": "arts_13235778",
"label": "arts"
},
"arts_13249653": {
"type": "posts",
"id": "arts_13249653",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13249653",
"score": null,
"sort": [
1495119638000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1495119638,
"format": "standard",
"title": "Five Must-See Experimental Films at This Year's CROSSROADS",
"headTitle": "Five Must-See Experimental Films at This Year’s CROSSROADS | KQED",
"content": "\u003cp>A crash course in recent experimental cinema, San Francisco Cinematheque’s annual \u003ca href=\"http://www.sfcinematheque.org/screenings/crossroads-2017-may-19-21/\" target=\"_blank\" rel=\"noopener\">CROSSROADS\u003c/a> festival is equal parts scouting mission and showcase. Curator Steve Polta packs the May 19-21 weekend with 59 films and videos, many of them by newcomers. After several years at the Victoria Theater, this eighth iteration of CROSSROADS is set for SFMOMA’s freshly retrofitted, and oddly encaged, cinema space. The move should result in a more pristine viewing experience, certainly, but one also hopes it signals a more thoroughgoing commitment from the museum to integrate non-narrative cinema into its regular programming. \u003c/p>\n\u003cp>Out of the nearly five dozen films, here are five to look out for.\u003c/p>\n\u003cp>CROSSROADS starts out deep in the groove thanks to \u003ca href=\"http://www.cauleensmith.com/\" target=\"_blank\" rel=\"noopener\">Cauleen Smith\u003c/a>’s afrofuturist-tinged \u003cem>\u003cstrong>H-E-L-L-O\u003c/strong>\u003c/em>. The camera traces a slow arc across the New Orleans skyline, drawing past a trombonist and sousaphonist’s bubbly interpretation of \u003cem>Close Encounters of the Third Kind\u003c/em>’s (1977) musical greeting. Cut to a cellist bowing the same theme in front of a fenced-off Booker T. Washington Auditorium, a contrabassoonist sending ripples over the river, and so on, such that Smith’s montage draws a map at the same time that it assembles a band. Where Spielberg’s original scans the skies, \u003cem>H-E-L-L-O\u003c/em>’s bass-heavy instruments go down to the roots. \u003c/p>\n\u003cfigure id=\"attachment_13249988\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Epcar%E2%80%94return_to_forms_still_1200.jpg\" alt=\"Zachary Epcar, Still from 'Return to Forms,' 2016.\" width=\"1200\" height=\"900\" class=\"size-full wp-image-13249988\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Epcar—return_to_forms_still_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Epcar—return_to_forms_still_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Epcar—return_to_forms_still_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Epcar—return_to_forms_still_1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Epcar—return_to_forms_still_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Epcar—return_to_forms_still_1200-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Epcar—return_to_forms_still_1200-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Epcar—return_to_forms_still_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Epcar—return_to_forms_still_1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Epcar—return_to_forms_still_1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Zachary Epcar, Still from ‘Return to Forms,’ 2016. \u003ccite>(Courtesy of San Francisco Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Closer to home, but no less far out, \u003ca href=\"http://www.zacharyepcar.com/return-to-forms\" target=\"_blank\" rel=\"noopener\">Zachary Epcar\u003c/a>’s \u003cem>\u003cstrong>Return to Forms\u003c/strong>\u003c/em> is a city symphony fit for a place where a sleek skyscraper called the Millennium sinks into the ground. Subjecting our visual (and virtual) lexicon of luxury to a series of sculptural and kinetic interventions, the film evokes a crazed anthropologist’s observations of a bizarre cargo cult — our own. The climactic vision of an uprooted plant bayoneting an iPad is typical of Epcar’s exuberant play with meaning: the commodity pulverized, reconstituted as a new order of objet d’art, and finally relinquished to the rude flow of cinema. \u003c/p>\n\u003cp>\u003cem>Return to Forms\u003c/em> may be perplexing — pointedly so — but its rhythms and sharp turns are anything but uninviting. The same goes for \u003ca href=\"http://www.skyhopinka.com/ill-remember-you-as-you-were/\" target=\"_blank\" rel=\"noopener\">Sky Hopinka\u003c/a>’s richly embroidered elegy, \u003cem>\u003cstrong>I’ll Remember You as You Were, not as What You’ll Become\u003c/strong>\u003c/em>. The video jets off on the heavily treated image of a powwow dance — the still discernible figures appearing as vertical bands of colors — set to cascading waves of sacred harp singing. An eclectic collage of icons and texts accompany the floating image of Native poet Diane Burns until this crummy performance video radiates the concentrated energy of a pendant. Hopinka’s fluid style treats cinema as a tool to traverse unbridgeable distances — not so much to resurrect the past as to permit it to change forms. \u003c/p>\n\u003cfigure id=\"attachment_13249989\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Hopinka%E2%80%94Ill-Remember-still-1200.jpg\" alt=\"Sky Hopinka, Still from 'I'll Remember You As You Were, Not as What You'll Become,' 2016.\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13249989\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Hopinka—Ill-Remember-still-1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Hopinka—Ill-Remember-still-1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Hopinka—Ill-Remember-still-1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Hopinka—Ill-Remember-still-1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Hopinka—Ill-Remember-still-1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Hopinka—Ill-Remember-still-1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Hopinka—Ill-Remember-still-1200-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Hopinka—Ill-Remember-still-1200-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Hopinka—Ill-Remember-still-1200-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Hopinka—Ill-Remember-still-1200-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Sky Hopinka, Still from ‘I’ll Remember You As You Were, Not as What You’ll Become,’ 2016. \u003ccite>(Courtesy of San Francisco Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The only feature at CROSSROADS is Travis Wilkerson’s \u003cem>\u003ca href=\"http://www.sfcinematheque.org/screenings/crossroads-program-2-travis-wilkerson-did-you-wonder-who-fired-the-gun/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Did You Wonder Who Fired the Gun?\u003c/strong>\u003c/a>\u003c/em>, and it’s a scorcher. Wilkerson is a reliable purveyor of radical critique and combustible montage, but \u003cem>Did You Wonder Who Fired the Gun?\u003c/em>’s first-hand account of the country’s racist bequest is still a revelation. Propelled by street demonstrations following the killing of Trayvon Martin, Wilkerson investigates a long whispered-about family story that his great-grandfather murdered an unarmed black man without consequence. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Returning to the scene of the crime, the filmmaker aims not so much to unearth the past as to confront its persistence (one thinks of James Baldwin: “It is not permissible that the authors of devastation should also be innocent. It is the innocence which constitutes the crime”). In place of the mainstream documentary’s assured appeals to the audience’s enlightened sympathies, \u003cem>Did You Wonder Who Fired the Gun?\u003c/em> deals in the raw stuff of anger and shame. Its goal is not resolution but reckoning, and that makes all the difference. \u003c/p>\n\u003cfigure id=\"attachment_13249990\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Wilkerson%E2%80%94Did-You-Wonder.jpg\" alt=\"\" width=\"600\" height=\"336\" class=\"size-full wp-image-13249990\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Wilkerson—Did-You-Wonder.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Wilkerson—Did-You-Wonder-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Wilkerson—Did-You-Wonder-240x134.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Wilkerson—Did-You-Wonder-375x210.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Wilkerson—Did-You-Wonder-520x291.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Travis Wilkerson, Still from ‘Did You Wonder Who Fired the Gun?,’ 2017. \u003ccite>(Courtesy of San Francisco Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Wilkerson’s relentless, at times even masochistic, polemical drive is doubly provocative in the CROSSROADS context for bringing critical attention to several avant-garde commonplaces: the eyedropper application of Wikipedia-flavored bits of radical history (\u003ca href=\"http://emmanuelpiton.net/\" target=\"_blank\" rel=\"noopener\">Emmanuel Piton\u003c/a>’s \u003cem>Sleeping Waters\u003c/em>), for instance, or the association of celluloid with a kind of prelapsarian innocence [\u003ca href=\"http://www.karlystark.com/3219181-2076-elegy\" target=\"_blank\" rel=\"noopener\">Karly Stark\u003c/a>’s \u003cem>2076 (Elegy)\u003c/em>]. \u003c/p>\n\u003cp>Equally striking, though, is the way some of the festival’s postcard-sized films similarly manage to implicate the audience’s ethical imagination. Christopher Harris’s \u003cem>\u003cstrong>Distant Shores\u003c/strong>\u003c/em>, to take one, models a necessary imaginative leap simply by juxtaposing footage of a Chicago River cruise with testimony of a migrant’s harrowing voyage at sea. A three-minute film edited in camera, it nevertheless offers several ways of thinking about displacement.\u003c/p>\n\u003cp>Similarly compacted pieces like Ephraim Asili’s \u003cem>Kindah\u003c/em>, \u003ca href=\"http://www.pereginard.com/\" target=\"_blank\" rel=\"noopener\">Pere Ginard\u003c/a>’s \u003cem>This Bogeyman\u003c/em>, and \u003ca href=\"http://www.maryhelenaclark.com/palms.html\" target=\"_blank\" rel=\"noopener\">Mary Helena Clark\u003c/a>’s \u003cem>Palms\u003c/em> may not stand on their own — but may yet stay in mind after this CROSSROADS recedes. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>San Francisco Cinematheque’s CROSSROADS screens at the San Francisco Museum of Modern Art May 19-21, 2017. For tickets and more information, \u003ca href=\"https://www.sfmoma.org/event/series/crossroads-2017/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 927,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 14
},
"modified": 1705030621,
"excerpt": "San Francisco Cinematheque's annual survey of recent experimental film finds a new home at SFMOMA. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "San Francisco Cinematheque's annual survey of recent experimental film finds a new home at SFMOMA. ",
"title": "Five Must-See Experimental Films at This Year's CROSSROADS | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Five Must-See Experimental Films at This Year's CROSSROADS",
"datePublished": "2017-05-18T08:00:38-07:00",
"dateModified": "2024-01-11T19:37:01-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "five-must-see-experimental-films-at-this-years-crossroads",
"status": "publish",
"nprByline": "Max Goldberg",
"sticky": false,
"path": "/arts/13249653/five-must-see-experimental-films-at-this-years-crossroads",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A crash course in recent experimental cinema, San Francisco Cinematheque’s annual \u003ca href=\"http://www.sfcinematheque.org/screenings/crossroads-2017-may-19-21/\" target=\"_blank\" rel=\"noopener\">CROSSROADS\u003c/a> festival is equal parts scouting mission and showcase. Curator Steve Polta packs the May 19-21 weekend with 59 films and videos, many of them by newcomers. After several years at the Victoria Theater, this eighth iteration of CROSSROADS is set for SFMOMA’s freshly retrofitted, and oddly encaged, cinema space. The move should result in a more pristine viewing experience, certainly, but one also hopes it signals a more thoroughgoing commitment from the museum to integrate non-narrative cinema into its regular programming. \u003c/p>\n\u003cp>Out of the nearly five dozen films, here are five to look out for.\u003c/p>\n\u003cp>CROSSROADS starts out deep in the groove thanks to \u003ca href=\"http://www.cauleensmith.com/\" target=\"_blank\" rel=\"noopener\">Cauleen Smith\u003c/a>’s afrofuturist-tinged \u003cem>\u003cstrong>H-E-L-L-O\u003c/strong>\u003c/em>. The camera traces a slow arc across the New Orleans skyline, drawing past a trombonist and sousaphonist’s bubbly interpretation of \u003cem>Close Encounters of the Third Kind\u003c/em>’s (1977) musical greeting. Cut to a cellist bowing the same theme in front of a fenced-off Booker T. Washington Auditorium, a contrabassoonist sending ripples over the river, and so on, such that Smith’s montage draws a map at the same time that it assembles a band. Where Spielberg’s original scans the skies, \u003cem>H-E-L-L-O\u003c/em>’s bass-heavy instruments go down to the roots. \u003c/p>\n\u003cfigure id=\"attachment_13249988\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Epcar%E2%80%94return_to_forms_still_1200.jpg\" alt=\"Zachary Epcar, Still from 'Return to Forms,' 2016.\" width=\"1200\" height=\"900\" class=\"size-full wp-image-13249988\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Epcar—return_to_forms_still_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Epcar—return_to_forms_still_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Epcar—return_to_forms_still_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Epcar—return_to_forms_still_1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Epcar—return_to_forms_still_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Epcar—return_to_forms_still_1200-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Epcar—return_to_forms_still_1200-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Epcar—return_to_forms_still_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Epcar—return_to_forms_still_1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Epcar—return_to_forms_still_1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Zachary Epcar, Still from ‘Return to Forms,’ 2016. \u003ccite>(Courtesy of San Francisco Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Closer to home, but no less far out, \u003ca href=\"http://www.zacharyepcar.com/return-to-forms\" target=\"_blank\" rel=\"noopener\">Zachary Epcar\u003c/a>’s \u003cem>\u003cstrong>Return to Forms\u003c/strong>\u003c/em> is a city symphony fit for a place where a sleek skyscraper called the Millennium sinks into the ground. Subjecting our visual (and virtual) lexicon of luxury to a series of sculptural and kinetic interventions, the film evokes a crazed anthropologist’s observations of a bizarre cargo cult — our own. The climactic vision of an uprooted plant bayoneting an iPad is typical of Epcar’s exuberant play with meaning: the commodity pulverized, reconstituted as a new order of objet d’art, and finally relinquished to the rude flow of cinema. \u003c/p>\n\u003cp>\u003cem>Return to Forms\u003c/em> may be perplexing — pointedly so — but its rhythms and sharp turns are anything but uninviting. The same goes for \u003ca href=\"http://www.skyhopinka.com/ill-remember-you-as-you-were/\" target=\"_blank\" rel=\"noopener\">Sky Hopinka\u003c/a>’s richly embroidered elegy, \u003cem>\u003cstrong>I’ll Remember You as You Were, not as What You’ll Become\u003c/strong>\u003c/em>. The video jets off on the heavily treated image of a powwow dance — the still discernible figures appearing as vertical bands of colors — set to cascading waves of sacred harp singing. An eclectic collage of icons and texts accompany the floating image of Native poet Diane Burns until this crummy performance video radiates the concentrated energy of a pendant. Hopinka’s fluid style treats cinema as a tool to traverse unbridgeable distances — not so much to resurrect the past as to permit it to change forms. \u003c/p>\n\u003cfigure id=\"attachment_13249989\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Hopinka%E2%80%94Ill-Remember-still-1200.jpg\" alt=\"Sky Hopinka, Still from 'I'll Remember You As You Were, Not as What You'll Become,' 2016.\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13249989\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Hopinka—Ill-Remember-still-1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Hopinka—Ill-Remember-still-1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Hopinka—Ill-Remember-still-1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Hopinka—Ill-Remember-still-1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Hopinka—Ill-Remember-still-1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Hopinka—Ill-Remember-still-1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Hopinka—Ill-Remember-still-1200-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Hopinka—Ill-Remember-still-1200-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Hopinka—Ill-Remember-still-1200-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Hopinka—Ill-Remember-still-1200-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Sky Hopinka, Still from ‘I’ll Remember You As You Were, Not as What You’ll Become,’ 2016. \u003ccite>(Courtesy of San Francisco Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The only feature at CROSSROADS is Travis Wilkerson’s \u003cem>\u003ca href=\"http://www.sfcinematheque.org/screenings/crossroads-program-2-travis-wilkerson-did-you-wonder-who-fired-the-gun/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Did You Wonder Who Fired the Gun?\u003c/strong>\u003c/a>\u003c/em>, and it’s a scorcher. Wilkerson is a reliable purveyor of radical critique and combustible montage, but \u003cem>Did You Wonder Who Fired the Gun?\u003c/em>’s first-hand account of the country’s racist bequest is still a revelation. Propelled by street demonstrations following the killing of Trayvon Martin, Wilkerson investigates a long whispered-about family story that his great-grandfather murdered an unarmed black man without consequence. \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>Returning to the scene of the crime, the filmmaker aims not so much to unearth the past as to confront its persistence (one thinks of James Baldwin: “It is not permissible that the authors of devastation should also be innocent. It is the innocence which constitutes the crime”). In place of the mainstream documentary’s assured appeals to the audience’s enlightened sympathies, \u003cem>Did You Wonder Who Fired the Gun?\u003c/em> deals in the raw stuff of anger and shame. Its goal is not resolution but reckoning, and that makes all the difference. \u003c/p>\n\u003cfigure id=\"attachment_13249990\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Wilkerson%E2%80%94Did-You-Wonder.jpg\" alt=\"\" width=\"600\" height=\"336\" class=\"size-full wp-image-13249990\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Wilkerson—Did-You-Wonder.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Wilkerson—Did-You-Wonder-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Wilkerson—Did-You-Wonder-240x134.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Wilkerson—Did-You-Wonder-375x210.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Wilkerson—Did-You-Wonder-520x291.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Travis Wilkerson, Still from ‘Did You Wonder Who Fired the Gun?,’ 2017. \u003ccite>(Courtesy of San Francisco Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Wilkerson’s relentless, at times even masochistic, polemical drive is doubly provocative in the CROSSROADS context for bringing critical attention to several avant-garde commonplaces: the eyedropper application of Wikipedia-flavored bits of radical history (\u003ca href=\"http://emmanuelpiton.net/\" target=\"_blank\" rel=\"noopener\">Emmanuel Piton\u003c/a>’s \u003cem>Sleeping Waters\u003c/em>), for instance, or the association of celluloid with a kind of prelapsarian innocence [\u003ca href=\"http://www.karlystark.com/3219181-2076-elegy\" target=\"_blank\" rel=\"noopener\">Karly Stark\u003c/a>’s \u003cem>2076 (Elegy)\u003c/em>]. \u003c/p>\n\u003cp>Equally striking, though, is the way some of the festival’s postcard-sized films similarly manage to implicate the audience’s ethical imagination. Christopher Harris’s \u003cem>\u003cstrong>Distant Shores\u003c/strong>\u003c/em>, to take one, models a necessary imaginative leap simply by juxtaposing footage of a Chicago River cruise with testimony of a migrant’s harrowing voyage at sea. A three-minute film edited in camera, it nevertheless offers several ways of thinking about displacement.\u003c/p>\n\u003cp>Similarly compacted pieces like Ephraim Asili’s \u003cem>Kindah\u003c/em>, \u003ca href=\"http://www.pereginard.com/\" target=\"_blank\" rel=\"noopener\">Pere Ginard\u003c/a>’s \u003cem>This Bogeyman\u003c/em>, and \u003ca href=\"http://www.maryhelenaclark.com/palms.html\" target=\"_blank\" rel=\"noopener\">Mary Helena Clark\u003c/a>’s \u003cem>Palms\u003c/em> may not stand on their own — but may yet stay in mind after this CROSSROADS recedes. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>San Francisco Cinematheque’s CROSSROADS screens at the San Francisco Museum of Modern Art May 19-21, 2017. For tickets and more information, \u003ca href=\"https://www.sfmoma.org/event/series/crossroads-2017/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13249653/five-must-see-experimental-films-at-this-years-crossroads",
"authors": [
"byline_arts_13249653"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_1006",
"arts_596"
],
"featImg": "arts_13249986",
"label": "arts"
},
"arts_13234842": {
"type": "posts",
"id": "arts_13234842",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13234842",
"score": null,
"sort": [
1494885784000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1494885784,
"format": "standard",
"title": "Iranian Expat Grabs Our Ear in S.F.-shot ‘Radio Dreams’",
"headTitle": "Iranian Expat Grabs Our Ear in S.F.-shot ‘Radio Dreams’ | KQED",
"content": "\u003cp>San Francisco used to be a magnet for all kinds of dreamers — Midwestern misfits, on-the-road explorers, Beat poets and percussionists, Haight-inspired hippies, utopian commune-ists, Irish emigrés, Latin American refugees, experimental artists and gay men and women of every persuasion and denomination. In \u003ci>Radio Dreams\u003c/i>, the renowned Iranian author Hamid Royani (played by the gifted singer-songwriter Mohsen Namjoo) has followed the beaten path to our rather unwelcoming burg, where he is programming director of the no-frills Iranian radio station PARS. Catering to an audience of similarly alienated and semi-assimilated listeners, the protagonist of Babak Jalali’s mournfully comic independent feature is a soulful artist in a world of crass commercialism and blank-eyed apathy.\u003c/p>\n\u003cfigure id=\"attachment_13236670\" class=\"wp-caption aligncenter\" style=\"max-width: 636px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Radio-Dreams1.jpg\" alt=\"Still from 'Radio Dreams.'\" width=\"636\" height=\"357\" class=\"size-full wp-image-13236670\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Radio-Dreams1.jpg 636w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Radio-Dreams1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Radio-Dreams1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Radio-Dreams1-375x210.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Radio-Dreams1-520x292.jpg 520w\" sizes=\"(max-width: 636px) 100vw, 636px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Radio Dreams.’ \u003ccite>(Courtesy of the Roxie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Radio Dreams\u003c/em>, which played the 2016 S.F. International Film Festival and begins its theatrical run at the \u003ca href=\"http://www.roxie.com/ai1ec_event/radio-dreams/?instance_id=19418\" target=\"_blank\" rel=\"noopener\">Roxie\u003c/a> this Friday, May 19 with several of the actors and producers on hand, spans a day in Hamid’s life of surreal frustration. It begins with the rainy SFO arrival of Kabul Dreams, a hard-rock trio who’ve have made the long trek to the West to jam in PARS’ studio with their musical heroes Metallica. Another movie would milk every bit of suspense en route to a will-they-or-won’t-they-meet climax, but that would be untrue to the state of suspended animation in which Hamid and his semi-catatonic staff exist. (A Farsi cover of Dylan’s \u003cem>You Ain’t Going Nowhere\u003c/em> would have been an appropriate addition to the soundtrack, although too on the nose.)\u003c/p>\n\u003cfigure id=\"attachment_13236667\" class=\"wp-caption aligncenter\" style=\"max-width: 670px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/radiodreams2.png\" alt=\"Still from 'Radio Dreams.'\" width=\"670\" height=\"377\" class=\"size-full wp-image-13236667\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/radiodreams2.png 670w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/radiodreams2-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/radiodreams2-240x135.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/radiodreams2-375x211.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/radiodreams2-520x293.png 520w\" sizes=\"(max-width: 670px) 100vw, 670px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Radio Dreams.’ \u003ccite>(Courtesy of the Roxie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Radio Dreams\u003c/em> delivers moments of catharsis but the prevailing mood of persistence is expressed in the Kabul Dreams lyric, “We move towards fate/We move towards peace.” It is Hamid’s fate to be on his own with no direction home, stuck inside of Frisco with the Tehran blues again.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 346,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 5
},
"modified": 1705030651,
"excerpt": "At the Roxie, Babak Jalali’s mournfully comic independent feature depicts a day of surreal frustration in a displaced novelist's life.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "At the Roxie, Babak Jalali’s mournfully comic independent feature depicts a day of surreal frustration in a displaced novelist's life.",
"title": "Iranian Expat Grabs Our Ear in S.F.-shot ‘Radio Dreams’ | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Iranian Expat Grabs Our Ear in S.F.-shot ‘Radio Dreams’",
"datePublished": "2017-05-15T15:03:04-07:00",
"dateModified": "2024-01-11T19:37:31-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "iranian-expat-grabs-our-ear-in-s-f-shot-radio-dreams",
"status": "publish",
"sticky": false,
"path": "/arts/13234842/iranian-expat-grabs-our-ear-in-s-f-shot-radio-dreams",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco used to be a magnet for all kinds of dreamers — Midwestern misfits, on-the-road explorers, Beat poets and percussionists, Haight-inspired hippies, utopian commune-ists, Irish emigrés, Latin American refugees, experimental artists and gay men and women of every persuasion and denomination. In \u003ci>Radio Dreams\u003c/i>, the renowned Iranian author Hamid Royani (played by the gifted singer-songwriter Mohsen Namjoo) has followed the beaten path to our rather unwelcoming burg, where he is programming director of the no-frills Iranian radio station PARS. Catering to an audience of similarly alienated and semi-assimilated listeners, the protagonist of Babak Jalali’s mournfully comic independent feature is a soulful artist in a world of crass commercialism and blank-eyed apathy.\u003c/p>\n\u003cfigure id=\"attachment_13236670\" class=\"wp-caption aligncenter\" style=\"max-width: 636px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Radio-Dreams1.jpg\" alt=\"Still from 'Radio Dreams.'\" width=\"636\" height=\"357\" class=\"size-full wp-image-13236670\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Radio-Dreams1.jpg 636w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Radio-Dreams1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Radio-Dreams1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Radio-Dreams1-375x210.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Radio-Dreams1-520x292.jpg 520w\" sizes=\"(max-width: 636px) 100vw, 636px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Radio Dreams.’ \u003ccite>(Courtesy of the Roxie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Radio Dreams\u003c/em>, which played the 2016 S.F. International Film Festival and begins its theatrical run at the \u003ca href=\"http://www.roxie.com/ai1ec_event/radio-dreams/?instance_id=19418\" target=\"_blank\" rel=\"noopener\">Roxie\u003c/a> this Friday, May 19 with several of the actors and producers on hand, spans a day in Hamid’s life of surreal frustration. It begins with the rainy SFO arrival of Kabul Dreams, a hard-rock trio who’ve have made the long trek to the West to jam in PARS’ studio with their musical heroes Metallica. Another movie would milk every bit of suspense en route to a will-they-or-won’t-they-meet climax, but that would be untrue to the state of suspended animation in which Hamid and his semi-catatonic staff exist. (A Farsi cover of Dylan’s \u003cem>You Ain’t Going Nowhere\u003c/em> would have been an appropriate addition to the soundtrack, although too on the nose.)\u003c/p>\n\u003cfigure id=\"attachment_13236667\" class=\"wp-caption aligncenter\" style=\"max-width: 670px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/radiodreams2.png\" alt=\"Still from 'Radio Dreams.'\" width=\"670\" height=\"377\" class=\"size-full wp-image-13236667\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/radiodreams2.png 670w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/radiodreams2-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/radiodreams2-240x135.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/radiodreams2-375x211.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/radiodreams2-520x293.png 520w\" sizes=\"(max-width: 670px) 100vw, 670px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Radio Dreams.’ \u003ccite>(Courtesy of the Roxie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Radio Dreams\u003c/em> delivers moments of catharsis but the prevailing mood of persistence is expressed in the Kabul Dreams lyric, “We move towards fate/We move towards peace.” It is Hamid’s fate to be on his own with no direction home, stuck inside of Frisco with the Tehran blues again.\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/13234842/iranian-expat-grabs-our-ear-in-s-f-shot-radio-dreams",
"authors": [
"22"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_596",
"arts_769"
],
"featImg": "arts_13236668",
"label": "arts"
},
"arts_13235770": {
"type": "posts",
"id": "arts_13235770",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13235770",
"score": null,
"sort": [
1494879837000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1494879837,
"format": "standard",
"title": "Powers Boothe, Who Appeared In 'Deadwood' And 'Sin City,' Dies At 68",
"headTitle": "Powers Boothe, Who Appeared In ‘Deadwood’ And ‘Sin City,’ Dies At 68 | KQED",
"content": "\u003cp>Powers Boothe, a character actor who worked on television and in the movies, died Sunday in Los Angeles.\u003c/p>\n\u003cp>A representative tells news agencies that Boothe died of natural causes at his home. He was 68.\u003c/p>\n\u003cp>According to The \u003ca href=\"http://www.hollywoodreporter.com/news/powers-boothe-dead-agents-shield-sin-city-actor-was-68-1003667\">Hollywood Reporter\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“Boothe gained a reputation for playing villains with memorable roles in the action film\u003cem> Sudden Death\u003c/em> (1995), Bill Paxton’s \u003cem>Frailty\u003c/em> (2001) and the nefarious Senator Roark in \u003cem>Sin City\u003c/em> (2005). Perhaps his most famous villain role was Cy Tolliver, the ruthless saloon owner on HBO’s \u003cem>Deadwood. \u003c/em>\u003c/p>\n\u003cp>“More recently, Boothe took on the role of Gideon Malick as part of the Marvel Cinematic Universe, debuting the role in 2012’s \u003cem>The Avengers\u003c/em> and reprising it on ABC’s\u003cem> Agents of S.H.I.E.L.D.\u003c/em>\u003c/p>\n\u003cp>“He portrayed Alexander Haig in \u003cem>Nixon \u003c/em>(1995) and a sheriff in another Oliver Stone film, \u003cem>U Turn (\u003c/em>1997), and was unforgettable as the wicked gunman Curly Bill Brocius in \u003cem>Tombstone \u003c/em>(1993).\u003c/p>\n\u003cp>“He also played Connie Britton’s father, the industrialist and former mayor Lamar Wyatt, on \u003cem>Nashville\u003c/em> and portrayed Noah Daniels, the vice president and then the U.S. president, on \u003cem>24.”\u003c/em>\u003c/p>\n\u003c/blockquote>\n\u003cp>In 1980, Boothe gained national attention playing cult leader Jim Jones in the CBS-TV movie \u003cem>Guyana Tragedy: The Story of Jim Jones\u003c/em>.\u003c/p>\n\u003cp>He won an Emmy Award for that performance — beating out veteran actors Henry Fonda and Jason Robards.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Actor Beau Bridges \u003ca href=\"https://twitter.com/MrBeauBridges/status/863871266914054144\" target=\"_blank\" rel=\"noopener\">tweeted the news of Boothe’s death\u003c/a> and called him “a dear friend, great actor, devoted father & husband.” \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=Powers+Boothe%2C+Who+Appeared+In+%27Deadwood%27+And+%27Sin+City%2C%27+Dies+At+68&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 278,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 12
},
"modified": 1705030654,
"excerpt": "The character actor was known for his roles as a villain in TV's \u003cem>Deadwood\u003c/em> and in the movies \u003cem>Tombstone\u003c/em>, \u003cem>Sin City\u003c/em> and \u003cem>The Avengers\u003c/em>. Boothe died of natural causes at his home in Los Angeles on Sunday.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The character actor was known for his roles as a villain in TV's Deadwood and in the movies Tombstone, Sin City and The Avengers. Boothe died of natural causes at his home in Los Angeles on Sunday.",
"title": "Powers Boothe, Who Appeared In 'Deadwood' And 'Sin City,' Dies At 68 | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Powers Boothe, Who Appeared In 'Deadwood' And 'Sin City,' Dies At 68",
"datePublished": "2017-05-15T13:23:57-07:00",
"dateModified": "2024-01-11T19:37:34-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "powers-boothe-who-appeared-in-deadwood-and-sin-city-dies-at-68",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=528411823&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Doreen McCallister",
"nprStoryDate": "Mon, 15 May 2017 03:46:00 -0400",
"nprLastModifiedDate": "Mon, 15 May 2017 14:05:47 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/sections/thetwo-way/2017/05/15/528411823/powers-boothe-appeared-in-deadwood-and-sin-city-dies-at-68?ft=nprml&f=528411823",
"nprStoryId": "528411823",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 15 May 2017 14:05:00 -0400",
"path": "/arts/13235770/powers-boothe-who-appeared-in-deadwood-and-sin-city-dies-at-68",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Powers Boothe, a character actor who worked on television and in the movies, died Sunday in Los Angeles.\u003c/p>\n\u003cp>A representative tells news agencies that Boothe died of natural causes at his home. He was 68.\u003c/p>\n\u003cp>According to The \u003ca href=\"http://www.hollywoodreporter.com/news/powers-boothe-dead-agents-shield-sin-city-actor-was-68-1003667\">Hollywood Reporter\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“Boothe gained a reputation for playing villains with memorable roles in the action film\u003cem> Sudden Death\u003c/em> (1995), Bill Paxton’s \u003cem>Frailty\u003c/em> (2001) and the nefarious Senator Roark in \u003cem>Sin City\u003c/em> (2005). Perhaps his most famous villain role was Cy Tolliver, the ruthless saloon owner on HBO’s \u003cem>Deadwood. \u003c/em>\u003c/p>\n\u003cp>“More recently, Boothe took on the role of Gideon Malick as part of the Marvel Cinematic Universe, debuting the role in 2012’s \u003cem>The Avengers\u003c/em> and reprising it on ABC’s\u003cem> Agents of S.H.I.E.L.D.\u003c/em>\u003c/p>\n\u003cp>“He portrayed Alexander Haig in \u003cem>Nixon \u003c/em>(1995) and a sheriff in another Oliver Stone film, \u003cem>U Turn (\u003c/em>1997), and was unforgettable as the wicked gunman Curly Bill Brocius in \u003cem>Tombstone \u003c/em>(1993).\u003c/p>\n\u003cp>“He also played Connie Britton’s father, the industrialist and former mayor Lamar Wyatt, on \u003cem>Nashville\u003c/em> and portrayed Noah Daniels, the vice president and then the U.S. president, on \u003cem>24.”\u003c/em>\u003c/p>\n\u003c/blockquote>\n\u003cp>In 1980, Boothe gained national attention playing cult leader Jim Jones in the CBS-TV movie \u003cem>Guyana Tragedy: The Story of Jim Jones\u003c/em>.\u003c/p>\n\u003cp>He won an Emmy Award for that performance — beating out veteran actors Henry Fonda and Jason Robards.\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>Actor Beau Bridges \u003ca href=\"https://twitter.com/MrBeauBridges/status/863871266914054144\" target=\"_blank\" rel=\"noopener\">tweeted the news of Boothe’s death\u003c/a> and called him “a dear friend, great actor, devoted father & husband.” \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=Powers+Boothe%2C+Who+Appeared+In+%27Deadwood%27+And+%27Sin+City%2C%27+Dies+At+68&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13235770/powers-boothe-who-appeared-in-deadwood-and-sin-city-dies-at-68",
"authors": [
"byline_arts_13235770"
],
"categories": [
"arts_74",
"arts_235",
"arts_990"
],
"tags": [
"arts_1448",
"arts_596",
"arts_1091"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13236118",
"label": "arts_137"
}
},
"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": 1848,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 3266,
"relation": "eq"
},
"items": [
"arts_13304365",
"arts_13304167",
"arts_13297063",
"arts_13263887",
"arts_13284273",
"arts_13257696",
"arts_13258142",
"arts_13257117",
"arts_13235772",
"arts_13249653",
"arts_13234842",
"arts_13235770"
],
"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_69": {
"type": "terms",
"id": "arts_69",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "69",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Music",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 70,
"slug": "music",
"isLoading": false,
"link": "/arts/category/music"
},
"arts_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_991": {
"type": "terms",
"id": "arts_991",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "991",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Essay",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Essay Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1009,
"slug": "essay",
"isLoading": false,
"link": "/arts/tag/essay"
},
"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_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_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_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_1072": {
"type": "terms",
"id": "arts_1072",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1072",
"found": true
},
"relationships": {},
"featImg": null,
"name": "theater",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "theater Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1089,
"slug": "theater",
"isLoading": false,
"link": "/arts/tag/theater"
},
"arts_769": {
"type": "terms",
"id": "arts_769",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "769",
"found": true
},
"relationships": {},
"featImg": null,
"name": "review",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "review Archives | KQED Arts",
"ogDescription": null
},
"ttid": 787,
"slug": "review",
"isLoading": false,
"link": "/arts/tag/review"
},
"arts_966": {
"type": "terms",
"id": "arts_966",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "966",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Dance",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Dance Archives | KQED Arts",
"ogDescription": null
},
"ttid": 984,
"slug": "dance",
"isLoading": false,
"link": "/arts/category/dance"
},
"arts_1831": {
"type": "terms",
"id": "arts_1831",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1831",
"found": true
},
"relationships": {},
"featImg": null,
"name": "brontez purnell",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "brontez purnell Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1843,
"slug": "brontez-purnell",
"isLoading": false,
"link": "/arts/tag/brontez-purnell"
},
"arts_1522": {
"type": "terms",
"id": "arts_1522",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1522",
"found": true
},
"relationships": {},
"featImg": null,
"name": "culture cue",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "culture cue Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1534,
"slug": "culture-cue",
"isLoading": false,
"link": "/arts/tag/culture-cue"
},
"arts_1119": {
"type": "terms",
"id": "arts_1119",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1119",
"found": true
},
"relationships": {},
"featImg": null,
"name": "feature",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "feature Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1136,
"slug": "feature",
"isLoading": false,
"link": "/arts/tag/feature"
},
"arts_990": {
"type": "terms",
"id": "arts_990",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "990",
"found": true
},
"relationships": {},
"featImg": null,
"name": "TV",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "TV Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1008,
"slug": "tv",
"isLoading": false,
"link": "/arts/category/tv"
},
"arts_1091": {
"type": "terms",
"id": "arts_1091",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1091",
"found": true
},
"relationships": {},
"featImg": null,
"name": "obit",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "obit Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1108,
"slug": "obit",
"isLoading": false,
"link": "/arts/tag/obit"
}
},
"userPermissionsReducer": {
"wpLoggedIn": false
},
"eventsReducer": {},
"fssReducer": {},
"tvDailyScheduleReducer": {},
"tvWeeklyScheduleReducer": {},
"tvPrimetimeScheduleReducer": {},
"tvMonthlyScheduleReducer": {},
"userAccountReducer": {
"user": {
"email": null,
"emailStatus": "EMAIL_UNVALIDATED",
"loggedStatus": "LOGGED_OUT",
"loggingChecked": false,
"articles": [],
"firstName": null,
"lastName": null,
"phoneNumber": null,
"fetchingMembership": false,
"membershipError": false,
"memberships": [
{
"id": null,
"startDate": null,
"firstName": null,
"lastName": null,
"familyNumber": null,
"memberNumber": null,
"memberSince": null,
"expirationDate": null,
"pfsEligible": false,
"isSustaining": false,
"membershipLevel": "Prospect",
"membershipStatus": "Non Member",
"lastGiftDate": null,
"renewalDate": null,
"lastDonationAmount": null
}
]
},
"authModal": {
"isOpen": false,
"view": "LANDING_VIEW"
},
"error": null
},
"youthMediaReducer": {},
"checkPleaseReducer": {
"filterData": {
"region": {
"key": "Restaurant Region",
"filters": [
"Any Region"
]
},
"cuisine": {
"key": "Restaurant Cuisine",
"filters": [
"Any Cuisine"
]
}
},
"restaurantDataById": {},
"restaurantIdsSorted": [],
"error": null
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
},
"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": {}
}
}
}