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_11528700": {
"type": "attachments",
"id": "arts_11528700",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11528700",
"found": true
},
"parent": 11528602,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Janis-Joplin-Press-tourCROP-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Janis-Joplin-Press-tourCROP-400x229.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 229
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Janis-Joplin-Press-tourCROP-960x549.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 549
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Janis-Joplin-Press-tourCROP-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Janis-Joplin-Press-tourCROP.jpg",
"width": 1456,
"height": 832
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Janis-Joplin-Press-tourCROP-1180x674.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 674
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Janis-Joplin-Press-tourCROP-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Janis-Joplin-Press-tourCROP-800x457.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 457
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Janis-Joplin-Press-tourCROP-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Janis-Joplin-Press-tourCROP-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Janis-Joplin-Press-tourCROP-1180x674.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 674
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Janis-Joplin-Press-tourCROP-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Janis-Joplin-Press-tourCROP-768x439.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 439
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Janis-Joplin-Press-tourCROP-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1461717723,
"modified": 1461718122,
"caption": "During PBS’ AMERICAN MASTERS “Janis: Little Girl Blue” session at the Television Critics Association Winter Press Tour in Pasadena, CA on Tuesday, January 19, 2016, Big Brother and the Holding Company drummer Dave Getz, Janis Joplin’s sister Laura Joplin, filmmaker Amy Berg and series executive producer Michael Kantor discuss the first in-depth celebration of the iconic rock singer.",
"description": "During PBS’ AMERICAN MASTERS “Janis: Little Girl Blue” session at the Television Critics Association Winter Press Tour in Pasadena, CA on Tuesday, January 19, 2016, Big Brother and the Holding Company drummer Dave Getz, Janis Joplin’s sister Laura Joplin, filmmaker Amy Berg and series executive producer Michael Kantor discuss the first in-depth celebration of the iconic rock singer.",
"title": "Janis Joplin Press tourCROP",
"credit": "Photo: Rahoul Ghose/PBS",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11521212": {
"type": "attachments",
"id": "arts_11521212",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11521212",
"found": true
},
"parent": 11517243,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Run-Run-Away-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Run-Run-Away-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Run-Run-Away.jpg",
"width": 800,
"height": 450
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Run-Run-Away-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Run-Run-Away-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Run-Run-Away-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Run-Run-Away-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Run-Run-Away-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Run-Run-Away-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Run-Run-Away-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1461474211,
"modified": 1461474211,
"caption": null,
"description": null,
"title": "Run Run Away",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"news_10937563": {
"type": "attachments",
"id": "news_10937563",
"meta": {
"index": "attachments_1716263798",
"site": "news",
"id": "10937563",
"found": true
},
"parent": 10937296,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/04/Soledad-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/04/Soledad-400x254.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 254
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/04/Soledad-960x610.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 610
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/04/Soledad-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/04/Soledad.jpg",
"width": 1920,
"height": 1220
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/04/Soledad-1920x1220.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1220
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/04/Soledad-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/04/Soledad-800x508.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 508
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/04/Soledad-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/04/Soledad-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"jmtc-small-thumb": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/04/Soledad-280x150.jpg",
"width": 280,
"mimeType": "image/jpeg",
"height": 150
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/04/Soledad-1920x1220.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1220
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/04/Soledad-1180x750.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 750
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/04/Soledad-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/04/Soledad-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1461380172,
"modified": 1461699128,
"caption": "The Correctional Training Facility in Soledad, California, commonly known as 'Soledad.'",
"description": "The Correctional Training Facility in Soledad, California, commonly known as “Soledad.\"",
"title": "Soledad",
"credit": "Photo: Michelle Gaudet",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11511397": {
"type": "attachments",
"id": "arts_11511397",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11511397",
"found": true
},
"parent": 11511267,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/In_Attlas_Tracks-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/In_Attlas_Tracks-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/In_Attlas_Tracks.jpg",
"width": 800,
"height": 450
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/In_Attlas_Tracks-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/In_Attlas_Tracks-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/In_Attlas_Tracks-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/In_Attlas_Tracks-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/In_Attlas_Tracks-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/In_Attlas_Tracks-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/In_Attlas_Tracks-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1461180262,
"modified": 1461180262,
"caption": null,
"description": null,
"title": "In_Attlas_Tracks",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11514591": {
"type": "attachments",
"id": "arts_11514591",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11514591",
"found": true
},
"parent": 11514451,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Cover-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Cover-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Cover-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Cover-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Cover.jpg",
"width": 1800,
"height": 1013
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Cover-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Cover-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Cover-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Cover-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Cover-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Cover-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Cover-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Cover-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Cover-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1461273144,
"modified": 1461273170,
"caption": "A scene from Vitaly Mansky's 'Under the Sun.'",
"description": null,
"title": "Cover",
"credit": "Courtesy of San Francisco International Film Festival",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11514865": {
"type": "attachments",
"id": "arts_11514865",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11514865",
"found": true
},
"parent": 11514864,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/c_07539_wide-d51ccbb68ee681aefe036ff3864c9bd9f9b5c578-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/c_07539_wide-d51ccbb68ee681aefe036ff3864c9bd9f9b5c578-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/c_07539_wide-d51ccbb68ee681aefe036ff3864c9bd9f9b5c578-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/c_07539_wide-d51ccbb68ee681aefe036ff3864c9bd9f9b5c578-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/c_07539_wide-d51ccbb68ee681aefe036ff3864c9bd9f9b5c578-e1461279807945.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/c_07539_wide-d51ccbb68ee681aefe036ff3864c9bd9f9b5c578-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/c_07539_wide-d51ccbb68ee681aefe036ff3864c9bd9f9b5c578-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/c_07539_wide-d51ccbb68ee681aefe036ff3864c9bd9f9b5c578-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/c_07539_wide-d51ccbb68ee681aefe036ff3864c9bd9f9b5c578-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/c_07539_wide-d51ccbb68ee681aefe036ff3864c9bd9f9b5c578-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/c_07539_wide-d51ccbb68ee681aefe036ff3864c9bd9f9b5c578-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/c_07539_wide-d51ccbb68ee681aefe036ff3864c9bd9f9b5c578-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/c_07539_wide-d51ccbb68ee681aefe036ff3864c9bd9f9b5c578-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/c_07539_wide-d51ccbb68ee681aefe036ff3864c9bd9f9b5c578-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/c_07539_wide-d51ccbb68ee681aefe036ff3864c9bd9f9b5c578-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1461279406,
"modified": 1461279845,
"caption": "Kevin Costner as Jerico Stewart in 'Criminal.'",
"description": null,
"title": "Kevin Costner as Jerico Stewart in Criminal.",
"credit": "Photo: Jack English/Lionsgate",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11512713": {
"type": "attachments",
"id": "arts_11512713",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11512713",
"found": true
},
"parent": 11511804,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Leaf_Blower_02_Cover2-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Leaf_Blower_02_Cover2-400x217.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 217
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Leaf_Blower_02_Cover2-960x520.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 520
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Leaf_Blower_02_Cover2-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Leaf_Blower_02_Cover2.jpg",
"width": 1640,
"height": 889
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Leaf_Blower_02_Cover2-1180x640.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 640
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Leaf_Blower_02_Cover2-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Leaf_Blower_02_Cover2-800x434.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 434
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Leaf_Blower_02_Cover2-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Leaf_Blower_02_Cover2-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Leaf_Blower_02_Cover2-1180x640.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 640
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Leaf_Blower_02_Cover2-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Leaf_Blower_02_Cover2-768x416.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 416
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Leaf_Blower_02_Cover2-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1461216847,
"modified": 1461216881,
"caption": "A scene from Alejandro Iglesias Mendizábal's 'Leaf Blower.'",
"description": null,
"title": "Leaf_Blower_02_Cover2",
"credit": "Courtesy of San Francisco International Film Festival",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11514315": {
"type": "attachments",
"id": "arts_11514315",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11514315",
"found": true
},
"parent": 11514314,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/11514314-thumb.png",
"width": 200,
"height": 113
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/11514314-thumb-96x96.png",
"width": 96,
"mimeType": "image/png",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/11514314-thumb-64x64.png",
"width": 64,
"mimeType": "image/png",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/11514314-thumb-75x75.png",
"width": 75,
"mimeType": "image/png",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/11514314-thumb-32x32.png",
"width": 32,
"mimeType": "image/png",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/11514314-thumb-128x113.png",
"width": 128,
"mimeType": "image/png",
"height": 113
}
},
"publishDate": 1461263177,
"modified": 1461263177,
"caption": null,
"description": null,
"title": "Thumbnail for 11514314",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11492284": {
"type": "attachments",
"id": "arts_11492284",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11492284",
"found": true
},
"parent": 11492283,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/standing-tall-4_lg_wide-64bedabed881d35a829f3dedece7b3f1ef0ec34e-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/standing-tall-4_lg_wide-64bedabed881d35a829f3dedece7b3f1ef0ec34e-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/standing-tall-4_lg_wide-64bedabed881d35a829f3dedece7b3f1ef0ec34e.jpg",
"width": 925,
"height": 520
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/standing-tall-4_lg_wide-64bedabed881d35a829f3dedece7b3f1ef0ec34e-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/standing-tall-4_lg_wide-64bedabed881d35a829f3dedece7b3f1ef0ec34e-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/standing-tall-4_lg_wide-64bedabed881d35a829f3dedece7b3f1ef0ec34e-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/standing-tall-4_lg_wide-64bedabed881d35a829f3dedece7b3f1ef0ec34e-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/standing-tall-4_lg_wide-64bedabed881d35a829f3dedece7b3f1ef0ec34e-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/standing-tall-4_lg_wide-64bedabed881d35a829f3dedece7b3f1ef0ec34e-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/standing-tall-4_lg_wide-64bedabed881d35a829f3dedece7b3f1ef0ec34e-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1460614936,
"modified": 1460615047,
"caption": "Rod Paradot and Sara Forestier in 'Standing Tall.'",
"description": null,
"title": "Rod Paradot and Sara Forestier in Standing Tall.",
"credit": "Courtesy of Cohen Media Group",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11491175": {
"type": "attachments",
"id": "arts_11491175",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11491175",
"found": true
},
"parent": 11483013,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/SoldCover-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/SoldCover-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/SoldCover-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/SoldCover-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/SoldCover.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/SoldCover-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/SoldCover-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/SoldCover-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/SoldCover-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/SoldCover-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/SoldCover-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/SoldCover-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/SoldCover-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/SoldCover-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/SoldCover-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1460585903,
"modified": 1460585925,
"caption": "Still from 'Sold.'",
"description": null,
"title": "SoldCover",
"credit": "Courtesy of Jaya International",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11487955": {
"type": "attachments",
"id": "arts_11487955",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11487955",
"found": true
},
"parent": 11487587,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/cats-in-space-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/cats-in-space-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/cats-in-space-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/cats-in-space-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/cats-in-space.jpg",
"width": 1250,
"height": 703
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/cats-in-space-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/cats-in-space-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/cats-in-space-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/cats-in-space-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/cats-in-space-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/cats-in-space-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/cats-in-space-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/cats-in-space-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/cats-in-space-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1460492272,
"modified": 1460493798,
"caption": "Two cats battle it out with illuminated sticks for Cats in Space Tour. ",
"description": "Two cats battle it out with illuminated sticks for Cats in Space Tour. ",
"title": "Two cats battle it out with illuminated sticks for Cats in Space Tour.",
"credit": "Photo: Courtesy of Cats in Space Tour.",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11486008": {
"type": "attachments",
"id": "arts_11486008",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11486008",
"found": true
},
"parent": 11486005,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/ASPCover-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/ASPCover-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/ASPCover-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/ASPCover-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/ASPCover.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/ASPCover-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/ASPCover-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/ASPCover-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/ASPCover-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/ASPCover-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/ASPCover-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/ASPCover-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/ASPCover-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/ASPCover-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/ASPCover-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1460432868,
"modified": 1460433006,
"caption": "Lt. Samantha Ratanarat harvests opium latex at the Bio Lab on Mars.",
"description": null,
"title": "ASPCover",
"credit": "Photo: Josh White",
"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_11514864": {
"type": "authors",
"id": "byline_arts_11514864",
"meta": {
"override": true
},
"slug": "byline_arts_11514864",
"name": "Mark Jenkins",
"isLoading": false
},
"byline_arts_11492283": {
"type": "authors",
"id": "byline_arts_11492283",
"meta": {
"override": true
},
"slug": "byline_arts_11492283",
"name": "Ella Taylor",
"isLoading": false
},
"mfox": {
"type": "authors",
"id": "22",
"meta": {
"index": "authors_1716337520",
"id": "22",
"found": true
},
"name": "Michael Fox",
"firstName": "Michael",
"lastName": "Fox",
"slug": "mfox",
"email": "foxonfilm@yahoo.com",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "Michael Fox has written about film for dozens of publications since 1987. He is a founding member of the San Francisco Bay Area Film Critics Circle.",
"avatar": "https://secure.gravatar.com/avatar/d9849d6c659c41414795c471d907bb97b396e2a32b88e20e6ff66f65fbdd6dcd?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"contributor"
]
}
],
"headData": {
"title": "Michael Fox | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/d9849d6c659c41414795c471d907bb97b396e2a32b88e20e6ff66f65fbdd6dcd?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/d9849d6c659c41414795c471d907bb97b396e2a32b88e20e6ff66f65fbdd6dcd?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/mfox"
},
"shotchkiss": {
"type": "authors",
"id": "61",
"meta": {
"index": "authors_1716337520",
"id": "61",
"found": true
},
"name": "Sarah Hotchkiss",
"firstName": "Sarah",
"lastName": "Hotchkiss",
"slug": "shotchkiss",
"email": "shotchkiss@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Senior Editor",
"bio": "Sarah Hotchkiss is a San Francisco \u003ca href=\"http://www.sarahhotchkiss.com\">artist\u003c/a> and arts writer. In 2019, she received the Dorothea & Leo Rabkin Foundation grant for visual art journalism and in 2020 she received a Society of Professional Journalists, Northern California award for excellence in arts and culture reporting.",
"avatar": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"Contributor",
"administrator"
]
},
{
"site": "artschool",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"administrator"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "spark",
"roles": [
"editor"
]
},
{
"site": "checkplease",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Sarah Hotchkiss | KQED",
"description": "Senior Editor",
"ogImgSrc": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/shotchkiss"
},
"kqedarts": {
"type": "authors",
"id": "92",
"meta": {
"index": "authors_1716337520",
"id": "92",
"found": true
},
"name": "KQED Arts",
"firstName": "KQED",
"lastName": "Arts",
"slug": "kqedarts",
"email": "arts@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Staff",
"bio": null,
"avatar": "https://secure.gravatar.com/avatar/321c9ebfeb7736f9e55366a6d3399ab0?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": "https://www.instagram.com/kqed_arts/",
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"contributor"
]
},
{
"site": "pop",
"roles": [
"contributor"
]
},
{
"site": "science",
"roles": [
"author"
]
},
{
"site": "food",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "KQED Arts | KQED",
"description": "KQED Staff",
"ogImgSrc": "https://secure.gravatar.com/avatar/321c9ebfeb7736f9e55366a6d3399ab0?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/321c9ebfeb7736f9e55366a6d3399ab0?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/kqedarts"
},
"sasha-khokha": {
"type": "authors",
"id": "254",
"meta": {
"index": "authors_1716337520",
"id": "254",
"found": true
},
"name": "Sasha Khokha",
"firstName": "Sasha",
"lastName": "Khokha",
"slug": "sasha-khokha",
"email": "skhokha@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"news"
],
"title": "Host, The California Report Magazine",
"bio": "Sasha Khokha is the host of \u003cem>The California Report's \u003c/em> weekly magazine program, which takes listeners on sound-rich excursions to meet the people that make the Golden State unique -- through audio documentaries and long-form stories. As \u003cem>The California Report's\u003c/em> Central Valley Bureau Chief based in Fresno for nearly a dozen years, Sasha brought the lives and concerns of rural Californians to listeners around the state. Her reporting helped expose the hidden price immigrant women janitors and farmworkers may pay to keep their jobs: sexual assault at work. It inspired two new California laws to protect them from sexual harassment. She was a key member of the reporting team for the Frontline film \u003cem>Rape on the Night Shift, \u003c/em>which was nominated for two national Emmys. Sasha has also won a national Edward R. Murrow and a national PRNDI award for investigative reporting, as well as multiple prizes from the Society for Professional Journalists. Sasha is a proud alum of the UC Berkeley Graduate School of Journalism and Brown University and a member of the South Asian Journalists Association.",
"avatar": "https://secure.gravatar.com/avatar/e4b5e1541aaeea2aa356aa1fb2a68950?s=600&d=blank&r=g",
"twitter": "KQEDSashaKhokha",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "stateofhealth",
"roles": [
"author"
]
},
{
"site": "science",
"roles": [
"author"
]
},
{
"site": "quest",
"roles": [
"subscriber"
]
}
],
"headData": {
"title": "Sasha Khokha | KQED",
"description": "Host, The California Report Magazine",
"ogImgSrc": "https://secure.gravatar.com/avatar/e4b5e1541aaeea2aa356aa1fb2a68950?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/e4b5e1541aaeea2aa356aa1fb2a68950?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/sasha-khokha"
},
"lakshmi": {
"type": "authors",
"id": "3245",
"meta": {
"index": "authors_1716337520",
"id": "3245",
"found": true
},
"name": "Lakshmi Sarah",
"firstName": "Lakshmi",
"lastName": "Sarah",
"slug": "lakshmi",
"email": "lakisarah@gmail.com",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "Born and raised in California, Lakshmi is an educator and journalist with a focus on South Asia, gender, race and the arts. Over the past few years, she has worked with newspapers, radio and magazines from Botswana to Los Angeles. She has written and produced for various audiences, including Mic, Global Voices, Al Jazeera Online, AJ+ and KQED Arts. Lakshmi is a graduate of Pitzer College where she studied Global Communications and Studio Arts.",
"avatar": "https://secure.gravatar.com/avatar/30f520a9238d29ba9187c2a405e0f85d?s=600&d=blank&r=g",
"twitter": "lakitalki",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"contributor"
]
},
{
"site": "science",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Lakshmi Sarah | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/30f520a9238d29ba9187c2a405e0f85d?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/30f520a9238d29ba9187c2a405e0f85d?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/lakshmi"
},
"filmss": {
"type": "authors",
"id": "8652",
"meta": {
"index": "authors_1716337520",
"id": "8652",
"found": true
},
"name": "Film School Shorts",
"firstName": "Film",
"lastName": "School Shorts",
"slug": "filmss",
"email": "filmschoolshorts@KQED.org",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": null,
"avatar": "https://secure.gravatar.com/avatar/cb10b2f540e071dd03f4b8862a7272ca?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"author"
]
}
],
"headData": {
"title": "Film School Shorts | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/cb10b2f540e071dd03f4b8862a7272ca?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/cb10b2f540e071dd03f4b8862a7272ca?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/filmss"
},
"crnoveno": {
"type": "authors",
"id": "11208",
"meta": {
"index": "authors_1716337520",
"id": "11208",
"found": true
},
"name": "Creo Noveno",
"firstName": "Creo",
"lastName": "Noveno",
"slug": "crnoveno",
"email": "creonoveno@gmail.com",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": null,
"avatar": "https://secure.gravatar.com/avatar/0df6606b8e36036309fd287052246d01?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"subscriber"
]
},
{
"site": "pop",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "Creo Noveno | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/0df6606b8e36036309fd287052246d01?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/0df6606b8e36036309fd287052246d01?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/crnoveno"
}
},
"pagesReducer": {
"arts_category_movies": {
"type": "terms",
"id": "arts_74",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "74",
"score": 12.557542
},
"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": 182
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=movies",
"seeMore": false,
"paginated": true,
"page": 182
}
},
{
"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_11528602": {
"type": "posts",
"id": "arts_11528602",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11528602",
"score": null,
"sort": [
1461718125000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 148
},
"blocks": [],
"publishDate": 1461718125,
"format": "standard",
"title": "The Making of 'Janis: Little Girl Blue'",
"headTitle": "The Making of ‘Janis: Little Girl Blue’ | KQED",
"content": "\u003cp>In 2007, soon after the release of her acclaimed documentary \u003cem>Deliver Us from Evil\u003c/em>, Amy Berg was approached by the estate of Janis Joplin with the idea of making a film about the iconic singer. A lifelong fan, Academy Award-nominated Berg immediately jumped at the opportunity; though Joplin is perhaps the most influential female vocalist in rock & roll history, no one had ever explored her story on film.\u003c/p>\n\u003cp>Eight years later, Berg has completed \u003cem>Janis: Little Girl Blue\u003c/em>, an insightful and moving examination of the musician’s complex, tragic life. Using interviews with those closest to Joplin, riveting performance footage, and the singer’s own personal diaries and correspondence, Berg has assembled a layered and revelatory portrait of a misunderstood figure, as shy and vulnerable offstage as she was explosive and aggressive in front of a band.\u003c/p>\n\u003cp>Soon after meeting with the Joplin family, Berg started gathering interviews whenever she could—on her first visit to Janis’ hometown of Port Arthur, Texas, she filmed a crucial conversation with one of the singer’s high school friends, opening up the notion of Joplin as a woman who never escaped the scars from her painful adolescence as an ambitious outcast in a typical Southern town. For two years, the director continued to shoot with sources across the country, from Joplin’s musical colleagues in San Francisco to her friend and frequent interviewer, television host Dick Cavett.\u003c/p>\n\u003cp>But the project lost momentum, and Berg spent several years trying to get the film back on track. Eventually she met with Oscar-winning filmmaker Alex Gibney (Taxi to the Dark Side, Enron: The Smartest Guys in the Room), who has worked on numerous music-related documentaries over the years, even touching on eras and communities close to Joplin in his films about the blues (Lightning in a Bottle), Ken Kesey’s Merry Pranksters (Magic Trip), and Hunter S. Thompson (Gonzo). Gibney agreed to join the Joplin project as a producer, and put together the funding and resources that Berg required to get the film made.\u003c/p>\n\u003cp>The director determined that she wanted the movie to be told as much as possible in Joplin’s own words, so she dove deep into the singer’s private letters, many of them never previously published. What she discovered was Joplin’s constant need for approval and validation—what Berg calls “the little girl inside of her” with a permanent sense that she had to prove, especially to her own family, that she truly was somebody, that her desire for freedom and individual expression was leading her toward real accomplishment, not just a rejection of her upbringing. Janis’ unique and ultra-powerful voice was driving her journey, shouting angst, pain and heartbreak from every stage she visited.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Berg searched for the perfect person to read the letters and give voice to Joplin’s innermost feelings. She heard an interview with the celebrated Georgia-born indie rock artist Chan Marshall, who performs under the name Cat Power, on the internet, and instantly thought she found the right reader to convey these difficult emotional experiences.\u003cbr>\n“I was terrified because I didn’t want to hurt Janis,” says Marshall. “She’s not a character, not a cartoon, she was a real young woman with so much heart and feeling. But I was moved by the letters—I was the weirdo, the only person in my family who ever left the South, and they reminded me of letters I wrote to my grandmother in hopes of acknowledgment and validation. I felt parallels.”\u003c/p>\n\u003cp>“When I was reading the last letter,” she continues, “I couldn’t do it. I was so upset, I started bawling. But right at the end, I imagined Janis sitting there, saying ‘Do it, it’s cool, do whatever you want.’ She was there all of a sudden, saying ‘You’re helping me out.’ So I felt that spirit vibe for a second, and I was able to finish.”\u003cbr>\nEven for such a legendary subject, finding archival material was a challenge. It was essential to take a thorough look at Joplin’s early years, Berg felt, to really understand what shaped her character and drove her performances. But documentation of her life before she reached the spotlight was sparse, and the director had to dig deep to find photos, flyers, and newspaper clippings to illustrate Joplin’s high school and college years. \u003c/p>\n\u003cp>Even once Joplin became a star, though, footage could be surprisingly difficult to come by. Many archives have been erased or lost, and even coverage of some of her most celebrated performances was often limited to one camera that wasn’t always focused on the lead singer. Berg’s research, though, turned up some extraordinary, never-before-seen clips, including stunning footage (shot by groundbreaking documentary filmmaker D.A. Pennebaker) of Joplin in the recording studio; a scene of her playing the not-yet-released “Me and Bobby McGee” for the musicians in the Grateful Dead and the Band on the Festival Express tour; and audio from her triumphant concert at London’s Royal Albert Hall.\u003c/p>\n\u003cp>Eventually, Berg settled on the five most significant performances—including Joplin’s break through at the Monterey Pop Festival and her set at Woodstock, which she considered one of her worst appearances—to establish the building blocks for the narrative. The edit was challenging as it was solely based on the archive, and since she wanted the film to be from Janis’ perspective, Berg had to make difficult decisions on omitting stories that had no visuals to accompany them. But the sole goal of the edit was to keep Janis’ world feeling small and real and three-dimensional. \u003c/p>\n\u003cp>Along the way, Berg also discovered Joplin’s remarkable rebirth late in her life, when she kicked heroin, found a new romance with a man her friends all believed was the right guy for her, and created her finest album, Pearl. For the first time, Janis could see a real future for herself as an artist—until she slipped and took a final, fateful shot of the drug that killed her in 1971, at the age of 27.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Janis is huge in our collective memory,” says Chan Marshall. “People still listen to her voice and feel that happiness—it’s like a shotgun blast to your chakras.”\u003cbr>\nJanis: Little Girl Blue reminds us of Joplin’s incomparable musical power. More importantly, though, it reveals for the first time the woman behind that voice, the conflicted and fragile visionary who forever transformed the image of and the possibilities for women in rock and roll, and beyond.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1159,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 13
},
"modified": 1705044459,
"excerpt": "In 2007, soon after the release of her acclaimed documentary \u003cem>Deliver Us from Evil\u003c/em>, Amy Berg was approached by the estate of Janis Joplin with the idea of making a film about the iconic singer.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "In 2007, soon after the release of her acclaimed documentary Deliver Us from Evil, Amy Berg was approached by the estate of Janis Joplin with the idea of making a film about the iconic singer.",
"title": "The Making of 'Janis: Little Girl Blue' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The Making of 'Janis: Little Girl Blue'",
"datePublished": "2016-04-26T17:48:45-07:00",
"dateModified": "2024-01-11T23:27:39-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "the-making-of-janis-little-girl-blue",
"status": "publish",
"sticky": false,
"path": "/arts/11528602/the-making-of-janis-little-girl-blue",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2007, soon after the release of her acclaimed documentary \u003cem>Deliver Us from Evil\u003c/em>, Amy Berg was approached by the estate of Janis Joplin with the idea of making a film about the iconic singer. A lifelong fan, Academy Award-nominated Berg immediately jumped at the opportunity; though Joplin is perhaps the most influential female vocalist in rock & roll history, no one had ever explored her story on film.\u003c/p>\n\u003cp>Eight years later, Berg has completed \u003cem>Janis: Little Girl Blue\u003c/em>, an insightful and moving examination of the musician’s complex, tragic life. Using interviews with those closest to Joplin, riveting performance footage, and the singer’s own personal diaries and correspondence, Berg has assembled a layered and revelatory portrait of a misunderstood figure, as shy and vulnerable offstage as she was explosive and aggressive in front of a band.\u003c/p>\n\u003cp>Soon after meeting with the Joplin family, Berg started gathering interviews whenever she could—on her first visit to Janis’ hometown of Port Arthur, Texas, she filmed a crucial conversation with one of the singer’s high school friends, opening up the notion of Joplin as a woman who never escaped the scars from her painful adolescence as an ambitious outcast in a typical Southern town. For two years, the director continued to shoot with sources across the country, from Joplin’s musical colleagues in San Francisco to her friend and frequent interviewer, television host Dick Cavett.\u003c/p>\n\u003cp>But the project lost momentum, and Berg spent several years trying to get the film back on track. Eventually she met with Oscar-winning filmmaker Alex Gibney (Taxi to the Dark Side, Enron: The Smartest Guys in the Room), who has worked on numerous music-related documentaries over the years, even touching on eras and communities close to Joplin in his films about the blues (Lightning in a Bottle), Ken Kesey’s Merry Pranksters (Magic Trip), and Hunter S. Thompson (Gonzo). Gibney agreed to join the Joplin project as a producer, and put together the funding and resources that Berg required to get the film made.\u003c/p>\n\u003cp>The director determined that she wanted the movie to be told as much as possible in Joplin’s own words, so she dove deep into the singer’s private letters, many of them never previously published. What she discovered was Joplin’s constant need for approval and validation—what Berg calls “the little girl inside of her” with a permanent sense that she had to prove, especially to her own family, that she truly was somebody, that her desire for freedom and individual expression was leading her toward real accomplishment, not just a rejection of her upbringing. Janis’ unique and ultra-powerful voice was driving her journey, shouting angst, pain and heartbreak from every stage she visited.\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>Berg searched for the perfect person to read the letters and give voice to Joplin’s innermost feelings. She heard an interview with the celebrated Georgia-born indie rock artist Chan Marshall, who performs under the name Cat Power, on the internet, and instantly thought she found the right reader to convey these difficult emotional experiences.\u003cbr>\n“I was terrified because I didn’t want to hurt Janis,” says Marshall. “She’s not a character, not a cartoon, she was a real young woman with so much heart and feeling. But I was moved by the letters—I was the weirdo, the only person in my family who ever left the South, and they reminded me of letters I wrote to my grandmother in hopes of acknowledgment and validation. I felt parallels.”\u003c/p>\n\u003cp>“When I was reading the last letter,” she continues, “I couldn’t do it. I was so upset, I started bawling. But right at the end, I imagined Janis sitting there, saying ‘Do it, it’s cool, do whatever you want.’ She was there all of a sudden, saying ‘You’re helping me out.’ So I felt that spirit vibe for a second, and I was able to finish.”\u003cbr>\nEven for such a legendary subject, finding archival material was a challenge. It was essential to take a thorough look at Joplin’s early years, Berg felt, to really understand what shaped her character and drove her performances. But documentation of her life before she reached the spotlight was sparse, and the director had to dig deep to find photos, flyers, and newspaper clippings to illustrate Joplin’s high school and college years. \u003c/p>\n\u003cp>Even once Joplin became a star, though, footage could be surprisingly difficult to come by. Many archives have been erased or lost, and even coverage of some of her most celebrated performances was often limited to one camera that wasn’t always focused on the lead singer. Berg’s research, though, turned up some extraordinary, never-before-seen clips, including stunning footage (shot by groundbreaking documentary filmmaker D.A. Pennebaker) of Joplin in the recording studio; a scene of her playing the not-yet-released “Me and Bobby McGee” for the musicians in the Grateful Dead and the Band on the Festival Express tour; and audio from her triumphant concert at London’s Royal Albert Hall.\u003c/p>\n\u003cp>Eventually, Berg settled on the five most significant performances—including Joplin’s break through at the Monterey Pop Festival and her set at Woodstock, which she considered one of her worst appearances—to establish the building blocks for the narrative. The edit was challenging as it was solely based on the archive, and since she wanted the film to be from Janis’ perspective, Berg had to make difficult decisions on omitting stories that had no visuals to accompany them. But the sole goal of the edit was to keep Janis’ world feeling small and real and three-dimensional. \u003c/p>\n\u003cp>Along the way, Berg also discovered Joplin’s remarkable rebirth late in her life, when she kicked heroin, found a new romance with a man her friends all believed was the right guy for her, and created her finest album, Pearl. For the first time, Janis could see a real future for herself as an artist—until she slipped and took a final, fateful shot of the drug that killed her in 1971, at the age of 27.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Janis is huge in our collective memory,” says Chan Marshall. “People still listen to her voice and feel that happiness—it’s like a shotgun blast to your chakras.”\u003cbr>\nJanis: Little Girl Blue reminds us of Joplin’s incomparable musical power. More importantly, though, it reveals for the first time the woman behind that voice, the conflicted and fragile visionary who forever transformed the image of and the possibilities for women in rock and roll, and beyond.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11528602/the-making-of-janis-little-girl-blue",
"authors": [
"92"
],
"categories": [
"arts_74",
"arts_69"
],
"tags": [
"arts_1254",
"arts_1119"
],
"affiliates": [
"arts_148"
],
"featImg": "arts_11528700",
"label": "arts_148"
},
"arts_11517243": {
"type": "posts",
"id": "arts_11517243",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11517243",
"score": null,
"sort": [
1461535257000
]
},
"guestAuthors": [],
"slug": "on-the-right-track-conversation-with-run-run-away-filmmaker-ruby-rae-drake",
"title": "On the Right Track? Conversation with 'Run, Run Away' Filmmaker Ruby Rae Drake",
"publishDate": 1461535257,
"format": "standard",
"headTitle": "On the Right Track? Conversation with ‘Run, Run Away’ Filmmaker Ruby Rae Drake | KQED",
"labelTerm": {},
"content": "\u003ch3>Don’t forget to subscribe to our \u003ca target=\"_blank\" href=\"http://www.bit.ly/FSSYouTube\" rel=\"noopener\">YouTube channel\u003c/a>!\u003c/h3>\n\u003cp>\u003cem>The following is a guest post from De Anza College film student Alyssa Valdez.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>Lea’s life is like a 10-yard dash. \u003cem>Run, Run Away\u003c/em> is the evolving journey of a track star who is forced to evaluate what she’s running away from or, \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2016/04/22/on-the-right-track-conversation-with-run-run-away-filmmaker-ruby-rae-drake/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2016/04/22/on-the-right-track-conversation-with-run-run-away-filmmaker-ruby-rae-drake/\" target=\"_blank\" title=\"On the Right Track? Conversation with “Run, Run Away” Filmmaker Ruby Rae Drake\" rel=\"noopener\">Films School Shorts News\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"blocks": [],
"excerpt": "Run, Run Away is the evolving journey of a track star who is forced to evaluate what she’s running away from or, perhaps, what she’s running toward.",
"status": "publish",
"parent": 0,
"modified": 1726704767,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 5,
"wordCount": 68
},
"headData": {
"title": "On the Right Track? Conversation with 'Run, Run Away' Filmmaker Ruby Rae Drake | KQED",
"description": "Run, Run Away is the evolving journey of a track star who is forced to evaluate what she’s running away from or, perhaps, what she’s running toward.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "On the Right Track? Conversation with 'Run, Run Away' Filmmaker Ruby Rae Drake",
"datePublished": "2016-04-24T15:00:57-07:00",
"dateModified": "2024-09-18T17:12:47-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"rssmiSourceLink": "http://blogs.kqed.org/filmschoolshorts/2016/04/22/on-the-right-track-conversation-with-run-run-away-filmmaker-ruby-rae-drake/",
"sticky": false,
"path": "/arts/11517243/on-the-right-track-conversation-with-run-run-away-filmmaker-ruby-rae-drake",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ch3>Don’t forget to subscribe to our \u003ca target=\"_blank\" href=\"http://www.bit.ly/FSSYouTube\" rel=\"noopener\">YouTube channel\u003c/a>!\u003c/h3>\n\u003cp>\u003cem>The following is a guest post from De Anza College film student Alyssa Valdez.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>Lea’s life is like a 10-yard dash. \u003cem>Run, Run Away\u003c/em> is the evolving journey of a track star who is forced to evaluate what she’s running away from or, \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2016/04/22/on-the-right-track-conversation-with-run-run-away-filmmaker-ruby-rae-drake/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2016/04/22/on-the-right-track-conversation-with-run-run-away-filmmaker-ruby-rae-drake/\" target=\"_blank\" title=\"On the Right Track? Conversation with “Run, Run Away” Filmmaker Ruby Rae Drake\" rel=\"noopener\">Films School Shorts News\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11517243/on-the-right-track-conversation-with-run-run-away-filmmaker-ruby-rae-drake",
"authors": [
"8652"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_1007"
],
"featImg": "arts_11521212",
"label": "arts"
},
"news_10937296": {
"type": "posts",
"id": "news_10937296",
"meta": {
"index": "posts_1716263798",
"site": "news",
"id": "10937296",
"score": null,
"sort": [
1461481554000
]
},
"parent": 0,
"labelTerm": {
"site": "news",
"term": 72
},
"blocks": [],
"publishDate": 1461481554,
"format": "image",
"disqusTitle": "Filmmaker Spends 7 Years Documenting Life Inside Soledad Prison",
"title": "Filmmaker Spends 7 Years Documenting Life Inside Soledad Prison",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>Usually, when journalists try to get into a prison to talk to inmates, we’re lucky if we’re able to get a few minutes for an interview with a “model prisoner.” But \u003ca href=\"https://backbonemediaorg.wordpress.com/about/noel-schwerin-bio/\">Noel Schwerin\u003c/a> talked her way into spending seven years filming inside Soledad prison, with unprecedented access to both inmates and prison staff.\u003c/p>\n\u003cp>Schwerin’s documentary, “\u003ca href=\"http://www.idealworldfilm.org/#new-page-3\">In An Ideal World\u003c/a>,\" brings us an intimate portrait from inside inmates’ cells, meetings between the warden and prisoners, and the halls of the prison, even during lockdowns. Its first national broadcast debuts Tuesday, April 26, on the public television show \u003ca href=\"http://worldchannel.org/programs/america-reframed/\">\"America Reframed.\"\u003c/a>\u003c/p>\n\u003cp>Schwerin says getting access was all about building trust with both inmates and prison staff.\u003c/p>\n\u003cp>“Soledad is an old-school prison. It’s not used to the kind of coverage and attention that a place like San Quentin gets. Nobody goes inside, nobody listens to these people,” Schwerin says. “I think people on both sides of the prison bars are pretty marginalized, so having their voice really carefully listened to, they really appreciated that.”\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/260434809\" 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>The \u003ca href=\"http://www.kqed.org/tv/programs/index.jsp?pgmid=21234\">film focuses\u003c/a> on three main characters: \u003cstrong>John Piccirillo\u003c/strong>, a leader for the white prisoners, who ends up participating in a mixed-race workshop on violence prevention; \u003cstrong>Sam Lewis\u003c/strong>, an African-American inmate who forges an unexpected friendship with Piccirillo; and \u003cstrong>Ben Curry\u003c/strong>, the warden, who’s surprisingly candid in his reflections on working in the prison system for decades.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"It’s impossible to spend time at a prison without getting an incredible sense of the enormous humanity behind bars,” says Schwerin. “That was a big part of what I was interested in. What does it take to maintain that balance of human beings on both sides of the bars? It was a way of bringing people past the fear and the stereotypes.”\u003c/p>\n\u003cfigure id=\"attachment_10937573\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-10937573 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/PrisonersWorkshop-800x600.jpg\" alt=\"Inmates including Sam Lewis (second from left) participate in an alternatives to violence workshop at Soledad Prison.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/04/PrisonersWorkshop-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/PrisonersWorkshop-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/PrisonersWorkshop.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/PrisonersWorkshop-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/PrisonersWorkshop-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Inmates, including Sam Lewis, (second from left) participate in an alternatives to violence workshop at Soledad Prison. \u003ccite>(Photo: Alison Raaum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Schwerin says she didn't encounter many obstacles as a white woman filming in the prison, despite the fact that the setting was so male-dominated and racially charged.\u003c/p>\n\u003cp>“Particularly with the lifers, there’s a deep respect for women, maybe older women like me,” says Schwerin. “Women tend to be the last ones to leave them, their mothers, sisters, daughters, when everybody else falls away over the years.\u003c/p>\n\u003cp>\"I think they were impressed that I could get in and keep coming in. I wasn’t just disappearing, I really wanted to know what they had to say, and what was not being said. There’s a deep respect for women who want to listen.”\u003c/p>\n\u003cp>The challenges of filming inside, says Schwerin, were more mundane: not being able to schedule interviews in advance or control the lighting for them.\u003c/p>\n\u003cp>Schwerin began filming soon after a U.S. \u003ca href=\"http://www.scotusblog.com/2005/02/racial-segregation-in-prison-may-be-curbed/\">Supreme Court settlement\u003c/a> in 2005 ordered California to stop housing prisoners in \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=93336656\">racially segregated cells.\u003c/a> The film shows how resistant both prison staff and inmates were to housing inmates of different races together.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://player.vimeo.com/video/162981039\" width=\"800\" height=\"360\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>“As soon as you walk into prison, you’re struck by the unapologetic display of power,” says Schwerin. \"So how do you maintain power like that? In prison, it’s done along racial lines. We can all agree that separate is not equal, but when it’s been part of an institutional culture for 40 years, it’s become a tool of survival. It’s more complicated than ‘these are the good guys, these are the bad guys.’ ”\u003c/p>\n\u003cp>Tuesday’s broadcast marks the film’s national debut, but Schwerin has shown the film at festivals and community screenings attended by both former prisoners and prison staff.\u003c/p>\n\u003cp>“It has allowed for some remarkable conversations. One of the lieutenants in the film brought his family to a screening. They wanted to see what it looked like inside, because he’d been working there for 40 years. Within 10 minutes of watching the film, the entire family was crying,” recalls Schwerin.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I had family members who said, ‘I wish I’d seen your film before my husband came home. I would have so much better understood the challenges he was facing when he got out.’ The film seems to allow for a conversation which otherwise could be extremely polarized.”\u003c/p>\n\n",
"disqusIdentifier": "10937296 http://ww2.kqed.org/news/?p=10937296",
"disqusUrl": "https://ww2.kqed.org/news/2016/04/24/filmmaker-spends-7-years-documenting-life-inside-soledad-prison/",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 789,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 19
},
"modified": 1461628974,
"excerpt": "Noel Schwerin's unusual access allowed her to document life inside cells, prison offices and at meetings of a racially mixed violence prevention group in one of California's most notorious prisons.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Noel Schwerin's unusual access allowed her to document life inside cells, prison offices and at meetings of a racially mixed violence prevention group in one of California's most notorious prisons.",
"title": "Filmmaker Spends 7 Years Documenting Life Inside Soledad Prison | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "NewsArticle",
"headline": "Filmmaker Spends 7 Years Documenting Life Inside Soledad Prison",
"datePublished": "2016-04-24T00:05:54-07:00",
"dateModified": "2016-04-25T17:02:54-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png",
"isAccessibleForFree": "True",
"publisher": {
"@type": "NewsMediaOrganization",
"@id": "https://www.kqed.org/#organization",
"name": "KQED",
"logo": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png",
"url": "https://www.kqed.org",
"sameAs": [
"https://www.facebook.com/KQED",
"https://twitter.com/KQED",
"https://www.instagram.com/kqed/",
"https://www.tiktok.com/@kqedofficial",
"https://www.linkedin.com/company/kqed",
"https://www.youtube.com/channel/UCeC0IOo7i1P_61zVUWbJ4nw"
]
}
}
},
"guestAuthors": [],
"slug": "filmmaker-spends-7-years-documenting-life-inside-soledad-prison",
"status": "publish",
"path": "/news/10937296/filmmaker-spends-7-years-documenting-life-inside-soledad-prison",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Usually, when journalists try to get into a prison to talk to inmates, we’re lucky if we’re able to get a few minutes for an interview with a “model prisoner.” But \u003ca href=\"https://backbonemediaorg.wordpress.com/about/noel-schwerin-bio/\">Noel Schwerin\u003c/a> talked her way into spending seven years filming inside Soledad prison, with unprecedented access to both inmates and prison staff.\u003c/p>\n\u003cp>Schwerin’s documentary, “\u003ca href=\"http://www.idealworldfilm.org/#new-page-3\">In An Ideal World\u003c/a>,\" brings us an intimate portrait from inside inmates’ cells, meetings between the warden and prisoners, and the halls of the prison, even during lockdowns. Its first national broadcast debuts Tuesday, April 26, on the public television show \u003ca href=\"http://worldchannel.org/programs/america-reframed/\">\"America Reframed.\"\u003c/a>\u003c/p>\n\u003cp>Schwerin says getting access was all about building trust with both inmates and prison staff.\u003c/p>\n\u003cp>“Soledad is an old-school prison. It’s not used to the kind of coverage and attention that a place like San Quentin gets. Nobody goes inside, nobody listens to these people,” Schwerin says. “I think people on both sides of the prison bars are pretty marginalized, so having their voice really carefully listened to, they really appreciated that.”\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/260434809&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/260434809'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The \u003ca href=\"http://www.kqed.org/tv/programs/index.jsp?pgmid=21234\">film focuses\u003c/a> on three main characters: \u003cstrong>John Piccirillo\u003c/strong>, a leader for the white prisoners, who ends up participating in a mixed-race workshop on violence prevention; \u003cstrong>Sam Lewis\u003c/strong>, an African-American inmate who forges an unexpected friendship with Piccirillo; and \u003cstrong>Ben Curry\u003c/strong>, the warden, who’s surprisingly candid in his reflections on working in the prison system for decades.\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>\"It’s impossible to spend time at a prison without getting an incredible sense of the enormous humanity behind bars,” says Schwerin. “That was a big part of what I was interested in. What does it take to maintain that balance of human beings on both sides of the bars? It was a way of bringing people past the fear and the stereotypes.”\u003c/p>\n\u003cfigure id=\"attachment_10937573\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-10937573 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/PrisonersWorkshop-800x600.jpg\" alt=\"Inmates including Sam Lewis (second from left) participate in an alternatives to violence workshop at Soledad Prison.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/04/PrisonersWorkshop-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/PrisonersWorkshop-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/PrisonersWorkshop.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/PrisonersWorkshop-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/PrisonersWorkshop-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Inmates, including Sam Lewis, (second from left) participate in an alternatives to violence workshop at Soledad Prison. \u003ccite>(Photo: Alison Raaum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Schwerin says she didn't encounter many obstacles as a white woman filming in the prison, despite the fact that the setting was so male-dominated and racially charged.\u003c/p>\n\u003cp>“Particularly with the lifers, there’s a deep respect for women, maybe older women like me,” says Schwerin. “Women tend to be the last ones to leave them, their mothers, sisters, daughters, when everybody else falls away over the years.\u003c/p>\n\u003cp>\"I think they were impressed that I could get in and keep coming in. I wasn’t just disappearing, I really wanted to know what they had to say, and what was not being said. There’s a deep respect for women who want to listen.”\u003c/p>\n\u003cp>The challenges of filming inside, says Schwerin, were more mundane: not being able to schedule interviews in advance or control the lighting for them.\u003c/p>\n\u003cp>Schwerin began filming soon after a U.S. \u003ca href=\"http://www.scotusblog.com/2005/02/racial-segregation-in-prison-may-be-curbed/\">Supreme Court settlement\u003c/a> in 2005 ordered California to stop housing prisoners in \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=93336656\">racially segregated cells.\u003c/a> The film shows how resistant both prison staff and inmates were to housing inmates of different races together.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://player.vimeo.com/video/162981039\" width=\"800\" height=\"360\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>“As soon as you walk into prison, you’re struck by the unapologetic display of power,” says Schwerin. \"So how do you maintain power like that? In prison, it’s done along racial lines. We can all agree that separate is not equal, but when it’s been part of an institutional culture for 40 years, it’s become a tool of survival. It’s more complicated than ‘these are the good guys, these are the bad guys.’ ”\u003c/p>\n\u003cp>Tuesday’s broadcast marks the film’s national debut, but Schwerin has shown the film at festivals and community screenings attended by both former prisoners and prison staff.\u003c/p>\n\u003cp>“It has allowed for some remarkable conversations. One of the lieutenants in the film brought his family to a screening. They wanted to see what it looked like inside, because he’d been working there for 40 years. Within 10 minutes of watching the film, the entire family was crying,” recalls Schwerin.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I had family members who said, ‘I wish I’d seen your film before my husband came home. I would have so much better understood the challenges he was facing when he got out.’ The film seems to allow for a conversation which otherwise could be extremely polarized.”\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/news/10937296/filmmaker-spends-7-years-documenting-life-inside-soledad-prison",
"authors": [
"254"
],
"programs": [
"news_72"
],
"categories": [
"news_223",
"news_6188"
],
"tags": [
"news_19374",
"news_1471",
"news_17286",
"news_17041"
],
"featImg": "news_10937563",
"label": "news_72"
},
"arts_11511267": {
"type": "posts",
"id": "arts_11511267",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11511267",
"score": null,
"sort": [
1461423612000
]
},
"guestAuthors": [],
"slug": "filming-in-30-below-conversation-with-in-attlas-tracks-filmmaker-catharine-axley",
"title": "Filming in 30 Below: Conversation with 'In Attla’s Tracks' Filmmaker Catharine Axley",
"publishDate": 1461423612,
"format": "standard",
"headTitle": "Filming in 30 Below: Conversation with ‘In Attla’s Tracks’ Filmmaker Catharine Axley | KQED",
"labelTerm": {},
"content": "\u003ch3>Don’t forget to subscribe to our \u003ca target=\"_blank\" href=\"http://www.bit.ly/FSSYouTube\" rel=\"noopener\">YouTube channel\u003c/a>!\u003c/h3>\n\u003cp>\u003cem>The following is a guest post from De Anza College film student Chris Castro.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>Legendary dog musher George Attla maintained a racing career spanning over five decades with numerous championship titles, and is generally recognized as the greatest sprint sled dog racer \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2016/04/20/filming-in-30-below-conversation-with-in-attlas-tracks-filmmaker-catharine-axley/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2016/04/20/filming-in-30-below-conversation-with-in-attlas-tracks-filmmaker-catharine-axley/\" target=\"_blank\" title=\"Filming in 30 Below: Conversation with “In Attla’s Tracks” Filmmaker Catharine Axley\" rel=\"noopener\">Films School Shorts News\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"blocks": [],
"excerpt": "'In Attla’s Tracks' will screen as part of the 59th San Francisco International Film Festival’s Shorts 1 program. ",
"status": "publish",
"parent": 0,
"modified": 1726704772,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 5,
"wordCount": 62
},
"headData": {
"title": "Filming in 30 Below: Conversation with 'In Attla’s Tracks' Filmmaker Catharine Axley | KQED",
"description": "'In Attla’s Tracks' will screen as part of the 59th San Francisco International Film Festival’s Shorts 1 program. ",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Filming in 30 Below: Conversation with 'In Attla’s Tracks' Filmmaker Catharine Axley",
"datePublished": "2016-04-23T08:00:12-07:00",
"dateModified": "2024-09-18T17:12:52-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"rssmiSourceLink": "http://blogs.kqed.org/filmschoolshorts/2016/04/20/filming-in-30-below-conversation-with-in-attlas-tracks-filmmaker-catharine-axley/",
"sticky": false,
"path": "/arts/11511267/filming-in-30-below-conversation-with-in-attlas-tracks-filmmaker-catharine-axley",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ch3>Don’t forget to subscribe to our \u003ca target=\"_blank\" href=\"http://www.bit.ly/FSSYouTube\" rel=\"noopener\">YouTube channel\u003c/a>!\u003c/h3>\n\u003cp>\u003cem>The following is a guest post from De Anza College film student Chris Castro.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>Legendary dog musher George Attla maintained a racing career spanning over five decades with numerous championship titles, and is generally recognized as the greatest sprint sled dog racer \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2016/04/20/filming-in-30-below-conversation-with-in-attlas-tracks-filmmaker-catharine-axley/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2016/04/20/filming-in-30-below-conversation-with-in-attlas-tracks-filmmaker-catharine-axley/\" target=\"_blank\" title=\"Filming in 30 Below: Conversation with “In Attla’s Tracks” Filmmaker Catharine Axley\" rel=\"noopener\">Films School Shorts News\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11511267/filming-in-30-below-conversation-with-in-attlas-tracks-filmmaker-catharine-axley",
"authors": [
"8652"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_989"
],
"featImg": "arts_11511397",
"label": "arts"
},
"arts_11514451": {
"type": "posts",
"id": "arts_11514451",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11514451",
"score": null,
"sort": [
1461337234000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1461337234,
"format": "standard",
"title": "Six Picks for SFIFF Films Bringing Much-Needed Diversity to the Screen",
"headTitle": "Six Picks for SFIFF Films Bringing Much-Needed Diversity to the Screen | KQED",
"content": "\u003cp>Tired of watching movies about white guys, directed by other white guys? Me too.\u003c/p>\n\u003cp>[contextly_sidebar id=”H7pwdpj9ibZCkB25sBRavUbr2KiRUiTp”] The bad news is, along with this year’s \u003ca href=\"http://ww2.kqed.org/arts/2016/02/26/the-bay-area-talks-back-to-hollywood/\" target=\"_blank\" rel=\"noopener\">#OscarsSoWhite\u003c/a> (version 2.0), yet \u003ca href=\"http://annenberg.usc.edu/pages/~/media/MDSCI/CARDReport%20FINAL%2022216.ashx\" target=\"_blank\" rel=\"noopener\">another report\u003c/a> from the USC Annenberg School for Communication & Journalism found film and television sorely lacking a representative percentage of women, people of color and LGBT characters. Numbers get even more dismal when the report looks at those behind the camera.\u003c/p>\n\u003cp>The good news is, the 59th \u003ca href=\"http://www.sffs.org/sfiff59\" target=\"_blank\" rel=\"noopener\">San Francisco International Film Festival\u003c/a> opened April 21 with plenty of viewing options to alleviate our aforementioned fatigue. We might not run production companies or casting agencies, but we do have the power of our wallets. So if you choose to spend some of your hard-earned cash on an SFIFF screening over the next two weeks, here are a few films that actually pass the \u003ca href=\"http://ww2.kqed.org/arts/2015/09/09/bechdel-test-gets-its-own-movie-night-at-the-new-parkway/\" target=\"_blank\" rel=\"noopener\">Bechdel Test\u003c/a>, star people of color and/or in some way more accurately represent the people watching movies these days.\u003c/p>\n\u003cfigure id=\"attachment_11514590\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11514590\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Fits_03_400-400x286.jpg\" alt=\"A scene from Anna Rose Holmer's 'The Fits.'\" width=\"400\" height=\"286\">\u003cfigcaption class=\"wp-caption-text\">A scene from Anna Rose Holmer’s ‘The Fits.’ \u003ccite>(Courtesy of San Francisco International Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>\u003ci>\u003ca href=\"http://www.sffs.org/sfiff59/films/the-fits#.VxlGX_krKHs\" target=\"_blank\" rel=\"noopener\">The Fits\u003c/a>\u003c/i>\u003c/h3>\n\u003ch5>April 29, 6:15pm, Alamo\u003cbr>\nMay 2, 9:15pm, Alamo\u003c/h5>\n\u003cp>This debut film from director Anna Rose Homer centers on Toni, a young tomboy trained in boxing but trying to find her place in a competitive dance team. When a mysterious illness begins affecting the older dancers — the eponymous “fits” — Homer captures the girls’ movements, both graceful and violent, with formal framing and moody abstraction. As someone who once searched diligently for films set in Cincinnati and found the pickings slim (see the 1993 inline skating-themed \u003ci>\u003ca href=\"https://www.youtube.com/watch?v=Mz2CMDCD3WQ\" target=\"_blank\" rel=\"noopener\">Airborne\u003c/a>\u003c/i>), it’s nice to see that hilly and complicated city get screen time.\u003c/p>\n\u003c/div>\n\u003cfigure id=\"attachment_11514582\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11514582\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/As_I_Open_My_Eyes_02_400-400x216.jpg\" alt=\"A scene from Leyla Bouzid's 'As I Open My Eyes.'\" width=\"400\" height=\"216\">\u003cfigcaption class=\"wp-caption-text\">A scene from Leyla Bouzid’s ‘As I Open My Eyes.’ \u003ccite>(Courtesy of San Francisco International Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>\u003ci>\u003ca href=\"http://www.sffs.org/sfiff59/films/as-i-open-my-eyes#.VxlG3_krKHs\" target=\"_blank\" rel=\"noopener\">As I Open My Eyes\u003c/a>\u003c/i>\u003c/h3>\n\u003ch5>April 26, 9pm, Roxie\u003c/h5>\n\u003cp>Next up, two films focusing on young Middle Eastern women finding their voices (literally) offer portraits of aspiring musicians in repressive patriarchal societies. Farah of Layla Bouzid’s narrative feature \u003ci>As I Open My Eyes\u003c/i> “just wants to sing.” Despite pressure from her mother to study medicine, she’d rather perform politically-tinged music with her male bandmates. The setting is Tunis circa 2010, during the waning days of Zine El Abidine Ben Ali’s presidency as the Arab Spring approaches.\u003c/p>\n\u003c/div>\n\u003cfigure id=\"attachment_11514586\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11514586\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Sonita_03_400-400x300.jpg\" alt=\"A scene from Rokhsareh Ghaem Maghami's 'Sonita.'\" width=\"400\" height=\"300\">\u003cfigcaption class=\"wp-caption-text\">A scene from Rokhsareh Ghaem Maghami’s ‘Sonita.’ \u003ccite>(Courtesy of San Francisco International Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>\u003ci>\u003ca href=\"http://www.sffs.org/sfiff59/films/sonita#.VxlG9PkrKHs\" target=\"_blank\" rel=\"noopener\">Sonita\u003c/a>\u003c/i>\u003c/h3>\n\u003ch5>April 27, 6:15pm, Alamo\u003cbr>\nApril 29, 8:45pm, BAMPFA\u003c/h5>\n\u003cp>In Robksareh Ghaem Maghami’s documentary \u003ci>Sonita\u003c/i>, the film’s subject is an Afghan refugee in a Tehran homeless shelter similarly at odds with her surroundings. She loves hip-hop, idolizes Rihanna and defiantly opposes her mother’s demands that she marry so her “bride price” can buy Sonita’s brother a wife of his own. An audience and grand jury favorite at Sundance, I spoiled the ending for myself while reading about this film, so I’ll stop here.\u003c/p>\n\u003c/div>\n\u003cfigure id=\"attachment_11514585\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11514585\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Radio_Dreams_02_400-400x224.jpg\" alt=\"A scene from Babak Jalali's 'Radio Dreams.'\" width=\"400\" height=\"224\">\u003cfigcaption class=\"wp-caption-text\">A scene from Babak Jalali’s ‘Radio Dreams.’ \u003ccite>(Courtesy of San Francisco International Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>\u003ci>\u003ca href=\"http://www.sffs.org/sfiff59/films/radio-dreams#.VxlHePkrKHs\" target=\"_blank\" rel=\"noopener\">Radio Dreams\u003c/a>\u003c/i>\u003c/h3>\n\u003ch5>April 28, 9pm, Victoria (Kabul Dreams performs live after screening)\u003cbr>\nApril 29, 6:30pm, BAMPFA\u003c/h5>\n\u003cp>Returning stateside, two films depict the Bay Area through the eyes of transplants. Babak Jalil’s \u003cem>Radio Dreams\u003c/em> takes place at a San Francisco Farsi-language radio station, where the real-life Afghani band \u003ca href=\"https://www.facebook.com/Kabul-Dreams-162718785677/\" target=\"_blank\" rel=\"noopener\">Kabul Dreams\u003c/a> is scheduled to jam with their heroes: Metallica. Will the idealistic station manager’s hopes for an epic musical meeting of East and West succumb to the realities of running a commercial broadcast? More importantly, will the rock stars even show up?\u003c/p>\n\u003c/div>\n\u003cfigure id=\"attachment_11514587\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11514587\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/The_Fixer_03_400-400x168.jpg\" alt=\"A scene from Ian Olds' 'The Fixer.'\" width=\"400\" height=\"168\">\u003cfigcaption class=\"wp-caption-text\">A scene from Ian Olds’ ‘The Fixer.’ \u003ccite>(Courtesy of San Francisco International Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>\u003ci>\u003ca href=\"http://www.sffs.org/sfiff59/films/the-fixer#.VxlHNvkrKHs\" target=\"_blank\" rel=\"noopener\">The Fixer\u003c/a>\u003c/i>\u003c/h3>\n\u003ch5>April 24, 8:30pm, Castro\u003c/h5>\n\u003cp>In Ian Olds’ \u003ci>The Fixer\u003c/i>, an Afghani man relocates to rural Sonoma Country as an aspiring journalist. Sidelined to a mere internship at a failing newspaper, he pursues what may or may not be a murder, confused to discover that even though he’s experienced the dangers of war, intricate and contradictory backwoods relationships are a far more perplexing dynamic.\u003c/p>\n\u003c/div>\n\u003cfigure id=\"attachment_11514589\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11514589\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Watermelon_Woman_01_400-400x300.jpg\" alt=\"A scene from Cheryl Dunye's 'The Watermelon Woman.'\" width=\"400\" height=\"300\">\u003cfigcaption class=\"wp-caption-text\">A scene from Cheryl Dunye’s ‘The Watermelon Woman.’ \u003ccite>(Courtesy of San Francisco International Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>\u003ci>\u003ca href=\"http://www.sffs.org/sfiff59/films/the-watermelon-woman#.VxlHifkrKHs\" target=\"_blank\" rel=\"noopener\">The Watermelon Woman\u003c/a>\u003c/i>\u003c/h3>\n\u003ch5>May 1, 2pm, Castro\u003c/h5>\n\u003cp>SFIFF isn’t just about the new and notable: This landmark film of New Queer Cinema is 20 years old, newly restored and screening digitally. Director Cheryl Dunye (responsible for spearheading the New Parkway’s ongoing \u003ca href=\"http://ww2.kqed.org/arts/2015/09/09/bechdel-test-gets-its-own-movie-night-at-the-new-parkway/\" target=\"_blank\" rel=\"noopener\">Bechdel Test Movie Night\u003c/a>) plays Cheryl, video store clerk and aspiring filmmaker, who starts investigating Fae Richards, a black lesbian actress of the 1930s and ’40s whose story surprisingly parallels much of Cheryl’s own.\u003c/p>\n\u003c/div>\n\u003cp>Like my colleague \u003ca href=\"http://ww2.kqed.org/arts/2016/03/29/sfiff-lineup-announced-the-12-hottest-tickets-to-snag/\" target=\"_blank\" rel=\"noopener\">Michael Fox\u003c/a>, I’m having trouble ending this list, so I’ll throw out a few additional recommendations. For films about the private lives of women, check out \u003ci>\u003ca href=\"http://www.sffs.org/sfiff59/films/mountain#.VxlIQfkrKHs\" target=\"_blank\" rel=\"noopener\">Mountain\u003c/a>\u003c/i>, Yaelle Kayam’s debut feature about a lonely Orthodox wife in Jerusalem, or \u003ci>\u003ca href=\"http://www.sffs.org/sfiff59/films/happy-hour#.VxlIUvkrKHs\" target=\"_blank\" rel=\"noopener\">Happy Hour\u003c/a>\u003c/i>, a decidedly not-hour-long movie from Ryûsuke Hamaguchi about four friends in Kobe, Japan.\u003c/p>\n\u003cfigure id=\"attachment_11514583\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11514583\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Check_It_03_400-400x225.jpg\" alt=\"A scene from Dana Flor and Toby Oppenheimer's 'Check It.'\" width=\"400\" height=\"225\">\u003cfigcaption class=\"wp-caption-text\">A scene from Dana Flor and Toby Oppenheimer’s ‘Check It.’ \u003ccite>(Courtesy of San Francisco International Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the contemporary inheritors of Dunye’s queer cinema, see \u003ci>\u003ca href=\"http://www.sffs.org/sfiff59/films/the-joneses#.VxlHnPkrKHs\" target=\"_blank\" rel=\"noopener\">The Joneses\u003c/a>\u003c/i>, Moby Longinotto’s documentary about Jheri Jones, a fabulous 73-year-old transgender matriarch, or \u003ci>\u003ca href=\"http://www.sffs.org/sfiff59/films/check-it#.VxlH7vkrKHs\" target=\"_blank\" rel=\"noopener\">Check It\u003c/a>\u003c/i>, the story of gay and trans young people who form a gang in Washington, D.C. to protect themselves, with some of the gang’s members finding paths out of violence in the process.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And for what might be the most surreal film in the festival, look to \u003ci>\u003ca href=\"http://www.sffs.org/sfiff59/films/under-the-sun#.VxlH0PkrKHs\" target=\"_blank\" rel=\"noopener\">Under the Sun\u003c/a>\u003c/i>, Russian filmmaker Vitaly Mansky’s state-sanctioned documentary of a young North Korean girl and her family. As the relationship between the filmmaker and his government handlers breaks down, Mansky trains his camera on the cracks in the\u003cbr>\nfaçade, capturing the edges of scripted moments in this real-life \u003ci>Truman Show\u003c/i> set in Pyongyang.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>The 59th San Francisco International Film Festival\u003c/b> runs through May 5, 2016 at various Bay Area theaters. For tickets and more information visit \u003ca href=\"http://www.sffs.org/sfiff59\" target=\"_blank\" rel=\"noopener\">sffs.org/sfiff59\u003c/a>.\u003c/i>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1097,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 15
},
"modified": 1705044498,
"excerpt": "If you're going to spend some of your hard-earned money on SF's biggest film festival, maybe you want to balance out Hollywood's bland offerings.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "If you're going to spend some of your hard-earned money on SF's biggest film festival, maybe you want to balance out Hollywood's bland offerings.",
"title": "Six Picks for SFIFF Films Bringing Much-Needed Diversity to the Screen | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Six Picks for SFIFF Films Bringing Much-Needed Diversity to the Screen",
"datePublished": "2016-04-22T08:00:34-07:00",
"dateModified": "2024-01-11T23:28:18-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "six-picks-for-sfiff-films-bringing-much-needed-diversity-to-the-screen",
"status": "publish",
"sticky": false,
"path": "/arts/11514451/six-picks-for-sfiff-films-bringing-much-needed-diversity-to-the-screen",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tired of watching movies about white guys, directed by other white guys? Me too.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp> The bad news is, along with this year’s \u003ca href=\"http://ww2.kqed.org/arts/2016/02/26/the-bay-area-talks-back-to-hollywood/\" target=\"_blank\" rel=\"noopener\">#OscarsSoWhite\u003c/a> (version 2.0), yet \u003ca href=\"http://annenberg.usc.edu/pages/~/media/MDSCI/CARDReport%20FINAL%2022216.ashx\" target=\"_blank\" rel=\"noopener\">another report\u003c/a> from the USC Annenberg School for Communication & Journalism found film and television sorely lacking a representative percentage of women, people of color and LGBT characters. Numbers get even more dismal when the report looks at those behind the camera.\u003c/p>\n\u003cp>The good news is, the 59th \u003ca href=\"http://www.sffs.org/sfiff59\" target=\"_blank\" rel=\"noopener\">San Francisco International Film Festival\u003c/a> opened April 21 with plenty of viewing options to alleviate our aforementioned fatigue. We might not run production companies or casting agencies, but we do have the power of our wallets. So if you choose to spend some of your hard-earned cash on an SFIFF screening over the next two weeks, here are a few films that actually pass the \u003ca href=\"http://ww2.kqed.org/arts/2015/09/09/bechdel-test-gets-its-own-movie-night-at-the-new-parkway/\" target=\"_blank\" rel=\"noopener\">Bechdel Test\u003c/a>, star people of color and/or in some way more accurately represent the people watching movies these days.\u003c/p>\n\u003cfigure id=\"attachment_11514590\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11514590\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Fits_03_400-400x286.jpg\" alt=\"A scene from Anna Rose Holmer's 'The Fits.'\" width=\"400\" height=\"286\">\u003cfigcaption class=\"wp-caption-text\">A scene from Anna Rose Holmer’s ‘The Fits.’ \u003ccite>(Courtesy of San Francisco International Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>\u003ci>\u003ca href=\"http://www.sffs.org/sfiff59/films/the-fits#.VxlGX_krKHs\" target=\"_blank\" rel=\"noopener\">The Fits\u003c/a>\u003c/i>\u003c/h3>\n\u003ch5>April 29, 6:15pm, Alamo\u003cbr>\nMay 2, 9:15pm, Alamo\u003c/h5>\n\u003cp>This debut film from director Anna Rose Homer centers on Toni, a young tomboy trained in boxing but trying to find her place in a competitive dance team. When a mysterious illness begins affecting the older dancers — the eponymous “fits” — Homer captures the girls’ movements, both graceful and violent, with formal framing and moody abstraction. As someone who once searched diligently for films set in Cincinnati and found the pickings slim (see the 1993 inline skating-themed \u003ci>\u003ca href=\"https://www.youtube.com/watch?v=Mz2CMDCD3WQ\" target=\"_blank\" rel=\"noopener\">Airborne\u003c/a>\u003c/i>), it’s nice to see that hilly and complicated city get screen time.\u003c/p>\n\u003c/div>\n\u003cfigure id=\"attachment_11514582\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11514582\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/As_I_Open_My_Eyes_02_400-400x216.jpg\" alt=\"A scene from Leyla Bouzid's 'As I Open My Eyes.'\" width=\"400\" height=\"216\">\u003cfigcaption class=\"wp-caption-text\">A scene from Leyla Bouzid’s ‘As I Open My Eyes.’ \u003ccite>(Courtesy of San Francisco International Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>\u003ci>\u003ca href=\"http://www.sffs.org/sfiff59/films/as-i-open-my-eyes#.VxlG3_krKHs\" target=\"_blank\" rel=\"noopener\">As I Open My Eyes\u003c/a>\u003c/i>\u003c/h3>\n\u003ch5>April 26, 9pm, Roxie\u003c/h5>\n\u003cp>Next up, two films focusing on young Middle Eastern women finding their voices (literally) offer portraits of aspiring musicians in repressive patriarchal societies. Farah of Layla Bouzid’s narrative feature \u003ci>As I Open My Eyes\u003c/i> “just wants to sing.” Despite pressure from her mother to study medicine, she’d rather perform politically-tinged music with her male bandmates. The setting is Tunis circa 2010, during the waning days of Zine El Abidine Ben Ali’s presidency as the Arab Spring approaches.\u003c/p>\n\u003c/div>\n\u003cfigure id=\"attachment_11514586\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11514586\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Sonita_03_400-400x300.jpg\" alt=\"A scene from Rokhsareh Ghaem Maghami's 'Sonita.'\" width=\"400\" height=\"300\">\u003cfigcaption class=\"wp-caption-text\">A scene from Rokhsareh Ghaem Maghami’s ‘Sonita.’ \u003ccite>(Courtesy of San Francisco International Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>\u003ci>\u003ca href=\"http://www.sffs.org/sfiff59/films/sonita#.VxlG9PkrKHs\" target=\"_blank\" rel=\"noopener\">Sonita\u003c/a>\u003c/i>\u003c/h3>\n\u003ch5>April 27, 6:15pm, Alamo\u003cbr>\nApril 29, 8:45pm, BAMPFA\u003c/h5>\n\u003cp>In Robksareh Ghaem Maghami’s documentary \u003ci>Sonita\u003c/i>, the film’s subject is an Afghan refugee in a Tehran homeless shelter similarly at odds with her surroundings. She loves hip-hop, idolizes Rihanna and defiantly opposes her mother’s demands that she marry so her “bride price” can buy Sonita’s brother a wife of his own. An audience and grand jury favorite at Sundance, I spoiled the ending for myself while reading about this film, so I’ll stop here.\u003c/p>\n\u003c/div>\n\u003cfigure id=\"attachment_11514585\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11514585\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Radio_Dreams_02_400-400x224.jpg\" alt=\"A scene from Babak Jalali's 'Radio Dreams.'\" width=\"400\" height=\"224\">\u003cfigcaption class=\"wp-caption-text\">A scene from Babak Jalali’s ‘Radio Dreams.’ \u003ccite>(Courtesy of San Francisco International Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>\u003ci>\u003ca href=\"http://www.sffs.org/sfiff59/films/radio-dreams#.VxlHePkrKHs\" target=\"_blank\" rel=\"noopener\">Radio Dreams\u003c/a>\u003c/i>\u003c/h3>\n\u003ch5>April 28, 9pm, Victoria (Kabul Dreams performs live after screening)\u003cbr>\nApril 29, 6:30pm, BAMPFA\u003c/h5>\n\u003cp>Returning stateside, two films depict the Bay Area through the eyes of transplants. Babak Jalil’s \u003cem>Radio Dreams\u003c/em> takes place at a San Francisco Farsi-language radio station, where the real-life Afghani band \u003ca href=\"https://www.facebook.com/Kabul-Dreams-162718785677/\" target=\"_blank\" rel=\"noopener\">Kabul Dreams\u003c/a> is scheduled to jam with their heroes: Metallica. Will the idealistic station manager’s hopes for an epic musical meeting of East and West succumb to the realities of running a commercial broadcast? More importantly, will the rock stars even show up?\u003c/p>\n\u003c/div>\n\u003cfigure id=\"attachment_11514587\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11514587\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/The_Fixer_03_400-400x168.jpg\" alt=\"A scene from Ian Olds' 'The Fixer.'\" width=\"400\" height=\"168\">\u003cfigcaption class=\"wp-caption-text\">A scene from Ian Olds’ ‘The Fixer.’ \u003ccite>(Courtesy of San Francisco International Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>\u003ci>\u003ca href=\"http://www.sffs.org/sfiff59/films/the-fixer#.VxlHNvkrKHs\" target=\"_blank\" rel=\"noopener\">The Fixer\u003c/a>\u003c/i>\u003c/h3>\n\u003ch5>April 24, 8:30pm, Castro\u003c/h5>\n\u003cp>In Ian Olds’ \u003ci>The Fixer\u003c/i>, an Afghani man relocates to rural Sonoma Country as an aspiring journalist. Sidelined to a mere internship at a failing newspaper, he pursues what may or may not be a murder, confused to discover that even though he’s experienced the dangers of war, intricate and contradictory backwoods relationships are a far more perplexing dynamic.\u003c/p>\n\u003c/div>\n\u003cfigure id=\"attachment_11514589\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11514589\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Watermelon_Woman_01_400-400x300.jpg\" alt=\"A scene from Cheryl Dunye's 'The Watermelon Woman.'\" width=\"400\" height=\"300\">\u003cfigcaption class=\"wp-caption-text\">A scene from Cheryl Dunye’s ‘The Watermelon Woman.’ \u003ccite>(Courtesy of San Francisco International Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>\u003ci>\u003ca href=\"http://www.sffs.org/sfiff59/films/the-watermelon-woman#.VxlHifkrKHs\" target=\"_blank\" rel=\"noopener\">The Watermelon Woman\u003c/a>\u003c/i>\u003c/h3>\n\u003ch5>May 1, 2pm, Castro\u003c/h5>\n\u003cp>SFIFF isn’t just about the new and notable: This landmark film of New Queer Cinema is 20 years old, newly restored and screening digitally. Director Cheryl Dunye (responsible for spearheading the New Parkway’s ongoing \u003ca href=\"http://ww2.kqed.org/arts/2015/09/09/bechdel-test-gets-its-own-movie-night-at-the-new-parkway/\" target=\"_blank\" rel=\"noopener\">Bechdel Test Movie Night\u003c/a>) plays Cheryl, video store clerk and aspiring filmmaker, who starts investigating Fae Richards, a black lesbian actress of the 1930s and ’40s whose story surprisingly parallels much of Cheryl’s own.\u003c/p>\n\u003c/div>\n\u003cp>Like my colleague \u003ca href=\"http://ww2.kqed.org/arts/2016/03/29/sfiff-lineup-announced-the-12-hottest-tickets-to-snag/\" target=\"_blank\" rel=\"noopener\">Michael Fox\u003c/a>, I’m having trouble ending this list, so I’ll throw out a few additional recommendations. For films about the private lives of women, check out \u003ci>\u003ca href=\"http://www.sffs.org/sfiff59/films/mountain#.VxlIQfkrKHs\" target=\"_blank\" rel=\"noopener\">Mountain\u003c/a>\u003c/i>, Yaelle Kayam’s debut feature about a lonely Orthodox wife in Jerusalem, or \u003ci>\u003ca href=\"http://www.sffs.org/sfiff59/films/happy-hour#.VxlIUvkrKHs\" target=\"_blank\" rel=\"noopener\">Happy Hour\u003c/a>\u003c/i>, a decidedly not-hour-long movie from Ryûsuke Hamaguchi about four friends in Kobe, Japan.\u003c/p>\n\u003cfigure id=\"attachment_11514583\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11514583\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Check_It_03_400-400x225.jpg\" alt=\"A scene from Dana Flor and Toby Oppenheimer's 'Check It.'\" width=\"400\" height=\"225\">\u003cfigcaption class=\"wp-caption-text\">A scene from Dana Flor and Toby Oppenheimer’s ‘Check It.’ \u003ccite>(Courtesy of San Francisco International Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the contemporary inheritors of Dunye’s queer cinema, see \u003ci>\u003ca href=\"http://www.sffs.org/sfiff59/films/the-joneses#.VxlHnPkrKHs\" target=\"_blank\" rel=\"noopener\">The Joneses\u003c/a>\u003c/i>, Moby Longinotto’s documentary about Jheri Jones, a fabulous 73-year-old transgender matriarch, or \u003ci>\u003ca href=\"http://www.sffs.org/sfiff59/films/check-it#.VxlH7vkrKHs\" target=\"_blank\" rel=\"noopener\">Check It\u003c/a>\u003c/i>, the story of gay and trans young people who form a gang in Washington, D.C. to protect themselves, with some of the gang’s members finding paths out of violence in the process.\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>And for what might be the most surreal film in the festival, look to \u003ci>\u003ca href=\"http://www.sffs.org/sfiff59/films/under-the-sun#.VxlH0PkrKHs\" target=\"_blank\" rel=\"noopener\">Under the Sun\u003c/a>\u003c/i>, Russian filmmaker Vitaly Mansky’s state-sanctioned documentary of a young North Korean girl and her family. As the relationship between the filmmaker and his government handlers breaks down, Mansky trains his camera on the cracks in the\u003cbr>\nfaçade, capturing the edges of scripted moments in this real-life \u003ci>Truman Show\u003c/i> set in Pyongyang.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>The 59th San Francisco International Film Festival\u003c/b> runs through May 5, 2016 at various Bay Area theaters. For tickets and more information visit \u003ca href=\"http://www.sffs.org/sfiff59\" target=\"_blank\" rel=\"noopener\">sffs.org/sfiff59\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11514451/six-picks-for-sfiff-films-bringing-much-needed-diversity-to-the-screen",
"authors": [
"61"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_1006",
"arts_596"
],
"featImg": "arts_11514591",
"label": "arts"
},
"arts_11514864": {
"type": "posts",
"id": "arts_11514864",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11514864",
"score": null,
"sort": [
1461333649000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1461333649,
"format": "standard",
"title": "Hey, They're Moving Ryan Reynolds' Consciousness Around Again",
"headTitle": "Hey, They’re Moving Ryan Reynolds’ Consciousness Around Again | KQED",
"content": "\u003cp>Here’s a recipe for the ideal man: Take the speed and ruthlessness of a brain-damaged sociopath and combine them with the smarts and tenderness of a CIA agent who’s also a husband and father. Yet for some reason, the new movie about this champion is titled not \u003cem>The Perfect Guy\u003c/em>, but \u003cem>Criminal\u003c/em>.\u003c/p>\n\u003cp>That apparently refers to Jerico (Kevin Costner), who lacks all decency and empathy because he was abused as a child by his father. (So he’s a monster, but a victim, too.) Since he has “frontal lobe syndrome,” he’s the ideal temporary recipient of the consciousness of nice-guy spy Bill (Ryan Reynolds), who was just tortured to death by a Spanish anarchist with a Nordic name, Heimdahl (Jordi Molla).\u003c/p>\n\u003cp>https://youtu.be/3bvnoqsvY-M\u003c/p>\n\u003cp>There’s something about Reynolds’ male-model looks, it seems, that makes filmmakers want to disfigure him. \u003cem>Criminal\u003c/em> is no \u003cem>Deadpool\u003c/em>, though. It packs only a handful of ironic asides, and they’re all allocated to Costner. (While we’re on the subject of Reynolds’ odd career, by the way, let’s note that it’s been less than a year since the actor was seen in \u003cem>Self/less\u003c/em>, playing a body implanted with another man’s mind.)\u003c/p>\n\u003cp>Bill dies in London, and has stashed a Dutch hacker (Michael Pitt) without telling anyone where the guy is. The computer whiz can control the U.S. military arsenal from his laptop, so he’s frantically sought by CIA London station chief Quaker Wells (Gary Oldman with some sort of American accent). Also striving to make “a deal better than Snowden got” with the Dutchman are Heimdahl and the Russians — and, most likely, Apple and Google.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Wells calls a plodding American brain tinkerer, played by a lumbering Tommy Lee Jones and named Dr. Franks. (The family probably shortened its surname after relocating from the Old Country.) Franks springs Jerico from a cell that looks as if it had been designed for Hannibal Lecter and flies him to Britain. The brute receives some of Bill’s memories, which come mingled with feelings for the dead man’s wife, Jill (Gal Gadot), and young daughter, Emma (Lara DeCaro).\u003c/p>\n\u003cp>But Jerico is hard to control, and soon he’s busted loose to terrorize both trendy coffee bars and working-class dives. His funniest moments come when he finds himself saying things Bill would have, and doesn’t understand them.\u003c/p>\n\u003cp>Even the gags arrive in the company of bone-crushing violence, as Jerico finds himself at war with the CIA and the anarchists — led by Heimdahl’s sexy lover/enforcer (Antje Traue) — as well as all sorts of ancillary law-enforcement types, who exist just to be bashed, smashed, or blown up.\u003c/p>\n\u003cp>The only person who doesn’t seem out to kill Jerico is Emma, with whom the guy develops the inevitable special bond. Thank heaven for little girls.\u003c/p>\n\u003cp>\u003cem>Criminal\u003c/em> was written by Douglas Cook and David Weisberg, who scripted \u003cem>The Rock\u003c/em>, a nutty 1996 Nicolas Cage vehicle. The director is Ariel Vromen, whose \u003cem>The Iceman\u003c/em> was a competent from-real-life 2013 drama that also involved mayhem and family values. But with its European locations, electro-thump score, and near-ceaseless violence, the movie plays like something tooled in French producer-scripter Luc Besson’s factory for international action mashups.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Besson probably would have imagined a more timely threat than Spanish anarchism. He likely wouldn’t have allowed Pitt to pronounce his Dutch character’s name, Strook, as if it were an American one. Most importantly, he would brought a lighter touch to this silly-in-concept but earnest-in-execution trifle. So when \u003cem>Criminal\u003c/em> hints at the possibility of a sequel, viewers might chuckle rather than cringe.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 655,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 12
},
"modified": 1705044499,
"excerpt": "'Criminal' is the second film in a year that separates mind from body when it comes to poor, gorgeous Ryan Reynolds.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "'Criminal' is the second film in a year that separates mind from body when it comes to poor, gorgeous Ryan Reynolds.",
"title": "Hey, They're Moving Ryan Reynolds' Consciousness Around Again | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Hey, They're Moving Ryan Reynolds' Consciousness Around Again",
"datePublished": "2016-04-22T07:00:49-07:00",
"dateModified": "2024-01-11T23:28:19-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "hey-theyre-moving-ryan-reynolds-consciousness-around-again",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=473805073&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Mark Jenkins",
"nprStoryDate": "Thu, 14 Apr 2016 17:00:14 -0400",
"nprLastModifiedDate": "Thu, 14 Apr 2016 17:00:14 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/2016/04/14/473805073/hey-theyre-moving-ryan-reynolds-consciousness-around-again?ft=nprml&f=473805073",
"nprImageAgency": "Lionsgate ",
"nprImageCredit": "Jack English",
"nprStoryId": "473805073",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 14 Apr 2016 17:00:00 -0400",
"path": "/arts/11514864/hey-theyre-moving-ryan-reynolds-consciousness-around-again",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Here’s a recipe for the ideal man: Take the speed and ruthlessness of a brain-damaged sociopath and combine them with the smarts and tenderness of a CIA agent who’s also a husband and father. Yet for some reason, the new movie about this champion is titled not \u003cem>The Perfect Guy\u003c/em>, but \u003cem>Criminal\u003c/em>.\u003c/p>\n\u003cp>That apparently refers to Jerico (Kevin Costner), who lacks all decency and empathy because he was abused as a child by his father. (So he’s a monster, but a victim, too.) Since he has “frontal lobe syndrome,” he’s the ideal temporary recipient of the consciousness of nice-guy spy Bill (Ryan Reynolds), who was just tortured to death by a Spanish anarchist with a Nordic name, Heimdahl (Jordi Molla).\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/3bvnoqsvY-M'\n title='//www.youtube.com/embed/3bvnoqsvY-M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There’s something about Reynolds’ male-model looks, it seems, that makes filmmakers want to disfigure him. \u003cem>Criminal\u003c/em> is no \u003cem>Deadpool\u003c/em>, though. It packs only a handful of ironic asides, and they’re all allocated to Costner. (While we’re on the subject of Reynolds’ odd career, by the way, let’s note that it’s been less than a year since the actor was seen in \u003cem>Self/less\u003c/em>, playing a body implanted with another man’s mind.)\u003c/p>\n\u003cp>Bill dies in London, and has stashed a Dutch hacker (Michael Pitt) without telling anyone where the guy is. The computer whiz can control the U.S. military arsenal from his laptop, so he’s frantically sought by CIA London station chief Quaker Wells (Gary Oldman with some sort of American accent). Also striving to make “a deal better than Snowden got” with the Dutchman are Heimdahl and the Russians — and, most likely, Apple and Google.\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>Wells calls a plodding American brain tinkerer, played by a lumbering Tommy Lee Jones and named Dr. Franks. (The family probably shortened its surname after relocating from the Old Country.) Franks springs Jerico from a cell that looks as if it had been designed for Hannibal Lecter and flies him to Britain. The brute receives some of Bill’s memories, which come mingled with feelings for the dead man’s wife, Jill (Gal Gadot), and young daughter, Emma (Lara DeCaro).\u003c/p>\n\u003cp>But Jerico is hard to control, and soon he’s busted loose to terrorize both trendy coffee bars and working-class dives. His funniest moments come when he finds himself saying things Bill would have, and doesn’t understand them.\u003c/p>\n\u003cp>Even the gags arrive in the company of bone-crushing violence, as Jerico finds himself at war with the CIA and the anarchists — led by Heimdahl’s sexy lover/enforcer (Antje Traue) — as well as all sorts of ancillary law-enforcement types, who exist just to be bashed, smashed, or blown up.\u003c/p>\n\u003cp>The only person who doesn’t seem out to kill Jerico is Emma, with whom the guy develops the inevitable special bond. Thank heaven for little girls.\u003c/p>\n\u003cp>\u003cem>Criminal\u003c/em> was written by Douglas Cook and David Weisberg, who scripted \u003cem>The Rock\u003c/em>, a nutty 1996 Nicolas Cage vehicle. The director is Ariel Vromen, whose \u003cem>The Iceman\u003c/em> was a competent from-real-life 2013 drama that also involved mayhem and family values. But with its European locations, electro-thump score, and near-ceaseless violence, the movie plays like something tooled in French producer-scripter Luc Besson’s factory for international action mashups.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Besson probably would have imagined a more timely threat than Spanish anarchism. He likely wouldn’t have allowed Pitt to pronounce his Dutch character’s name, Strook, as if it were an American one. Most importantly, he would brought a lighter touch to this silly-in-concept but earnest-in-execution trifle. So when \u003cem>Criminal\u003c/em> hints at the possibility of a sequel, viewers might chuckle rather than cringe.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11514864/hey-theyre-moving-ryan-reynolds-consciousness-around-again",
"authors": [
"byline_arts_11514864"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11514865",
"label": "arts_137"
},
"arts_11511804": {
"type": "posts",
"id": "arts_11511804",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11511804",
"score": null,
"sort": [
1461250859000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1461250859,
"format": "standard",
"title": "Discover One-of-a-Kind Films in Four International Must-Sees at SFIFF",
"headTitle": "Discover One-of-a-Kind Films in Four International Must-Sees at SFIFF | KQED",
"content": "\u003cp>There is any number of ways to “do” a big film festival such as the San Francisco International Film Festival, which begins today (April 21) and continues through May 6. Stick to the directors and actors you’ve heard of. Or focus on a continent or region, such as Asia or Western Europe. Hone in on screenings where the directors, actors or subjects will be present. The most diverse and perverse strategy is to see all (and only) the films that start with a given letter of the alphabet. (The choice is up to you, but in my experience you can never go wrong with “F.”) \u003c/p>\n\u003cp>My perennial recommendation is to seek out the films from abroad, narrative or documentaries, that don’t have distribution and likely will never return to a Bay Area screen. The Roxie has an excellent track record of booking SFIFF favorites for one-week engagements, but with your crazy schedule you can’t count on being available that particular week.\u003c/p>\n\u003cp>Now, don’t confuse “non-commercial” with “willfully depressing,” “indulgently abstract” or “stupefying and cerebral.” There are a boatload of terrific films every year that nonetheless don’t play in U.S. theaters because they don’t have critical buzz or a genre hook or a recognizable actor. After all, Isabelle Huppert can’t be in every film (how many languages do you think she speaks?), nor should every movie have a car chase, shower scene or screenplay adapted from Jane Austen by way of John le Carré. \u003c/p>\n\u003cp>In fact, the SFIFF is showing a le Carré adaptation entitled \u003cem>\u003ca href=\"http://www.sffs.org/sfiff59/films/our-kind-of-traitor#.VxgTnvkrKHs\" target=\"_blank\" rel=\"noopener\">Our Kind of Traitor\u003c/a>\u003c/em>. Nonetheless, my point holds: Go for the unfamiliar, the one of a kinds, the potential discoveries. Here are four.\u003c/p>\n\u003cfigure id=\"attachment_11512708\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Demons_03-400x225.jpg\" alt=\"A scene from Philippe Lesage's 'The Demons.'\" width=\"400\" height=\"225\" class=\"size-thumbnail wp-image-11512708\">\u003cfigcaption class=\"wp-caption-text\">A scene from Philippe Lesage’s ‘The Demons.’ \u003ccite>(Courtesy of San Francisco International Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>\u003ca href=\"http://www.sffs.org/sfiff59/films/the-demons#.VxgKS_krKHt\" target=\"_blank\" rel=\"noopener\">\u003ci>The Demons\u003c/i>\u003c/a>\u003c/h3>\n\u003ch5>April 28, 6pm, Alamo\u003cbr>\nMay 2, 3:15pm, Alamo\u003cbr>\nMay 4, 3pm, Roxie\u003c/h5>\n\u003cp>Is it possible, after all the films about childhood and parents, to offer a fresh angle on the subject? With \u003cem>The Demons\u003c/em>, the remarkably observant French-Canadian writer-director Philippe Lesage has crafted a marvelously understated and palpably unsettling portrait of a 10-year-old named Félix trying to fathom worlds — at home and at school — that are just beyond his understanding.\u003c/p>\u003c/div>\n\u003cp>This beautifully colored and precisely measured film has the tone of a mystery rather than a family drama or coming-of-age yarn, and to our shock, if not surprise, malevolent and indifferent forces do haunt Félix’s neighborhood. Full disclosure: I wrote the note on \u003cem>The Demons\u003c/em> for the SFIFF program. Yeah, I really, really like this film.\u003c/p>\n\u003cfigure id=\"attachment_11512711\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Leaf_Blower_01-400x256.jpg\" alt=\"A scene from Alejandro Iglesias Mendizábal's 'Leaf Blower.'\" width=\"400\" height=\"256\" class=\"size-thumbnail wp-image-11512711\">\u003cfigcaption class=\"wp-caption-text\">A scene from Alejandro Iglesias Mendizábal’s ‘Leaf Blower.’ \u003ccite>(Courtesy of San Francisco International Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>\u003ca href=\"http://www.sffs.org/sfiff59/films/leaf-blower#.VxgLjfkrKHu\" target=\"_blank\" rel=\"noopener\">\u003ci>Leaf Blower\u003c/i>\u003c/a>\u003c/h3>\n\u003ch5>April 24, 9:45pm, Alamo\u003cbr>\nApril 25, 6:15pm, Alamo\u003c/h5>\n\u003cp>The young Mexican director Alejandro Iglesias Mendizábal’s big-hearted debut feature, \u003cem>Leaf Blower\u003c/em>, offers an immeasurably more amusing but equally well-thought-out study of the existential and hormonal angst of growing up. Set over the course of one long day, three middle-class, college-age guys enact their daily routines and rituals of friendship and rivalry. Their ostensible quest, though it’s the epitome of a MacGuffin, is to find the keys that one of them lost in a pile of leaves (among many such piles) in their local park.\u003c/p>\u003c/div>\n\u003cp>\u003cem>Leaf Blower\u003c/em> is familiar without tipping into cliché and amiable without being trivial. You can read all sorts of social commentary into the shaggy-dog narrative, from police corruption to the unmentioned class system, but the film’s concerns are universal: How and why boys (sometimes) become men, and how their codified roles and flippant interpersonal dynamics (sometimes) evolve into deeper, more nurturing relationships.\u003c/p>\n\u003cfigure id=\"attachment_11512710\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Islands_And_The_Whales_02-400x206.jpg\" alt=\"A scene from Mike Day's 'The Island and the Whales.'\" width=\"400\" height=\"206\" class=\"size-thumbnail wp-image-11512710\">\u003cfigcaption class=\"wp-caption-text\">A scene from Mike Day’s ‘The Island and the Whales.’ \u003ccite>(Courtesy of San Francisco International Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>\u003ca href=\"http://www.sffs.org/sfiff59/films/the-islands-and-the-whales#.VxgMRfkrKHt\" target=\"_blank\" rel=\"noopener\">\u003ci>The Islands and the Whales\u003c/i>\u003c/a>\u003c/h3>\n\u003ch5>May 3, 6:30pm, Victoria\u003cbr>\nMay 4, 8:45pm, Victoria\u003cbr>\nMay 5, 12:15pm, Alamo\u003c/h5>\n\u003cp>Over on the nonfiction side of things, \u003cem>The Islands and the Whales\u003c/em> comes from the Faroe Islands between Denmark and Scotland but feels like it emanates from an alternative universe. The ever-increasing population of these close-to-nature communities has long lived on the meat of pilot whales and seabirds, and the film contains necessary but hard-to-watch footage of hunts. These are community events, with up to 500 people on water and land participating in a whale hunt, which lets us see these events as important for not only obtaining food, but as central to local traditions, culture and identity.\u003c/p>\u003c/div>\n\u003cp>If you want to viscerally experience the aphorism that we live in a bubble in the Bay Area — that is, we have different values than the rest of America (and much of the world), yet assume everybody thinks like us — don’t miss Mike Day’s provocative, sensitive and wonderfully photographed film. More of an anthropological study than an environmental movie, Day examines the Faroe Islanders’ varied responses to pollution of the oceans, international perceptions of the slaughter of whales and one local doctor’s warnings about mercury poisoning.\u003c/p>\n\u003cfigure id=\"attachment_11512709\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Event_03-400x293.jpg\" alt=\"A scene from Sergei Loznitsa's 'The Event.'\" width=\"400\" height=\"293\" class=\"size-thumbnail wp-image-11512709\">\u003cfigcaption class=\"wp-caption-text\">A scene from Sergei Loznitsa’s ‘The Event.’ \u003ccite>(Courtesy of San Francisco International Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>\u003ca href=\"http://www.sffs.org/sfiff59/films/the-event#.VxgOCPkrKHt\" target=\"_blank\" rel=\"noopener\">\u003ci>The Event\u003c/i>\u003c/a>\u003c/h3>\n\u003ch5>April 24, 6:30pm, BAMPFA\u003cbr>\nMay 1, 1:30pm, Roxie\u003cbr>\nMay 5, 6pm, Alamo\u003c/h5>\n\u003cp>The SFIFF has shown a couple of the great Ukrainian filmmaker Sergei Loznitsa’s hard-hitting dramas (notably the acerbically titled \u003cem>Joy\u003c/em>) about post-USSR society. He excavates history in \u003cem>The Event\u003c/em>, a gripping assembly of archival footage from the streets of Leningrad in 1991 at the pivotal juncture when Gorbachev’s experiments in openness ran into resistance from old hard-liners and right-wingers in far-off Moscow.\u003c/p>\u003c/div>\n\u003cp>Pre-internet, people fill the streets clamoring for information and updates that seem to migrate by one of three media: rumor, radio and leaflets. One thing is clear: The clamor for autonomy and freedom is unmistakable. Going forward is the only option for most Soviets. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Why, you might ask, did Loznitsa make \u003cem>The Event\u003c/em> now? Infused with the infectious practice of capital-D democracy from the first frame, the documentary feels like an invitation — no, instigation — for Russians today to stand up and reclaim their political and social system from Vladimir Putin. Of course, any viewer in a country that happens to find itself in the throes of an election year, or with concerns about encroaches on individual rights, just might find relevance and inspiration.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The \u003cstrong>59th San Francisco International Film Festival\u003c/strong> runs April 21-May 5, 2016 at various Bay Area theaters. For tickets and more information visit \u003ca href=\"http://www.sffs.org/sfiff59\" target=\"_blank\" rel=\"noopener\">sffs.org/sfiff59\u003c/a>.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1167,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 16
},
"modified": 1705044517,
"excerpt": "Four international entry points for the Bay Area's largest (and possibly overwhelming) annual film event.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Four international entry points for the Bay Area's largest (and possibly overwhelming) annual film event.",
"title": "Discover One-of-a-Kind Films in Four International Must-Sees at SFIFF | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Discover One-of-a-Kind Films in Four International Must-Sees at SFIFF",
"datePublished": "2016-04-21T08:00:59-07:00",
"dateModified": "2024-01-11T23:28:37-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "discover-one-of-a-kind-films-in-four-international-must-sees-at-sfiff",
"status": "publish",
"sticky": false,
"path": "/arts/11511804/discover-one-of-a-kind-films-in-four-international-must-sees-at-sfiff",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There is any number of ways to “do” a big film festival such as the San Francisco International Film Festival, which begins today (April 21) and continues through May 6. Stick to the directors and actors you’ve heard of. Or focus on a continent or region, such as Asia or Western Europe. Hone in on screenings where the directors, actors or subjects will be present. The most diverse and perverse strategy is to see all (and only) the films that start with a given letter of the alphabet. (The choice is up to you, but in my experience you can never go wrong with “F.”) \u003c/p>\n\u003cp>My perennial recommendation is to seek out the films from abroad, narrative or documentaries, that don’t have distribution and likely will never return to a Bay Area screen. The Roxie has an excellent track record of booking SFIFF favorites for one-week engagements, but with your crazy schedule you can’t count on being available that particular week.\u003c/p>\n\u003cp>Now, don’t confuse “non-commercial” with “willfully depressing,” “indulgently abstract” or “stupefying and cerebral.” There are a boatload of terrific films every year that nonetheless don’t play in U.S. theaters because they don’t have critical buzz or a genre hook or a recognizable actor. After all, Isabelle Huppert can’t be in every film (how many languages do you think she speaks?), nor should every movie have a car chase, shower scene or screenplay adapted from Jane Austen by way of John le Carré. \u003c/p>\n\u003cp>In fact, the SFIFF is showing a le Carré adaptation entitled \u003cem>\u003ca href=\"http://www.sffs.org/sfiff59/films/our-kind-of-traitor#.VxgTnvkrKHs\" target=\"_blank\" rel=\"noopener\">Our Kind of Traitor\u003c/a>\u003c/em>. Nonetheless, my point holds: Go for the unfamiliar, the one of a kinds, the potential discoveries. Here are four.\u003c/p>\n\u003cfigure id=\"attachment_11512708\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Demons_03-400x225.jpg\" alt=\"A scene from Philippe Lesage's 'The Demons.'\" width=\"400\" height=\"225\" class=\"size-thumbnail wp-image-11512708\">\u003cfigcaption class=\"wp-caption-text\">A scene from Philippe Lesage’s ‘The Demons.’ \u003ccite>(Courtesy of San Francisco International Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>\u003ca href=\"http://www.sffs.org/sfiff59/films/the-demons#.VxgKS_krKHt\" target=\"_blank\" rel=\"noopener\">\u003ci>The Demons\u003c/i>\u003c/a>\u003c/h3>\n\u003ch5>April 28, 6pm, Alamo\u003cbr>\nMay 2, 3:15pm, Alamo\u003cbr>\nMay 4, 3pm, Roxie\u003c/h5>\n\u003cp>Is it possible, after all the films about childhood and parents, to offer a fresh angle on the subject? With \u003cem>The Demons\u003c/em>, the remarkably observant French-Canadian writer-director Philippe Lesage has crafted a marvelously understated and palpably unsettling portrait of a 10-year-old named Félix trying to fathom worlds — at home and at school — that are just beyond his understanding.\u003c/p>\u003c/div>\n\u003cp>This beautifully colored and precisely measured film has the tone of a mystery rather than a family drama or coming-of-age yarn, and to our shock, if not surprise, malevolent and indifferent forces do haunt Félix’s neighborhood. Full disclosure: I wrote the note on \u003cem>The Demons\u003c/em> for the SFIFF program. Yeah, I really, really like this film.\u003c/p>\n\u003cfigure id=\"attachment_11512711\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Leaf_Blower_01-400x256.jpg\" alt=\"A scene from Alejandro Iglesias Mendizábal's 'Leaf Blower.'\" width=\"400\" height=\"256\" class=\"size-thumbnail wp-image-11512711\">\u003cfigcaption class=\"wp-caption-text\">A scene from Alejandro Iglesias Mendizábal’s ‘Leaf Blower.’ \u003ccite>(Courtesy of San Francisco International Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>\u003ca href=\"http://www.sffs.org/sfiff59/films/leaf-blower#.VxgLjfkrKHu\" target=\"_blank\" rel=\"noopener\">\u003ci>Leaf Blower\u003c/i>\u003c/a>\u003c/h3>\n\u003ch5>April 24, 9:45pm, Alamo\u003cbr>\nApril 25, 6:15pm, Alamo\u003c/h5>\n\u003cp>The young Mexican director Alejandro Iglesias Mendizábal’s big-hearted debut feature, \u003cem>Leaf Blower\u003c/em>, offers an immeasurably more amusing but equally well-thought-out study of the existential and hormonal angst of growing up. Set over the course of one long day, three middle-class, college-age guys enact their daily routines and rituals of friendship and rivalry. Their ostensible quest, though it’s the epitome of a MacGuffin, is to find the keys that one of them lost in a pile of leaves (among many such piles) in their local park.\u003c/p>\u003c/div>\n\u003cp>\u003cem>Leaf Blower\u003c/em> is familiar without tipping into cliché and amiable without being trivial. You can read all sorts of social commentary into the shaggy-dog narrative, from police corruption to the unmentioned class system, but the film’s concerns are universal: How and why boys (sometimes) become men, and how their codified roles and flippant interpersonal dynamics (sometimes) evolve into deeper, more nurturing relationships.\u003c/p>\n\u003cfigure id=\"attachment_11512710\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Islands_And_The_Whales_02-400x206.jpg\" alt=\"A scene from Mike Day's 'The Island and the Whales.'\" width=\"400\" height=\"206\" class=\"size-thumbnail wp-image-11512710\">\u003cfigcaption class=\"wp-caption-text\">A scene from Mike Day’s ‘The Island and the Whales.’ \u003ccite>(Courtesy of San Francisco International Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>\u003ca href=\"http://www.sffs.org/sfiff59/films/the-islands-and-the-whales#.VxgMRfkrKHt\" target=\"_blank\" rel=\"noopener\">\u003ci>The Islands and the Whales\u003c/i>\u003c/a>\u003c/h3>\n\u003ch5>May 3, 6:30pm, Victoria\u003cbr>\nMay 4, 8:45pm, Victoria\u003cbr>\nMay 5, 12:15pm, Alamo\u003c/h5>\n\u003cp>Over on the nonfiction side of things, \u003cem>The Islands and the Whales\u003c/em> comes from the Faroe Islands between Denmark and Scotland but feels like it emanates from an alternative universe. The ever-increasing population of these close-to-nature communities has long lived on the meat of pilot whales and seabirds, and the film contains necessary but hard-to-watch footage of hunts. These are community events, with up to 500 people on water and land participating in a whale hunt, which lets us see these events as important for not only obtaining food, but as central to local traditions, culture and identity.\u003c/p>\u003c/div>\n\u003cp>If you want to viscerally experience the aphorism that we live in a bubble in the Bay Area — that is, we have different values than the rest of America (and much of the world), yet assume everybody thinks like us — don’t miss Mike Day’s provocative, sensitive and wonderfully photographed film. More of an anthropological study than an environmental movie, Day examines the Faroe Islanders’ varied responses to pollution of the oceans, international perceptions of the slaughter of whales and one local doctor’s warnings about mercury poisoning.\u003c/p>\n\u003cfigure id=\"attachment_11512709\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Event_03-400x293.jpg\" alt=\"A scene from Sergei Loznitsa's 'The Event.'\" width=\"400\" height=\"293\" class=\"size-thumbnail wp-image-11512709\">\u003cfigcaption class=\"wp-caption-text\">A scene from Sergei Loznitsa’s ‘The Event.’ \u003ccite>(Courtesy of San Francisco International Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>\u003ca href=\"http://www.sffs.org/sfiff59/films/the-event#.VxgOCPkrKHt\" target=\"_blank\" rel=\"noopener\">\u003ci>The Event\u003c/i>\u003c/a>\u003c/h3>\n\u003ch5>April 24, 6:30pm, BAMPFA\u003cbr>\nMay 1, 1:30pm, Roxie\u003cbr>\nMay 5, 6pm, Alamo\u003c/h5>\n\u003cp>The SFIFF has shown a couple of the great Ukrainian filmmaker Sergei Loznitsa’s hard-hitting dramas (notably the acerbically titled \u003cem>Joy\u003c/em>) about post-USSR society. He excavates history in \u003cem>The Event\u003c/em>, a gripping assembly of archival footage from the streets of Leningrad in 1991 at the pivotal juncture when Gorbachev’s experiments in openness ran into resistance from old hard-liners and right-wingers in far-off Moscow.\u003c/p>\u003c/div>\n\u003cp>Pre-internet, people fill the streets clamoring for information and updates that seem to migrate by one of three media: rumor, radio and leaflets. One thing is clear: The clamor for autonomy and freedom is unmistakable. Going forward is the only option for most Soviets. \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>Why, you might ask, did Loznitsa make \u003cem>The Event\u003c/em> now? Infused with the infectious practice of capital-D democracy from the first frame, the documentary feels like an invitation — no, instigation — for Russians today to stand up and reclaim their political and social system from Vladimir Putin. Of course, any viewer in a country that happens to find itself in the throes of an election year, or with concerns about encroaches on individual rights, just might find relevance and inspiration.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The \u003cstrong>59th San Francisco International Film Festival\u003c/strong> runs April 21-May 5, 2016 at various Bay Area theaters. For tickets and more information visit \u003ca href=\"http://www.sffs.org/sfiff59\" target=\"_blank\" rel=\"noopener\">sffs.org/sfiff59\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11511804/discover-one-of-a-kind-films-in-four-international-must-sees-at-sfiff",
"authors": [
"22"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_1006",
"arts_596"
],
"featImg": "arts_11512713",
"label": "arts"
},
"arts_11514314": {
"type": "posts",
"id": "arts_11514314",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11514314",
"score": null,
"sort": [
1461236247000
]
},
"guestAuthors": [],
"slug": "a-shattering-rebirth-conversation-with-fragile-filmmaker-nilo-batle",
"title": "A Shattering Rebirth: Conversation with 'Fragile' Filmmaker Nilo Batle",
"publishDate": 1461236247,
"format": "standard",
"headTitle": "A Shattering Rebirth: Conversation with ‘Fragile’ Filmmaker Nilo Batle | KQED",
"labelTerm": {},
"content": "\u003ch3>Don’t forget to subscribe to our \u003ca target=\"_blank\" href=\"http://www.bit.ly/FSSYouTube\" rel=\"noopener\">YouTube channel\u003c/a>!\u003c/h3>\n\u003cp>\u003cem>The following is a guest post from De Anza College film student Alexander Espinosa Pieb .\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>Meet\u003cb>\u003ci> \u003c/i>\u003c/b>54 year old Gil Batle, an ex-convict and San Francisco artist who has been in and out prison over a 20 year period. He has \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2016/04/21/a-shattering-rebirth-conversation-with-fragile-filmmaker-nilo-batle/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2016/04/21/a-shattering-rebirth-conversation-with-fragile-filmmaker-nilo-batle/\" target=\"_blank\" title=\"A Shattering Rebirth: Conversation with “Fragile” Filmmaker Nilo Batle\" rel=\"noopener\">Films School Shorts News\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"blocks": [],
"excerpt": "\u003ch3>Don't forget to subscribe to our \u003ca target=\"_blank\" href=\"http://www.bit.ly/FSSYouTube\" rel=\"noopener\">YouTube channel\u003c/a>!\u003c/h3>\r\n\u003cp>\u003cem>The following is a guest post from De Anza College film student Alexander Espinosa Pieb .\u003c/em>\u003c/p>\r\n\u003chr>\u003cp> \u003c/p>\r\n\u003cp>Meet\u003cb>\u003ci> \u003c/i>\u003c/b>54 year old Gil Batle, an ex-convict and San Francisco artist who has been in and out prison over a 20 year period. He has \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2016/04/21/a-shattering-rebirth-conversation-with-fragile-filmmaker-nilo-batle/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> ...read more\u003c/a>",
"status": "publish",
"parent": 0,
"modified": 1726704778,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 5,
"wordCount": 62
},
"headData": {
"title": "A Shattering Rebirth: Conversation with 'Fragile' Filmmaker Nilo Batle | KQED",
"description": "Don't forget to subscribe to our YouTube channel!\r\nThe following is a guest post from De Anza College film student Alexander Espinosa Pieb .\r\n \r\nMeet 54 year old Gil Batle, an ex-convict and San Francisco artist who has been in and out prison over a 20 year period. He has ...read more",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "A Shattering Rebirth: Conversation with 'Fragile' Filmmaker Nilo Batle",
"datePublished": "2016-04-21T03:57:27-07:00",
"dateModified": "2024-09-18T17:12:58-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"rssmiSourceLink": "http://blogs.kqed.org/filmschoolshorts/2016/04/21/a-shattering-rebirth-conversation-with-fragile-filmmaker-nilo-batle/",
"sticky": false,
"path": "/arts/11514314/a-shattering-rebirth-conversation-with-fragile-filmmaker-nilo-batle",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ch3>Don’t forget to subscribe to our \u003ca target=\"_blank\" href=\"http://www.bit.ly/FSSYouTube\" rel=\"noopener\">YouTube channel\u003c/a>!\u003c/h3>\n\u003cp>\u003cem>The following is a guest post from De Anza College film student Alexander Espinosa Pieb .\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>Meet\u003cb>\u003ci> \u003c/i>\u003c/b>54 year old Gil Batle, an ex-convict and San Francisco artist who has been in and out prison over a 20 year period. He has \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2016/04/21/a-shattering-rebirth-conversation-with-fragile-filmmaker-nilo-batle/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2016/04/21/a-shattering-rebirth-conversation-with-fragile-filmmaker-nilo-batle/\" target=\"_blank\" title=\"A Shattering Rebirth: Conversation with “Fragile” Filmmaker Nilo Batle\" rel=\"noopener\">Films School Shorts News\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11514314/a-shattering-rebirth-conversation-with-fragile-filmmaker-nilo-batle",
"authors": [
"8652"
],
"categories": [
"arts_74"
],
"featImg": "arts_11514315",
"label": "arts"
},
"arts_11492283": {
"type": "posts",
"id": "arts_11492283",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11492283",
"score": null,
"sort": [
1460732418000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1460732418,
"format": "standard",
"title": "'Standing Tall' Tells Of Troubled Kids And Those Who Try To Help Them",
"headTitle": "‘Standing Tall’ Tells Of Troubled Kids And Those Who Try To Help Them | KQED",
"content": "\u003cp>Time was when every other drama about troubled youth came packaged with evil, inept or uncomprehending government functionaries itching to make matters worse. In Emmanuelle Bercot’s sympathetic \u003cem>Standing Tall\u003c/em>, one sorely lacking caseworker shows up briefly to rub salt in the prior wounds of a damaged youngster. He is quickly dispatched though, and from then on the film tags along with a team of dedicated workers trying to rescue the teenager from a rotten past, a lousy future, and his own hair-trigger temper. There’s not a saint among them, but their devotion rarely flags.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=oucJZHGN9ic\u003c/p>\n\u003cp>If that’s a rosy view of how things go down in the halls of juvenile correction, it’s one that shows a refreshing appreciation for the compassion and perseverance of those on the front lines of a system that often seems primed for failure. For anyone who loves films about who we are when we’re working, \u003cem>Standing Tall\u003c/em> is a fine procedural that’s less concerned with the roots of delinquency or with institutional inertia than with the hair-raising ebb and flow of daily life in the juvie trenches.\u003c/p>\n\u003cp>No fingers are pointed here, and the movie brigns no fresh news about the forces that warped young Malony (played by Rod Paradot, an electric natural plucked from carpentry school) into the bundle of warring impulses he’s become since we first met him as a cute, terrified six-year-old. Abandoned by an ill-equipped mother (a very good Sara Forestier) who loves him in her way but is barely more than a child herself, Malony now bounces between foster families and juvenile courts, running wild with only a compassionate judge (Catherine Deneuve) standing between him and adult prison.\u003c/p>\n\u003cp>As a blowsy late bloomer in Bercot’s pleasantly knockabout 2013 road movie \u003cem>On My Way\u003c/em>, Deneuve clearly relished the release from her reputation as an ice queen. Here she offers a precisely observed friction between serenely maternal, crafty and exasperated as the magistrate who, on the verge of retirement, knows how stacked the deck is against the likes of Malony, yet never quite succumbs to cynicism or despair. She’s helped, mostly, by a caseworker (Benoit Magimel) who’s up from the gutter himself and careens between tenacious support of his young charge and terror that he my never be fully out of the woods himself. Picking their way through a system that stands ready to put Malony away for good, they steer the boy to a residential home in a bucolic country setting, where we see him struggle with other kids as volatile and as vulnerable as he is.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The pleasure of \u003cem>Standing Tall\u003c/em> lies in its intelligent fidelity to process, to the Sisyphean struggle that both Malony and his stubborn but tested protectors face. We see the minuscule steps forward and the helpless backsliding that hold this frequently unlikable youngster captive to a reactivity that threatens his frail yet potent attachment to his mother, to the troubled yet loving girl (Diane Rouxel) who offers him love and hope, to the judge who refuses to give up on him. Deftly shuffling points of view with a soundtrack that veers between classical pieces and rap, Bercot moves the action along with unsteady, staccato rhythms that juggle Malony’s simmering rage with his yearning for an ordinary life.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>By the end of this kindly film we want to give it to him, and though it’s easy enough to write off the climax as frankly wishful, Bercot has cunningly stashed a nascent gift in the prologue to \u003cem>Standing Tall\u003c/em>. This tortured young man has an innate talent that will help him earn the future she has bestowed on him, and send his helper into retirement resting easy.\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 647,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 8
},
"modified": 1705044571,
"excerpt": "Emmanuelle Bercot's sympathetic drama follows a young man who encounters a variety of well-meaning allies, including a judge played by Catherine Deneuve.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Emmanuelle Bercot's sympathetic drama follows a young man who encounters a variety of well-meaning allies, including a judge played by Catherine Deneuve.",
"title": "'Standing Tall' Tells Of Troubled Kids And Those Who Try To Help Them | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Standing Tall' Tells Of Troubled Kids And Those Who Try To Help Them",
"datePublished": "2016-04-15T08:00:18-07:00",
"dateModified": "2024-01-11T23:29:31-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "standing-tall-tells-of-troubled-kids-and-those-who-try-to-help-them",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=472257221&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Ella Taylor",
"nprStoryDate": "Fri, 01 Apr 2016 11:22:00 -0400",
"nprLastModifiedDate": "Fri, 01 Apr 2016 11:25:41 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/2016/04/01/472257221/standing-tall-tells-of-troubled-kids-and-those-who-try-to-help-them?ft=nprml&f=472257221",
"nprImageAgency": "Courtesy of Cohen Media Group",
"nprStoryId": "472257221",
"nprRetrievedStory": "1",
"nprPubDate": "Fri, 01 Apr 2016 11:25:00 -0400",
"path": "/arts/11492283/standing-tall-tells-of-troubled-kids-and-those-who-try-to-help-them",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Time was when every other drama about troubled youth came packaged with evil, inept or uncomprehending government functionaries itching to make matters worse. In Emmanuelle Bercot’s sympathetic \u003cem>Standing Tall\u003c/em>, one sorely lacking caseworker shows up briefly to rub salt in the prior wounds of a damaged youngster. He is quickly dispatched though, and from then on the film tags along with a team of dedicated workers trying to rescue the teenager from a rotten past, a lousy future, and his own hair-trigger temper. There’s not a saint among them, but their devotion rarely flags.\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/oucJZHGN9ic'\n title='//www.youtube.com/embed/oucJZHGN9ic'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If that’s a rosy view of how things go down in the halls of juvenile correction, it’s one that shows a refreshing appreciation for the compassion and perseverance of those on the front lines of a system that often seems primed for failure. For anyone who loves films about who we are when we’re working, \u003cem>Standing Tall\u003c/em> is a fine procedural that’s less concerned with the roots of delinquency or with institutional inertia than with the hair-raising ebb and flow of daily life in the juvie trenches.\u003c/p>\n\u003cp>No fingers are pointed here, and the movie brigns no fresh news about the forces that warped young Malony (played by Rod Paradot, an electric natural plucked from carpentry school) into the bundle of warring impulses he’s become since we first met him as a cute, terrified six-year-old. Abandoned by an ill-equipped mother (a very good Sara Forestier) who loves him in her way but is barely more than a child herself, Malony now bounces between foster families and juvenile courts, running wild with only a compassionate judge (Catherine Deneuve) standing between him and adult prison.\u003c/p>\n\u003cp>As a blowsy late bloomer in Bercot’s pleasantly knockabout 2013 road movie \u003cem>On My Way\u003c/em>, Deneuve clearly relished the release from her reputation as an ice queen. Here she offers a precisely observed friction between serenely maternal, crafty and exasperated as the magistrate who, on the verge of retirement, knows how stacked the deck is against the likes of Malony, yet never quite succumbs to cynicism or despair. She’s helped, mostly, by a caseworker (Benoit Magimel) who’s up from the gutter himself and careens between tenacious support of his young charge and terror that he my never be fully out of the woods himself. Picking their way through a system that stands ready to put Malony away for good, they steer the boy to a residential home in a bucolic country setting, where we see him struggle with other kids as volatile and as vulnerable as he is.\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 pleasure of \u003cem>Standing Tall\u003c/em> lies in its intelligent fidelity to process, to the Sisyphean struggle that both Malony and his stubborn but tested protectors face. We see the minuscule steps forward and the helpless backsliding that hold this frequently unlikable youngster captive to a reactivity that threatens his frail yet potent attachment to his mother, to the troubled yet loving girl (Diane Rouxel) who offers him love and hope, to the judge who refuses to give up on him. Deftly shuffling points of view with a soundtrack that veers between classical pieces and rap, Bercot moves the action along with unsteady, staccato rhythms that juggle Malony’s simmering rage with his yearning for an ordinary life.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>By the end of this kindly film we want to give it to him, and though it’s easy enough to write off the climax as frankly wishful, Bercot has cunningly stashed a nascent gift in the prologue to \u003cem>Standing Tall\u003c/em>. This tortured young man has an innate talent that will help him earn the future she has bestowed on him, and send his helper into retirement resting easy.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11492283/standing-tall-tells-of-troubled-kids-and-those-who-try-to-help-them",
"authors": [
"byline_arts_11492283"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11492284",
"label": "arts_137"
},
"arts_11483013": {
"type": "posts",
"id": "arts_11483013",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11483013",
"score": null,
"sort": [
1460646028000
]
},
"guestAuthors": [],
"slug": "can-outsiders-make-films-about-india-in-an-honest-way",
"title": "Can Outsiders Make Films About India in an Honest Way?",
"publishDate": 1460646028,
"format": "standard",
"headTitle": "Can Outsiders Make Films About India in an Honest Way? | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>\u003cem>Sold\u003c/em> tells the story of a 12-year-old Nepali girl trafficked to India for sex slavery. The film is based on a book for young adults by Patricia McCormick, also called \u003cem>Sold\u003c/em>. It also happens to be directed by a white man.\u003c/p>\n\u003cp>I got the opportunity to speak with director Jeffrey D. Brown about the film. During the course of our interview he told me twice that his stepfather is Bengali. The first time he told me I thought it was interesting; by the second time I wondered if this was the South Asian-equivalent of telling me he has Black friends.\u003c/p>\n\u003cfigure id=\"attachment_11491171\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11491171\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Sold1200.jpg\" alt=\"Still from 'Sold.'\" width=\"1200\" height=\"510\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Sold1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Sold1200-400x170.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Sold1200-800x340.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Sold1200-768x326.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Sold1200-1180x502.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Sold1200-960x408.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Sold.’ \u003ccite>(Courtesy of Jaya International)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Was he trying to prove to me he couldn’t be guilty of a certain amount of \u003ca href=\"https://en.wikipedia.org/wiki/White_savior_narrative_in_film\" target=\"_blank\" rel=\"noopener\">white savior complex\u003c/a> because his stepfather is Bengali? My stepmother is Czech (true story) and despite frequent visits to Prague, I don’t believe this gives me authority on anything Czech-related.\u003c/p>\n\u003cp>The film is well shot and beautiful in many ways, but it will always be uncomfortable to watch a 12-year-old girl being raped and continually abused. Maybe it was more uncomfortable for me since the main character and I share a name.\u003c/p>\n\u003cfigure id=\"attachment_11491172\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11491172\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/SoldDancing1200.jpg\" alt=\"Still from 'Sold.'\" width=\"1200\" height=\"675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SoldDancing1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SoldDancing1200-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SoldDancing1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SoldDancing1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SoldDancing1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SoldDancing1200-960x540.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Sold.’ \u003ccite>(Courtesy of Jaya International)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It also felt strange to hear English spoken in a variety of Indian accents. The cast of \u003cem>Sold\u003c/em> came from all over India; Brown said filming in English was one of the most challenging parts of production. In the end, they spent 26 days on dubbing. Though they wanted to shoot \u003ci>Sold\u003c/i> in both Hindi and English, the budget wasn’t sufficient to do both.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This got me thinking about other films about India (and beyond) and whether or not outsiders are truly able to understand a community that is not their own. And since nothing is merely black or white these days, I’ve come up with an emoji ranking system: four diverse thumbs up = 4 out of 4 stars. Let’s try it out:\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-11483134\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Born_into_Brothels.jpg\" alt=\"Born_into_Brothels\" width=\"200\" height=\"296\">\u003c/p>\n\u003ch3>\u003ci>Born into Brothels\u003c/i> (2004) directed by Zana Briski and Ross Kauffman\u003c/h3>\n\u003cp>In this Academy Award-winning documentary, director Zana Briski chronicles her work teaching kids from Kolkata’s red light district photography skills and her efforts to get those children into boarding schools.\u003c/p>\n\u003cp>\u003cstrong>What the critics said:\u003c/strong> “The red light district has existed for centuries and will exist for centuries more. I was reminded of a scene in Buñuel’s \u003cem>Viridiana\u003c/em>. A man is disturbed by the sight of a dog tied to a wagon and being dragged along faster than it can run. The man buys the dog to free it, but does not notice, in the background, another cart pulling another dog.” — \u003ca href=\"http://www.rogerebert.com/reviews/born-into-brothels-2005\" target=\"_blank\" rel=\"noopener\">Roger Ebert\u003c/a>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11489206 size-full alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/two-white.png\" alt=\"two-white\" width=\"258\" height=\"89\">\u003c/p>\n\u003cp>\u003cstrong>Honesty rating:\u003c/strong> While I liked this film overall, it could be seen as problematic because of its “white savior” undertones.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-11483133\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Monsoon_Wedding_poster.jpg\" alt=\"Monsoon_Wedding_poster\" width=\"211\" height=\"296\">\u003c/p>\n\u003ch3>\u003ci>Monsoon Wedding\u003c/i> (2001) directed by Mira Nair\u003c/h3>\n\u003cp>What constitutes an outsider? As an Indian-born woman currently living in New York, Nair is arguably an insider. Perhaps that’s why she gets four thumbs up.\u003c/p>\n\u003cp>\u003cstrong>What the critics said:\u003c/strong> “The cast is exclusively Indian and the setting is Delhi… The film is played out in English, Hindi and Punjabi, which such a family would speak. Though tradition, such as the arranged marriage of the family’s daughter, plays a large part in the film, there is modernity too. The groom is an engineer from Houston, and the characters are as familiar with the dot com society as anyone in the west… Nair looks at these contrasts with a skilled eye that’s ironic but never mocking.” — \u003ca href=\"http://www.theguardian.com/film/2001/nov/12/londonfilmfestival2001.londonfilmfestival2\" target=\"_blank\" rel=\"noopener\">Derek Malcolm, \u003ci>The Guardian\u003c/i>\u003c/a>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11489205 size-full alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/4-up-emoji.png\" alt=\"\" width=\"260\" height=\"92\">\u003c/p>\n\u003cp>\u003cstrong>Honesty rating:\u003c/strong>There’s beauty, nuance, and a variety of complex and complicated characters.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-11483135\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/The-best-exotic-marigold-hotel.jpg\" alt=\"The-best-exotic-marigold-hotel\" width=\"360\" height=\"270\">\u003c/p>\n\u003ch3>\u003ci>Best Exotic Marigold Hotel\u003c/i> (2011) directed by John Madden\u003c/h3>\n\u003cp>\u003cstrong>What the critics said:\u003c/strong> “Despite all the creaky contrivances (notably Muriel’s new-found ability to walk coinciding with her realization that brown people aren’t so bad after all)… The case to be made for \u003cem>The Best Exotic Marigold Hotel\u003c/em> is that it addresses a sector of the cinema audience — the over-50s — routinely overlooked by the film industry, and deals, however lightly, with subject matter that meshes with their preoccupations.” — \u003ca href=\"http://www.telegraph.co.uk/culture/film/filmreviews/9101176/The-Best-Exotic-Marigold-Hotel-review.html\" target=\"_blank\" rel=\"noopener\">David Gritten, \u003ci>The Telegraph\u003c/i>\u003c/a>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11489202 size-full alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/emoji-3-old.png\" alt=\"emoji-3-old\" width=\"261\" height=\"86\">\u003c/p>\n\u003cp>\u003cstrong>Honesty rating:\u003c/strong> It’s entertaining, but ultimately the target audience seems to be older folks.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-11483137\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Slumdog_millionaire_ver2.jpg\" alt=\"Slumdog_millionaire_ver2\" width=\"360\" height=\"270\">\u003c/p>\n\u003ch3>\u003ci>Slumdog Millionaire\u003c/i> (2008) directed by Danny Boyle\u003c/h3>\n\u003cp>\u003cstrong>What the critics said:\u003c/strong> “This proves to be one of the most upbeat stories about living in hell imaginable.” — \u003ca href=\"http://www.nytimes.com/2008/11/12/movies/12slum.html\" target=\"_blank\" rel=\"noopener\">Manohla Dargis, \u003ci>The New York Times\u003c/i>\u003c/a>\u003c/p>\n\u003cp>“The main issue isn’t that the film is just patronizing to India, but to the audience. It is merely a pastiche of styles and ideas, although ethnicity and epic landscapes may be enough to satisfy the Academy judges… Maybe we should be realistic: if the slum tours profit, so do the charities supporting them. So the film has done some good. But that isn’t the same as it being any good.” — \u003ca href=\"http://www.telegraph.co.uk/comment/personal-view/4362622/Slumdog-Millionaire-may-be-a-good-cause-but-its-not-a-good-movie.html\" target=\"_blank\" rel=\"noopener\">Chei Amlani, \u003ci>The Telegraph\u003c/i>\u003c/a>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11489203 size-full alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/emoji-two-up-two-down.png\" alt=\"emoji-two-up-two-down\" width=\"273\" height=\"101\">\u003c/p>\n\u003cp>\u003cstrong>Honesty rating:\u003c/strong> It’s slightly patronizing and stereotypical but overall it’s an intense and moving story.\u003c/p>\n\u003cfigure id=\"attachment_11491173\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11491173\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/David1200.jpg\" alt=\"Still from 'Sold.'\" width=\"1200\" height=\"520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/David1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/David1200-400x173.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/David1200-800x347.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/David1200-768x333.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/David1200-1180x511.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/David1200-960x416.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Sold.’ \u003ccite>(Courtesy of Jaya International)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Back to the matter at hand. \u003cem>Sold\u003c/em> the movie makes one big change to the original book’s narrative (spoiler alert!): Lakshmi frees herself instead of being rescued.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11489203 size-full alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/emoji-two-up-two-down.png\" alt=\"emoji-two-up-two-down\" width=\"273\" height=\"101\">\u003c/p>\n\u003cp>I give \u003cem>Sold\u003c/em> two thumbs up because despite all its problems, its message is a good one.\u003c/p>\n\u003cp>Human trafficking is a multibillion-dollar industry that impacts over \u003ca href=\"https://polarisproject.org/human-trafficking\" target=\"_blank\" rel=\"noopener\">20 million\u003c/a> people around the world. Anything that brings attention to these issues is important.\u003c/p>\n\u003cp>I give \u003ci>Sold\u003c/i> two thumbs downs because I didn’t need to see a movie to be convinced we need to end child trafficking. It makes me wonder if money spent on the film could have been better allocated directly towards the cause it promotes.\u003c/p>\n\u003cp>Have you seen a film in which an outsider accurately portrays a community? Does it make a difference if someone is from that place, race, or country?\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Decide for yourself:\u003cstrong> Sold\u003c/strong> opens in Bay Area theaters on April 15. For tickets and more information visit \u003ca href=\"http://www.soldthemovie.com/screenings/\" target=\"_blank\" rel=\"noopener\">soldthemovie.com\u003c/a>.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Emojis help us evaluate previous as well as current films about South Asia, including 'Sold,' opening April 15.",
"status": "publish",
"parent": 0,
"modified": 1726704841,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 34,
"wordCount": 1077
},
"headData": {
"title": "Can Outsiders Make Films About India in an Honest Way? | KQED",
"description": "Emojis help us evaluate previous as well as current films about South Asia, including 'Sold,' opening April 15.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Can Outsiders Make Films About India in an Honest Way?",
"datePublished": "2016-04-14T08:00:28-07:00",
"dateModified": "2024-09-18T17:14:01-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/11483013/can-outsiders-make-films-about-india-in-an-honest-way",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Sold\u003c/em> tells the story of a 12-year-old Nepali girl trafficked to India for sex slavery. The film is based on a book for young adults by Patricia McCormick, also called \u003cem>Sold\u003c/em>. It also happens to be directed by a white man.\u003c/p>\n\u003cp>I got the opportunity to speak with director Jeffrey D. Brown about the film. During the course of our interview he told me twice that his stepfather is Bengali. The first time he told me I thought it was interesting; by the second time I wondered if this was the South Asian-equivalent of telling me he has Black friends.\u003c/p>\n\u003cfigure id=\"attachment_11491171\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11491171\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Sold1200.jpg\" alt=\"Still from 'Sold.'\" width=\"1200\" height=\"510\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Sold1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Sold1200-400x170.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Sold1200-800x340.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Sold1200-768x326.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Sold1200-1180x502.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Sold1200-960x408.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Sold.’ \u003ccite>(Courtesy of Jaya International)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Was he trying to prove to me he couldn’t be guilty of a certain amount of \u003ca href=\"https://en.wikipedia.org/wiki/White_savior_narrative_in_film\" target=\"_blank\" rel=\"noopener\">white savior complex\u003c/a> because his stepfather is Bengali? My stepmother is Czech (true story) and despite frequent visits to Prague, I don’t believe this gives me authority on anything Czech-related.\u003c/p>\n\u003cp>The film is well shot and beautiful in many ways, but it will always be uncomfortable to watch a 12-year-old girl being raped and continually abused. Maybe it was more uncomfortable for me since the main character and I share a name.\u003c/p>\n\u003cfigure id=\"attachment_11491172\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11491172\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/SoldDancing1200.jpg\" alt=\"Still from 'Sold.'\" width=\"1200\" height=\"675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SoldDancing1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SoldDancing1200-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SoldDancing1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SoldDancing1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SoldDancing1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SoldDancing1200-960x540.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Sold.’ \u003ccite>(Courtesy of Jaya International)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It also felt strange to hear English spoken in a variety of Indian accents. The cast of \u003cem>Sold\u003c/em> came from all over India; Brown said filming in English was one of the most challenging parts of production. In the end, they spent 26 days on dubbing. Though they wanted to shoot \u003ci>Sold\u003c/i> in both Hindi and English, the budget wasn’t sufficient to do both.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This got me thinking about other films about India (and beyond) and whether or not outsiders are truly able to understand a community that is not their own. And since nothing is merely black or white these days, I’ve come up with an emoji ranking system: four diverse thumbs up = 4 out of 4 stars. Let’s try it out:\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-11483134\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Born_into_Brothels.jpg\" alt=\"Born_into_Brothels\" width=\"200\" height=\"296\">\u003c/p>\n\u003ch3>\u003ci>Born into Brothels\u003c/i> (2004) directed by Zana Briski and Ross Kauffman\u003c/h3>\n\u003cp>In this Academy Award-winning documentary, director Zana Briski chronicles her work teaching kids from Kolkata’s red light district photography skills and her efforts to get those children into boarding schools.\u003c/p>\n\u003cp>\u003cstrong>What the critics said:\u003c/strong> “The red light district has existed for centuries and will exist for centuries more. I was reminded of a scene in Buñuel’s \u003cem>Viridiana\u003c/em>. A man is disturbed by the sight of a dog tied to a wagon and being dragged along faster than it can run. The man buys the dog to free it, but does not notice, in the background, another cart pulling another dog.” — \u003ca href=\"http://www.rogerebert.com/reviews/born-into-brothels-2005\" target=\"_blank\" rel=\"noopener\">Roger Ebert\u003c/a>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11489206 size-full alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/two-white.png\" alt=\"two-white\" width=\"258\" height=\"89\">\u003c/p>\n\u003cp>\u003cstrong>Honesty rating:\u003c/strong> While I liked this film overall, it could be seen as problematic because of its “white savior” undertones.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-11483133\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Monsoon_Wedding_poster.jpg\" alt=\"Monsoon_Wedding_poster\" width=\"211\" height=\"296\">\u003c/p>\n\u003ch3>\u003ci>Monsoon Wedding\u003c/i> (2001) directed by Mira Nair\u003c/h3>\n\u003cp>What constitutes an outsider? As an Indian-born woman currently living in New York, Nair is arguably an insider. Perhaps that’s why she gets four thumbs up.\u003c/p>\n\u003cp>\u003cstrong>What the critics said:\u003c/strong> “The cast is exclusively Indian and the setting is Delhi… The film is played out in English, Hindi and Punjabi, which such a family would speak. Though tradition, such as the arranged marriage of the family’s daughter, plays a large part in the film, there is modernity too. The groom is an engineer from Houston, and the characters are as familiar with the dot com society as anyone in the west… Nair looks at these contrasts with a skilled eye that’s ironic but never mocking.” — \u003ca href=\"http://www.theguardian.com/film/2001/nov/12/londonfilmfestival2001.londonfilmfestival2\" target=\"_blank\" rel=\"noopener\">Derek Malcolm, \u003ci>The Guardian\u003c/i>\u003c/a>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11489205 size-full alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/4-up-emoji.png\" alt=\"\" width=\"260\" height=\"92\">\u003c/p>\n\u003cp>\u003cstrong>Honesty rating:\u003c/strong>There’s beauty, nuance, and a variety of complex and complicated characters.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-11483135\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/The-best-exotic-marigold-hotel.jpg\" alt=\"The-best-exotic-marigold-hotel\" width=\"360\" height=\"270\">\u003c/p>\n\u003ch3>\u003ci>Best Exotic Marigold Hotel\u003c/i> (2011) directed by John Madden\u003c/h3>\n\u003cp>\u003cstrong>What the critics said:\u003c/strong> “Despite all the creaky contrivances (notably Muriel’s new-found ability to walk coinciding with her realization that brown people aren’t so bad after all)… The case to be made for \u003cem>The Best Exotic Marigold Hotel\u003c/em> is that it addresses a sector of the cinema audience — the over-50s — routinely overlooked by the film industry, and deals, however lightly, with subject matter that meshes with their preoccupations.” — \u003ca href=\"http://www.telegraph.co.uk/culture/film/filmreviews/9101176/The-Best-Exotic-Marigold-Hotel-review.html\" target=\"_blank\" rel=\"noopener\">David Gritten, \u003ci>The Telegraph\u003c/i>\u003c/a>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11489202 size-full alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/emoji-3-old.png\" alt=\"emoji-3-old\" width=\"261\" height=\"86\">\u003c/p>\n\u003cp>\u003cstrong>Honesty rating:\u003c/strong> It’s entertaining, but ultimately the target audience seems to be older folks.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-11483137\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Slumdog_millionaire_ver2.jpg\" alt=\"Slumdog_millionaire_ver2\" width=\"360\" height=\"270\">\u003c/p>\n\u003ch3>\u003ci>Slumdog Millionaire\u003c/i> (2008) directed by Danny Boyle\u003c/h3>\n\u003cp>\u003cstrong>What the critics said:\u003c/strong> “This proves to be one of the most upbeat stories about living in hell imaginable.” — \u003ca href=\"http://www.nytimes.com/2008/11/12/movies/12slum.html\" target=\"_blank\" rel=\"noopener\">Manohla Dargis, \u003ci>The New York Times\u003c/i>\u003c/a>\u003c/p>\n\u003cp>“The main issue isn’t that the film is just patronizing to India, but to the audience. It is merely a pastiche of styles and ideas, although ethnicity and epic landscapes may be enough to satisfy the Academy judges… Maybe we should be realistic: if the slum tours profit, so do the charities supporting them. So the film has done some good. But that isn’t the same as it being any good.” — \u003ca href=\"http://www.telegraph.co.uk/comment/personal-view/4362622/Slumdog-Millionaire-may-be-a-good-cause-but-its-not-a-good-movie.html\" target=\"_blank\" rel=\"noopener\">Chei Amlani, \u003ci>The Telegraph\u003c/i>\u003c/a>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11489203 size-full alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/emoji-two-up-two-down.png\" alt=\"emoji-two-up-two-down\" width=\"273\" height=\"101\">\u003c/p>\n\u003cp>\u003cstrong>Honesty rating:\u003c/strong> It’s slightly patronizing and stereotypical but overall it’s an intense and moving story.\u003c/p>\n\u003cfigure id=\"attachment_11491173\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11491173\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/David1200.jpg\" alt=\"Still from 'Sold.'\" width=\"1200\" height=\"520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/David1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/David1200-400x173.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/David1200-800x347.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/David1200-768x333.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/David1200-1180x511.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/David1200-960x416.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Sold.’ \u003ccite>(Courtesy of Jaya International)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Back to the matter at hand. \u003cem>Sold\u003c/em> the movie makes one big change to the original book’s narrative (spoiler alert!): Lakshmi frees herself instead of being rescued.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11489203 size-full alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/emoji-two-up-two-down.png\" alt=\"emoji-two-up-two-down\" width=\"273\" height=\"101\">\u003c/p>\n\u003cp>I give \u003cem>Sold\u003c/em> two thumbs up because despite all its problems, its message is a good one.\u003c/p>\n\u003cp>Human trafficking is a multibillion-dollar industry that impacts over \u003ca href=\"https://polarisproject.org/human-trafficking\" target=\"_blank\" rel=\"noopener\">20 million\u003c/a> people around the world. Anything that brings attention to these issues is important.\u003c/p>\n\u003cp>I give \u003ci>Sold\u003c/i> two thumbs downs because I didn’t need to see a movie to be convinced we need to end child trafficking. It makes me wonder if money spent on the film could have been better allocated directly towards the cause it promotes.\u003c/p>\n\u003cp>Have you seen a film in which an outsider accurately portrays a community? Does it make a difference if someone is from that place, race, or country?\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Decide for yourself:\u003cstrong> Sold\u003c/strong> opens in Bay Area theaters on April 15. For tickets and more information visit \u003ca href=\"http://www.soldthemovie.com/screenings/\" target=\"_blank\" rel=\"noopener\">soldthemovie.com\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11483013/can-outsiders-make-films-about-india-in-an-honest-way",
"authors": [
"3245"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_596",
"arts_769"
],
"featImg": "arts_11491175",
"label": "arts"
},
"arts_11487587": {
"type": "posts",
"id": "arts_11487587",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11487587",
"score": null,
"sort": [
1460497633000
]
},
"guestAuthors": [],
"slug": "a-disturbance-in-the-fur-ce-event-renamed-after-lucasfilm-notice",
"title": "A Disturbance in The Fur-ce: Event Renamed After Lucasfilm Notice",
"publishDate": 1460497633,
"format": "standard",
"headTitle": "A Disturbance in The Fur-ce: Event Renamed After Lucasfilm Notice | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>The \u003ca href=\"https://recordsetter.com/world-record/global-lightsaber-battle/45244\" target=\"_blank\" rel=\"noopener\">world record-breaking\u003c/a> Light Battle Tour, which drew large crowds during its stop in the Embarcadero’s Sue Bierman Park \u003ca href=\"http://www.ktvu.com/news/58937866-story\" target=\"_blank\" rel=\"noopener\">last December\u003c/a>, will now be known as \u003ca href=\"https://catsinspacetour.com/\" target=\"_blank\" rel=\"noopener\">Cats in Space Tour\u003c/a> after a legal settlement with trademark holder Lucasfilm, according to an \u003ca href=\"https://catsinspacetour.com/blogs/news/118143171-statement-re-legal-settlement-with-lucasfilm-cats-in-space-launch\" target=\"_blank\" rel=\"noopener\">announcement\u003c/a> on the event’s website.\u003c/p>\n\u003cp>According to the post, the \u003ca href=\"http://ww2.kqed.org/news/2012/10/30/disney-buys-lucasfilm-and-makes-a-star-wars-sequel\" target=\"_blank\" rel=\"noopener\">Disney-helmed Lucasfilm\u003c/a> first approached Canadian non-profit \u003ca href=\"http://www.newmindspace.com/\" target=\"_blank\" rel=\"noopener\">Newmindspace\u003c/a> with a cease-and-desist in January over the use of the words the words “lightsaber,” “Jedi,” “Sith,” and “The Force.” Then in March, they followed up with another notice over the similarity of the name “Light Battle Tour” to the company’s trademark.\u003c/p>\n\u003cp>As per the settlement, event coordinators re-branded the event to “Cats in Space Tour,” but assure attendees that previous registrations will still be honored and that the event shall proceed as usual. The battle between Space Cats and Space Mice rages on, with the inclusion of the weapon that is clearly not a lightsaber, but a “cat blade”.\u003c/p>\n\u003cfigure id=\"attachment_11488074\" class=\"wp-caption alignnone\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11488074\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/cat-blade-600x600.jpg\" alt=\"Registration for the Cats in Space Tour run from $10 to $25 per person and include memorabilia and a dollar donation to Make-A-Wish. \" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/cat-blade-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/cat-blade-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/cat-blade-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/cat-blade-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/cat-blade-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/cat-blade-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/cat-blade-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/cat-blade-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/cat-blade.jpg 900w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Registration for the Cats in Space Tour run from $10 to $25 per person and include memorabilia and a dollar donation to Make-A-Wish. \u003ccite>(Photo: Courtesy of Cats in Space Tour. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Cats in Space is a fun, playful series of Space Battles where participants can fight with fantasy weapons, laser guns, and more, while enjoying original artwork on T-shirts that benefit charity,” co-founder Kevin Bracken states in the post.\u003c/p>\n\u003cp>\u003ca href=\"http://www.newmindspace.com/\" target=\"_blank\" rel=\"noopener\">Newmindspace\u003c/a>, which has been organizing large-scale events in 2005, first launched their Light Battle Tour events in 2007 at the \u003ca href=\"https://www.youtube.com/watch?v=DCV4EK7hVkU\" target=\"_blank\" rel=\"noopener\">Royal Ontario Museum\u003c/a> in Toronto and has since expanded to over ten cities across the United States.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Cats in Space Tour kicks off in Downtown San Jose’s St. James Park on Saturday, Apr. 30. \u003c/p>\n\n",
"blocks": [],
"excerpt": "Global lightsaber event undergoes rebranding after Lucasfilm raises claims of trademark infringement.",
"status": "publish",
"parent": 0,
"modified": 1726771026,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 8,
"wordCount": 317
},
"headData": {
"title": "A Disturbance in The Fur-ce: Event Renamed After Lucasfilm Notice | KQED",
"description": "Global lightsaber event undergoes rebranding after Lucasfilm raises claims of trademark infringement.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "A Disturbance in The Fur-ce: Event Renamed After Lucasfilm Notice",
"datePublished": "2016-04-12T14:47:13-07:00",
"dateModified": "2024-09-19T11:37:06-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/11487587/a-disturbance-in-the-fur-ce-event-renamed-after-lucasfilm-notice",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://recordsetter.com/world-record/global-lightsaber-battle/45244\" target=\"_blank\" rel=\"noopener\">world record-breaking\u003c/a> Light Battle Tour, which drew large crowds during its stop in the Embarcadero’s Sue Bierman Park \u003ca href=\"http://www.ktvu.com/news/58937866-story\" target=\"_blank\" rel=\"noopener\">last December\u003c/a>, will now be known as \u003ca href=\"https://catsinspacetour.com/\" target=\"_blank\" rel=\"noopener\">Cats in Space Tour\u003c/a> after a legal settlement with trademark holder Lucasfilm, according to an \u003ca href=\"https://catsinspacetour.com/blogs/news/118143171-statement-re-legal-settlement-with-lucasfilm-cats-in-space-launch\" target=\"_blank\" rel=\"noopener\">announcement\u003c/a> on the event’s website.\u003c/p>\n\u003cp>According to the post, the \u003ca href=\"http://ww2.kqed.org/news/2012/10/30/disney-buys-lucasfilm-and-makes-a-star-wars-sequel\" target=\"_blank\" rel=\"noopener\">Disney-helmed Lucasfilm\u003c/a> first approached Canadian non-profit \u003ca href=\"http://www.newmindspace.com/\" target=\"_blank\" rel=\"noopener\">Newmindspace\u003c/a> with a cease-and-desist in January over the use of the words the words “lightsaber,” “Jedi,” “Sith,” and “The Force.” Then in March, they followed up with another notice over the similarity of the name “Light Battle Tour” to the company’s trademark.\u003c/p>\n\u003cp>As per the settlement, event coordinators re-branded the event to “Cats in Space Tour,” but assure attendees that previous registrations will still be honored and that the event shall proceed as usual. The battle between Space Cats and Space Mice rages on, with the inclusion of the weapon that is clearly not a lightsaber, but a “cat blade”.\u003c/p>\n\u003cfigure id=\"attachment_11488074\" class=\"wp-caption alignnone\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11488074\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/cat-blade-600x600.jpg\" alt=\"Registration for the Cats in Space Tour run from $10 to $25 per person and include memorabilia and a dollar donation to Make-A-Wish. \" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/cat-blade-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/cat-blade-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/cat-blade-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/cat-blade-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/cat-blade-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/cat-blade-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/cat-blade-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/cat-blade-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/cat-blade.jpg 900w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Registration for the Cats in Space Tour run from $10 to $25 per person and include memorabilia and a dollar donation to Make-A-Wish. \u003ccite>(Photo: Courtesy of Cats in Space Tour. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Cats in Space is a fun, playful series of Space Battles where participants can fight with fantasy weapons, laser guns, and more, while enjoying original artwork on T-shirts that benefit charity,” co-founder Kevin Bracken states in the post.\u003c/p>\n\u003cp>\u003ca href=\"http://www.newmindspace.com/\" target=\"_blank\" rel=\"noopener\">Newmindspace\u003c/a>, which has been organizing large-scale events in 2005, first launched their Light Battle Tour events in 2007 at the \u003ca href=\"https://www.youtube.com/watch?v=DCV4EK7hVkU\" target=\"_blank\" rel=\"noopener\">Royal Ontario Museum\u003c/a> in Toronto and has since expanded to over ten cities across the United States.\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>The Cats in Space Tour kicks off in Downtown San Jose’s St. James Park on Saturday, Apr. 30. \u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11487587/a-disturbance-in-the-fur-ce-event-renamed-after-lucasfilm-notice",
"authors": [
"11208"
],
"categories": [
"arts_74",
"arts_235",
"arts_75",
"arts_70"
],
"tags": [
"arts_746",
"arts_596"
],
"featImg": "arts_11487955",
"label": "arts"
},
"arts_11486005": {
"type": "posts",
"id": "arts_11486005",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11486005",
"score": null,
"sort": [
1460473215000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1460473215,
"format": "standard",
"title": "Tom Sachs’ Artist-Made ‘Space Program’ Lands First Women on Mars",
"headTitle": "Tom Sachs’ Artist-Made ‘Space Program’ Lands First Women on Mars | KQED",
"content": "\u003cp>\u003ci>A Space Program\u003c/i> isn’t quite a science fiction film. It’s also not quite a documentary film. It’s a film about a contemporary artist, \u003ca href=\"http://www.tomsachs.org/\" target=\"_blank\" rel=\"noopener\">Tom Sachs\u003c/a>, and his small army of studio assistants, as they build, launch and successfully complete an Earthly approximation of a manned mission to Mars.\u003c/p>\n\u003cp>https://youtu.be/83u78TRil7Q\u003c/p>\n\u003cp>\u003ci>A Space Program\u003c/i> is the stylish movie version of Sachs’ 2012 project \u003ci>\u003ca href=\"http://creativetime.org/projects/space-program-mars/\" target=\"_blank\" rel=\"noopener\">Space Program: Mars\u003c/a>\u003c/i>, a four-week installation in the Park Avenue Armory’s 55,000-square-foot Wade Thompson Drill Hall. During the course of the show, Sachs and his studio team conducted demonstrations of their entirely handmade space exploration complex for live audience, complete with sets for a mission control, a Mars lander, surface sampling equipment and a stress-relieving tea ceremony.\u003c/p>\n\u003cp>Using the concept of bricolage, every aspect of Sachs’ artistic output is a hobbled-together approximation of a real life thing. These objects — a space suit cooling system that includes a five-gallon sports cooler, a landing system that many will recognize as the arcade game Lunar Lander — are wonderfully playful. The mock-seriousness of the entire endeavor has a \u003ci>Life Aquatic\u003c/i>-like quality of matching a merry band of misfits with charming lo-fi special effects, cartoonish drawings and stop-motion animation.\u003c/p>\n\u003cfigure id=\"attachment_11486007\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11486007\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/ASP2.jpg\" alt=\"Lt. Samantha Ratanarat and Cdr. Mary Eannarino perform the first tea ceremony on the surface of Mars.\" width=\"1200\" height=\"776\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/ASP2.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/ASP2-400x259.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/ASP2-800x517.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/ASP2-768x497.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/ASP2-1180x763.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/ASP2-960x621.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Lt. Samantha Ratanarat and Cdr. Mary Eannarino perform the first tea ceremony on the surface of Mars. \u003ccite>(Photo: Phoebe D'Heurle)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As for narrative, \u003ci>A Space Program\u003c/i> is light on that front. The movie starts off with a lot of stagecraft, introducing the Sachs studio members and their various material specialties: steel, plywood, Tyvek, epoxy and literature, to name a few. There’s plenty of dramatic lighting, official-looking ID badges and a stern-voiced narrator who fills us in on anything we might not know about plywood, Tyvek, epoxy and other Sachs studio methodologies.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The stated mission of \u003ci>A Space Program\u003c/i> is to land the first women on the surface of Mars, find life on the planet and recoup investment. The astronauts, Lieutenant Samantha Ratanarat and Commander Mary Eannarino (who wear an 54 extra pounds of gear for the duration of the demonstrations documented in the movie), are the real focus of \u003ci>A Space Program\u003c/i>, enacting a stilted drama about the stress of the mission and heightened interpersonal conflict inside the close quarters of the Mars lander.\u003c/p>\n\u003cfigure id=\"attachment_11486006\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11486006\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/ASP1.jpg\" alt=\"Lt. Samantha Ratanarat loads soil samples onto the LEM after completing an extra-vehicular mission. \" width=\"1200\" height=\"799\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/ASP1.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/ASP1-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/ASP1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/ASP1-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/ASP1-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/ASP1-960x639.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Lt. Samantha Ratanarat loads soil samples onto the LEM after completing an extra-vehicular mission. \u003ccite>(Photo: Josh White)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sachs, the ringmaster, is shown in quick cuts back to the control room, usually sipping whiskey on the rocks out of a glass with “NASA” etched on its side. Except for a brief introduction to Captain Oksana Todorova — who’s in charge of document forgery and currency counterfeiting — the rest of the studio is made up of men.\u003c/p>\n\u003cfigure id=\"attachment_11486009\" class=\"wp-caption alignright\" style=\"max-width: 432px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/ASPPoster.jpg\" alt=\"'A Space Program' opens Friday, April 15 in San Francisco.\" width=\"432\" height=\"640\" class=\"size-full wp-image-11486009\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/ASPPoster.jpg 432w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/ASPPoster-400x593.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/ASPPoster-405x600.jpg 405w\" sizes=\"(max-width: 432px) 100vw, 432px\">\u003cfigcaption class=\"wp-caption-text\">‘A Space Program’ opens Friday, April 15 in San Francisco. \u003ccite>(Courtesy of Zeitgeist Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In their classic Apollo missions-era attire of white button-down shirts, khakis, slim ties and pockets full of pens, it’s hard to miss the moment when men back in mission control refer to astronauts Ratanarat and Eannarino as “girls.” That’s because it happens immediately after Eannarino takes her first step on Mars (the Park Avenue Armory’s hardwood floor) and says, “A woman did this.”\u003c/p>\n\u003cp>This, the astronauts’ sexy mesh bodysuits, and a few other cringeworthy moments of men explaining things to the women put a permanent sneer on my face right around \u003ci>A Space Program\u003c/i>’s halfway mark.\u003c/p>\n\u003cp>With the decommission of NASA’s space shuttle Atlantis and the rise of pricey privatized space travel, Sachs’ artistic solution to our collective dreams of exploring the stars are welcome and visually inventive solutions. After all the helpful instruction included in \u003ci>A Space Program\u003c/i>, we the viewers might just have the tools to craft our own missions, with our own set of rules.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>A Space Program\u003c/b> opens April 15 at the Alamo Drafthouse in San Francisco.\u003c/i>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 689,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 12
},
"modified": 1705044608,
"excerpt": "A feature-length film inventively documents an artist's handmade space program, but not without a few bumps along the way.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "A feature-length film inventively documents an artist's handmade space program, but not without a few bumps along the way.",
"title": "Tom Sachs’ Artist-Made ‘Space Program’ Lands First Women on Mars | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Tom Sachs’ Artist-Made ‘Space Program’ Lands First Women on Mars",
"datePublished": "2016-04-12T08:00:15-07:00",
"dateModified": "2024-01-11T23:30:08-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "tom-sachs-artist-made-space-program-lands-first-women-on-mars",
"status": "publish",
"sticky": false,
"path": "/arts/11486005/tom-sachs-artist-made-space-program-lands-first-women-on-mars",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>A Space Program\u003c/i> isn’t quite a science fiction film. It’s also not quite a documentary film. It’s a film about a contemporary artist, \u003ca href=\"http://www.tomsachs.org/\" target=\"_blank\" rel=\"noopener\">Tom Sachs\u003c/a>, and his small army of studio assistants, as they build, launch and successfully complete an Earthly approximation of a manned mission to Mars.\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/83u78TRil7Q'\n title='//www.youtube.com/embed/83u78TRil7Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ci>A Space Program\u003c/i> is the stylish movie version of Sachs’ 2012 project \u003ci>\u003ca href=\"http://creativetime.org/projects/space-program-mars/\" target=\"_blank\" rel=\"noopener\">Space Program: Mars\u003c/a>\u003c/i>, a four-week installation in the Park Avenue Armory’s 55,000-square-foot Wade Thompson Drill Hall. During the course of the show, Sachs and his studio team conducted demonstrations of their entirely handmade space exploration complex for live audience, complete with sets for a mission control, a Mars lander, surface sampling equipment and a stress-relieving tea ceremony.\u003c/p>\n\u003cp>Using the concept of bricolage, every aspect of Sachs’ artistic output is a hobbled-together approximation of a real life thing. These objects — a space suit cooling system that includes a five-gallon sports cooler, a landing system that many will recognize as the arcade game Lunar Lander — are wonderfully playful. The mock-seriousness of the entire endeavor has a \u003ci>Life Aquatic\u003c/i>-like quality of matching a merry band of misfits with charming lo-fi special effects, cartoonish drawings and stop-motion animation.\u003c/p>\n\u003cfigure id=\"attachment_11486007\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11486007\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/ASP2.jpg\" alt=\"Lt. Samantha Ratanarat and Cdr. Mary Eannarino perform the first tea ceremony on the surface of Mars.\" width=\"1200\" height=\"776\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/ASP2.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/ASP2-400x259.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/ASP2-800x517.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/ASP2-768x497.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/ASP2-1180x763.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/ASP2-960x621.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Lt. Samantha Ratanarat and Cdr. Mary Eannarino perform the first tea ceremony on the surface of Mars. \u003ccite>(Photo: Phoebe D'Heurle)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As for narrative, \u003ci>A Space Program\u003c/i> is light on that front. The movie starts off with a lot of stagecraft, introducing the Sachs studio members and their various material specialties: steel, plywood, Tyvek, epoxy and literature, to name a few. There’s plenty of dramatic lighting, official-looking ID badges and a stern-voiced narrator who fills us in on anything we might not know about plywood, Tyvek, epoxy and other Sachs studio methodologies.\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 stated mission of \u003ci>A Space Program\u003c/i> is to land the first women on the surface of Mars, find life on the planet and recoup investment. The astronauts, Lieutenant Samantha Ratanarat and Commander Mary Eannarino (who wear an 54 extra pounds of gear for the duration of the demonstrations documented in the movie), are the real focus of \u003ci>A Space Program\u003c/i>, enacting a stilted drama about the stress of the mission and heightened interpersonal conflict inside the close quarters of the Mars lander.\u003c/p>\n\u003cfigure id=\"attachment_11486006\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11486006\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/ASP1.jpg\" alt=\"Lt. Samantha Ratanarat loads soil samples onto the LEM after completing an extra-vehicular mission. \" width=\"1200\" height=\"799\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/ASP1.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/ASP1-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/ASP1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/ASP1-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/ASP1-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/ASP1-960x639.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Lt. Samantha Ratanarat loads soil samples onto the LEM after completing an extra-vehicular mission. \u003ccite>(Photo: Josh White)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sachs, the ringmaster, is shown in quick cuts back to the control room, usually sipping whiskey on the rocks out of a glass with “NASA” etched on its side. Except for a brief introduction to Captain Oksana Todorova — who’s in charge of document forgery and currency counterfeiting — the rest of the studio is made up of men.\u003c/p>\n\u003cfigure id=\"attachment_11486009\" class=\"wp-caption alignright\" style=\"max-width: 432px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/ASPPoster.jpg\" alt=\"'A Space Program' opens Friday, April 15 in San Francisco.\" width=\"432\" height=\"640\" class=\"size-full wp-image-11486009\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/ASPPoster.jpg 432w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/ASPPoster-400x593.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/ASPPoster-405x600.jpg 405w\" sizes=\"(max-width: 432px) 100vw, 432px\">\u003cfigcaption class=\"wp-caption-text\">‘A Space Program’ opens Friday, April 15 in San Francisco. \u003ccite>(Courtesy of Zeitgeist Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In their classic Apollo missions-era attire of white button-down shirts, khakis, slim ties and pockets full of pens, it’s hard to miss the moment when men back in mission control refer to astronauts Ratanarat and Eannarino as “girls.” That’s because it happens immediately after Eannarino takes her first step on Mars (the Park Avenue Armory’s hardwood floor) and says, “A woman did this.”\u003c/p>\n\u003cp>This, the astronauts’ sexy mesh bodysuits, and a few other cringeworthy moments of men explaining things to the women put a permanent sneer on my face right around \u003ci>A Space Program\u003c/i>’s halfway mark.\u003c/p>\n\u003cp>With the decommission of NASA’s space shuttle Atlantis and the rise of pricey privatized space travel, Sachs’ artistic solution to our collective dreams of exploring the stars are welcome and visually inventive solutions. After all the helpful instruction included in \u003ci>A Space Program\u003c/i>, we the viewers might just have the tools to craft our own missions, with our own set of rules.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>A Space Program\u003c/b> opens April 15 at the Alamo Drafthouse in San Francisco.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11486005/tom-sachs-artist-made-space-program-lands-first-women-on-mars",
"authors": [
"61"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_596",
"arts_769"
],
"featImg": "arts_11486008",
"label": "arts"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"radioSearchSegmentsReducer": {},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?category=movies": {
"isFetching": false,
"latestQuery": {
"from": 2172,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 3243,
"relation": "eq"
},
"items": [
"arts_11528602",
"arts_11517243",
"news_10937296",
"arts_11511267",
"arts_11514451",
"arts_11514864",
"arts_11511804",
"arts_11514314",
"arts_11492283",
"arts_11483013",
"arts_11487587",
"arts_11486005"
],
"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_1254": {
"type": "terms",
"id": "arts_1254",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1254",
"found": true
},
"relationships": {},
"featImg": null,
"name": "exclude",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "exclude Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1266,
"slug": "exclude",
"isLoading": false,
"link": "/arts/tag/exclude"
},
"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_148": {
"type": "terms",
"id": "arts_148",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "148",
"found": true
},
"relationships": {},
"featImg": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/logo-pbs-lg1.png",
"name": "PBS",
"description": null,
"taxonomy": "affiliate",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "PBS Archives | KQED Arts",
"ogDescription": null
},
"ttid": 149,
"slug": "pbs",
"isLoading": false,
"link": "/arts/affiliate/pbs"
},
"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_1007": {
"type": "terms",
"id": "arts_1007",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1007",
"found": true
},
"relationships": {},
"featImg": null,
"name": "video",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "video Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1024,
"slug": "video",
"isLoading": false,
"link": "/arts/tag/video"
},
"news_72": {
"type": "terms",
"id": "news_72",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "72",
"found": true
},
"relationships": {},
"featImg": "https://ww2.kqed.org/app/uploads/sites/10/2014/10/TCR-2-Logo-Web-Banners-03.png",
"name": "The California Report",
"description": null,
"taxonomy": "program",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "The California Report Archives | KQED News",
"ogDescription": null
},
"ttid": 6969,
"slug": "the-california-report",
"isLoading": false,
"link": "/news/program/the-california-report"
},
"news_223": {
"type": "terms",
"id": "news_223",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "223",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts and Culture",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts and Culture Archives | KQED News",
"ogDescription": null
},
"ttid": 231,
"slug": "arts-and-culture",
"isLoading": false,
"link": "/news/category/arts-and-culture"
},
"news_6188": {
"type": "terms",
"id": "news_6188",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "6188",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Law and Justice",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Law and Justice Archives | KQED News",
"ogDescription": null
},
"ttid": 6212,
"slug": "law-and-justice",
"isLoading": false,
"link": "/news/category/law-and-justice"
},
"news_19374": {
"type": "terms",
"id": "news_19374",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "19374",
"found": true
},
"relationships": {},
"featImg": null,
"name": "documentary film",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "documentary film Archives | KQED News",
"ogDescription": null
},
"ttid": 19391,
"slug": "documentary-film",
"isLoading": false,
"link": "/news/tag/documentary-film"
},
"news_1471": {
"type": "terms",
"id": "news_1471",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "1471",
"found": true
},
"relationships": {},
"featImg": null,
"name": "prisons",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "prisons Archives | KQED News",
"ogDescription": null
},
"ttid": 1483,
"slug": "prisons",
"isLoading": false,
"link": "/news/tag/prisons"
},
"news_17286": {
"type": "terms",
"id": "news_17286",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "17286",
"found": true
},
"relationships": {},
"featImg": null,
"name": "tcr",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "tcr Archives | KQED News",
"ogDescription": null
},
"ttid": 17318,
"slug": "tcr",
"isLoading": false,
"link": "/news/tag/tcr"
},
"news_17041": {
"type": "terms",
"id": "news_17041",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "17041",
"found": true
},
"relationships": {},
"featImg": null,
"name": "the-california-report-featured",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "the-california-report-featured Archives | KQED News",
"ogDescription": null
},
"ttid": 17067,
"slug": "the-california-report-featured",
"isLoading": false,
"link": "/news/tag/the-california-report-featured"
},
"arts_989": {
"type": "terms",
"id": "arts_989",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "989",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Q&A",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Q&A Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1007,
"slug": "qa",
"isLoading": false,
"link": "/arts/tag/qa"
},
"arts_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_596": {
"type": "terms",
"id": "arts_596",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "596",
"found": true
},
"relationships": {},
"featImg": null,
"name": "ntv",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "ntv Archives | KQED Arts",
"ogDescription": null
},
"ttid": 602,
"slug": "ntv",
"isLoading": false,
"link": "/arts/tag/ntv"
},
"arts_769": {
"type": "terms",
"id": "arts_769",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "769",
"found": true
},
"relationships": {},
"featImg": null,
"name": "review",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "review Archives | KQED Arts",
"ogDescription": null
},
"ttid": 787,
"slug": "review",
"isLoading": false,
"link": "/arts/tag/review"
},
"arts_137": {
"type": "terms",
"id": "arts_137",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "137",
"found": true
},
"relationships": {},
"featImg": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/logo-npr-lg1.png",
"name": "NPR",
"description": null,
"taxonomy": "affiliate",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "NPR Archives | KQED Arts",
"ogDescription": null
},
"ttid": 138,
"slug": "npr",
"isLoading": false,
"link": "/arts/affiliate/npr"
},
"arts_235": {
"type": "terms",
"id": "arts_235",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "235",
"found": true
},
"relationships": {},
"featImg": null,
"name": "News",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "News Archives | KQED Arts",
"ogDescription": null
},
"ttid": 236,
"slug": "news",
"isLoading": false,
"link": "/arts/category/news"
},
"arts_75": {
"type": "terms",
"id": "arts_75",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "75",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Pop Culture",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Pop Culture Archives | KQED Arts",
"ogDescription": null
},
"ttid": 76,
"slug": "popculture",
"isLoading": false,
"link": "/arts/category/popculture"
},
"arts_70": {
"type": "terms",
"id": "arts_70",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "70",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Visual Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Visual Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 71,
"slug": "visualarts",
"isLoading": false,
"link": "/arts/category/visualarts"
},
"arts_746": {
"type": "terms",
"id": "arts_746",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "746",
"found": true
},
"relationships": {},
"featImg": null,
"name": "news",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "news Archives | KQED Arts",
"ogDescription": null
},
"ttid": 764,
"slug": "news-2",
"isLoading": false,
"link": "/arts/tag/news-2"
}
},
"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
}
}
