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
}
}
},
"trulyca_2526": {
"type": "attachments",
"id": "trulyca_2526",
"meta": {
"index": "attachments_1716263798",
"site": "trulyca",
"id": "2526",
"found": true
},
"parent": 21,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/29/2016/03/ABB_Promotional_Image-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/29/2016/03/ABB_Promotional_Image-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/29/2016/03/ABB_Promotional_Image-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/29/2016/03/ABB_Promotional_Image-960x542.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 542
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/29/2016/03/ABB_Promotional_Image-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/29/2016/03/ABB_Promotional_Image-375x212.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 212
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/29/2016/03/ABB_Promotional_Image.jpg",
"width": 2100,
"height": 1185
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/29/2016/03/ABB_Promotional_Image-1020x576.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 576
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/29/2016/03/ABB_Promotional_Image-1180x666.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 666
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/29/2016/03/ABB_Promotional_Image-1200x677.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 677
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/29/2016/03/ABB_Promotional_Image-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/29/2016/03/ABB_Promotional_Image-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/29/2016/03/ABB_Promotional_Image-800x451.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 451
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/29/2016/03/ABB_Promotional_Image-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/29/2016/03/ABB_Promotional_Image-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/29/2016/03/ABB_Promotional_Image-1920x1083.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1083
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/29/2016/03/ABB_Promotional_Image-1180x666.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 666
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/29/2016/03/ABB_Promotional_Image-1920x1083.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1083
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/29/2016/03/ABB_Promotional_Image-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/29/2016/03/ABB_Promotional_Image-768x433.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 433
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/29/2016/03/ABB_Promotional_Image-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/29/2016/03/ABB_Promotional_Image-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1537979207,
"modified": 1537979207,
"caption": null,
"description": null,
"title": "ABB_Promotional_Image",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11225552": {
"type": "attachments",
"id": "arts_11225552",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11225552",
"found": true
},
"parent": 11225551,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/latino-movies_wide-8a302f9c92dd06495deef8f74300cbbb544be6fc-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/latino-movies_wide-8a302f9c92dd06495deef8f74300cbbb544be6fc-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/latino-movies_wide-8a302f9c92dd06495deef8f74300cbbb544be6fc-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/latino-movies_wide-8a302f9c92dd06495deef8f74300cbbb544be6fc-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/latino-movies_wide-8a302f9c92dd06495deef8f74300cbbb544be6fc.jpg",
"width": 2000,
"height": 1125
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/latino-movies_wide-8a302f9c92dd06495deef8f74300cbbb544be6fc-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/latino-movies_wide-8a302f9c92dd06495deef8f74300cbbb544be6fc-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/latino-movies_wide-8a302f9c92dd06495deef8f74300cbbb544be6fc-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/latino-movies_wide-8a302f9c92dd06495deef8f74300cbbb544be6fc-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/latino-movies_wide-8a302f9c92dd06495deef8f74300cbbb544be6fc-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/latino-movies_wide-8a302f9c92dd06495deef8f74300cbbb544be6fc-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/latino-movies_wide-8a302f9c92dd06495deef8f74300cbbb544be6fc-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/latino-movies_wide-8a302f9c92dd06495deef8f74300cbbb544be6fc-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/latino-movies_wide-8a302f9c92dd06495deef8f74300cbbb544be6fc-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/latino-movies_wide-8a302f9c92dd06495deef8f74300cbbb544be6fc-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1452123023,
"modified": 1452123338,
"caption": "At left, Jimmy Smits in 'My Family.' At right, Jennifer Lopez in 'Selena'",
"description": "At left, Jimmy Smits in 'My Family.' At right, Jennifer Lopez in 'Selena'",
"title": "At left, Jimmy Smits in My Family. At right, Jennifer Lopez in Selena.",
"credit": "Left: Zoetrope/New Line/Kobal Collection. Right: Scott Del Amo/AFP/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11225433": {
"type": "attachments",
"id": "arts_11225433",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11225433",
"found": true
},
"parent": 11225432,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/Spacey-NetflixCROP-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/Spacey-NetflixCROP-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/Spacey-NetflixCROP-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/Spacey-NetflixCROP-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/Spacey-NetflixCROP.jpg",
"width": 1433,
"height": 806
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/Spacey-NetflixCROP-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/Spacey-NetflixCROP-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/Spacey-NetflixCROP-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/Spacey-NetflixCROP-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/Spacey-NetflixCROP-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/Spacey-NetflixCROP-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/Spacey-NetflixCROP-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/Spacey-NetflixCROP-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/Spacey-NetflixCROP-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1452119954,
"modified": 1452119994,
"caption": "Kevin Spacey plays Frank Underwood in the Netflix series, 'House of Cards.'",
"description": "Kevin Spacey plays Frank Underwood in the Netflix series, 'House of Cards.'",
"title": "Kevin Spacey Netflix",
"credit": "Photo: Kevin Winter/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11224965": {
"type": "attachments",
"id": "arts_11224965",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11224965",
"found": true
},
"parent": 11224847,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/FluffyFlyingFish_640x360-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/FluffyFlyingFish_640x360.jpg",
"width": 640,
"height": 360
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/FluffyFlyingFish_640x360-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/FluffyFlyingFish_640x360-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/FluffyFlyingFish_640x360-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/FluffyFlyingFish_640x360-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/FluffyFlyingFish_640x360-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1452106939,
"modified": 1452106939,
"caption": null,
"description": null,
"title": "FluffyFlyingFish_640x360",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"pop_19731": {
"type": "attachments",
"id": "pop_19731",
"meta": {
"index": "attachments_1716263798",
"site": "pop",
"id": "19731",
"found": true
},
"parent": 19730,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/01/ep7_ia_10697_custom-94173b444b67959675c929e0ef92eb6ad18c2140-e1452113704252-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/01/ep7_ia_10697_custom-94173b444b67959675c929e0ef92eb6ad18c2140-e1452113704252-400x226.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 226
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/01/ep7_ia_10697_custom-94173b444b67959675c929e0ef92eb6ad18c2140-e1452113704252-960x541.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 541
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/01/ep7_ia_10697_custom-94173b444b67959675c929e0ef92eb6ad18c2140-e1452113704252-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/01/ep7_ia_10697_custom-94173b444b67959675c929e0ef92eb6ad18c2140-e1452113704252.jpg",
"width": 3271,
"height": 1845
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/01/ep7_ia_10697_custom-94173b444b67959675c929e0ef92eb6ad18c2140-e1452113704252-1440x812.jpg",
"width": 1440,
"mimeType": "image/jpeg",
"height": 812
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/01/ep7_ia_10697_custom-94173b444b67959675c929e0ef92eb6ad18c2140-e1452113704252-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/01/ep7_ia_10697_custom-94173b444b67959675c929e0ef92eb6ad18c2140-e1452113704252-800x451.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 451
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/01/ep7_ia_10697_custom-94173b444b67959675c929e0ef92eb6ad18c2140-e1452113704252-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/01/ep7_ia_10697_custom-94173b444b67959675c929e0ef92eb6ad18c2140-e1452113704252-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/01/ep7_ia_10697_custom-94173b444b67959675c929e0ef92eb6ad18c2140-e1452113704252-1920x1083.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1083
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/01/ep7_ia_10697_custom-94173b444b67959675c929e0ef92eb6ad18c2140-e1452113704252-1180x666.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 666
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/01/ep7_ia_10697_custom-94173b444b67959675c929e0ef92eb6ad18c2140-e1452113704252-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/01/ep7_ia_10697_custom-94173b444b67959675c929e0ef92eb6ad18c2140-e1452113704252-768x433.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 433
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/01/ep7_ia_10697_custom-94173b444b67959675c929e0ef92eb6ad18c2140-e1452113704252-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1452113460,
"modified": 1452114714,
"caption": "Rey, played by Daisy Ridley, was the central figure in Star Wars: The Force Awakens. But she was far from a central figurine when it came to the movie's tie-in toys and games.",
"description": "Rey, played by Daisy Ridley, was the central figure in Star Wars: The Force Awakens. But she was far from a central figurine when it came to the movie's tie-in toys and games.",
"title": "Rey, played by Daisy Ridley, was the central figure in Star Wars: The Force Awakens. But she was far from a central figurine when it came to the movie's tie-in toys and games.",
"credit": "Photo: David James/Lucasfilm",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11223052": {
"type": "attachments",
"id": "arts_11223052",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11223052",
"found": true
},
"parent": 11222584,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/11924174284_a75e636836_k-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/11924174284_a75e636836_k-400x267.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 267
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/11924174284_a75e636836_k-960x640.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 640
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/11924174284_a75e636836_k-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/11924174284_a75e636836_k.jpg",
"width": 2048,
"height": 1365
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/11924174284_a75e636836_k-1180x786.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 786
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/11924174284_a75e636836_k-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/11924174284_a75e636836_k-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/11924174284_a75e636836_k-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/11924174284_a75e636836_k-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/11924174284_a75e636836_k-1920x1280.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1280
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/11924174284_a75e636836_k-1180x786.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 786
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/11924174284_a75e636836_k-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/11924174284_a75e636836_k-768x512.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 512
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/11924174284_a75e636836_k-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1452046569,
"modified": 1452046736,
"caption": "The No Pants BART Ride -- which is exactly what it sounds like -- takes place Sunday, Jan. 10 all over the Bay Area. ",
"description": null,
"title": "11924174284_a75e636836_k",
"credit": "Flickr / Bhautik Joshi",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11222232": {
"type": "attachments",
"id": "arts_11222232",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11222232",
"found": true
},
"parent": 11220123,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/73313587_wide-d49d1f6fc755d7a8dd6cc01ac48045501bbef4bf-s900-c85-e1452019998589-400x231.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 231
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/73313587_wide-d49d1f6fc755d7a8dd6cc01ac48045501bbef4bf-s900-c85-e1452019998589-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/73313587_wide-d49d1f6fc755d7a8dd6cc01ac48045501bbef4bf-s900-c85-e1452019998589.jpg",
"width": 873,
"height": 504
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/73313587_wide-d49d1f6fc755d7a8dd6cc01ac48045501bbef4bf-s900-c85-e1452019998589-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/73313587_wide-d49d1f6fc755d7a8dd6cc01ac48045501bbef4bf-s900-c85-e1452019998589-800x462.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 462
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/73313587_wide-d49d1f6fc755d7a8dd6cc01ac48045501bbef4bf-s900-c85-e1452019998589-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/73313587_wide-d49d1f6fc755d7a8dd6cc01ac48045501bbef4bf-s900-c85-e1452019998589-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/73313587_wide-d49d1f6fc755d7a8dd6cc01ac48045501bbef4bf-s900-c85-e1452019998589-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/73313587_wide-d49d1f6fc755d7a8dd6cc01ac48045501bbef4bf-s900-c85-e1452019998589-768x443.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 443
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/73313587_wide-d49d1f6fc755d7a8dd6cc01ac48045501bbef4bf-s900-c85-e1452019998589-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1452019976,
"modified": 1452020077,
"caption": "Jeff Goldblum performs at the Marines Memorial Theatre this Saturday, Jan. 9. ",
"description": null,
"title": "73313587_wide-d49d1f6fc755d7a8dd6cc01ac48045501bbef4bf-s900-c85",
"credit": "Sean Gallup / Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11206704": {
"type": "attachments",
"id": "arts_11206704",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11206704",
"found": true
},
"parent": 11206703,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/mondello-movies-promo-3_wide-4c534dd2424c082392777bd65cbb2b603ed5ebf6-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/mondello-movies-promo-3_wide-4c534dd2424c082392777bd65cbb2b603ed5ebf6-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/mondello-movies-promo-3_wide-4c534dd2424c082392777bd65cbb2b603ed5ebf6-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/mondello-movies-promo-3_wide-4c534dd2424c082392777bd65cbb2b603ed5ebf6-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/mondello-movies-promo-3_wide-4c534dd2424c082392777bd65cbb2b603ed5ebf6.jpg",
"width": 1600,
"height": 900
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/mondello-movies-promo-3_wide-4c534dd2424c082392777bd65cbb2b603ed5ebf6-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/mondello-movies-promo-3_wide-4c534dd2424c082392777bd65cbb2b603ed5ebf6-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/mondello-movies-promo-3_wide-4c534dd2424c082392777bd65cbb2b603ed5ebf6-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/mondello-movies-promo-3_wide-4c534dd2424c082392777bd65cbb2b603ed5ebf6-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/mondello-movies-promo-3_wide-4c534dd2424c082392777bd65cbb2b603ed5ebf6-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/mondello-movies-promo-3_wide-4c534dd2424c082392777bd65cbb2b603ed5ebf6-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/mondello-movies-promo-3_wide-4c534dd2424c082392777bd65cbb2b603ed5ebf6-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/mondello-movies-promo-3_wide-4c534dd2424c082392777bd65cbb2b603ed5ebf6-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/mondello-movies-promo-3_wide-4c534dd2424c082392777bd65cbb2b603ed5ebf6-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1451510070,
"modified": 1451510070,
"caption": null,
"description": "(From left) Leonardo DiCaprio in \u003cem>The Revenant\u003c/em>; Amy Poehler as Joy in \u003cem>Inside Out\u003c/em>; Matt Damon in \u003cem>The Martian\u003c/em>; Kettly Noël in \u003cem>Timbuktu\u003c/em>; and Charlize Theron in \u003cem>Mad Max: Fury Road\u003c/em>",
"title": "(From left) Leonardo DiCaprio in The Revenant; Amy Poehler as Joy in Inside Out; Matt Damon in The Martian; Kettly Noël in Timbuktu; and Charlize Theron in Mad Max: Fury Road.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11204298": {
"type": "attachments",
"id": "arts_11204298",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11204298",
"found": true
},
"parent": 11186905,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/CatCover-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/CatCover-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/CatCover-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/CatCover-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/CatCover.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/CatCover-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/CatCover-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/CatCover-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/CatCover-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/CatCover-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/CatCover-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/CatCover-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/CatCover-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/CatCover-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/CatCover-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1451435319,
"modified": 1451435358,
"caption": "'Cat sitting in a chair,' 2014",
"description": null,
"title": "CatCover",
"credit": "Courtesy: Walker Art Center",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11206574": {
"type": "attachments",
"id": "arts_11206574",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11206574",
"found": true
},
"parent": 11206573,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/cosby-ap_wide-8ec4db0f8242da547590a213e48497aced49a181-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/cosby-ap_wide-8ec4db0f8242da547590a213e48497aced49a181-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/cosby-ap_wide-8ec4db0f8242da547590a213e48497aced49a181-960x539.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 539
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/cosby-ap_wide-8ec4db0f8242da547590a213e48497aced49a181-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/cosby-ap_wide-8ec4db0f8242da547590a213e48497aced49a181.jpg",
"width": 1585,
"height": 890
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/cosby-ap_wide-8ec4db0f8242da547590a213e48497aced49a181-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/cosby-ap_wide-8ec4db0f8242da547590a213e48497aced49a181-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/cosby-ap_wide-8ec4db0f8242da547590a213e48497aced49a181-800x449.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 449
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/cosby-ap_wide-8ec4db0f8242da547590a213e48497aced49a181-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/cosby-ap_wide-8ec4db0f8242da547590a213e48497aced49a181-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/cosby-ap_wide-8ec4db0f8242da547590a213e48497aced49a181-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/cosby-ap_wide-8ec4db0f8242da547590a213e48497aced49a181-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/cosby-ap_wide-8ec4db0f8242da547590a213e48497aced49a181-768x431.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 431
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/cosby-ap_wide-8ec4db0f8242da547590a213e48497aced49a181-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1451503991,
"modified": 1498176076,
"caption": "Comedian Bill Cosby performs at the Buell Theater in Denver last January. Cosby's fall from grace continued in 2015, with mounting allegations of sexual abuse. The Philadelphia native's deposition from a 2005 lawsuit came to light, in which he said he obtained quaaludes to give to women.",
"description": "Comedian Bill Cosby performs at the Buell Theater in Denver last January. Cosby's fall from grace continued in 2015, with mounting allegations of sexual abuse. The Philadelphia native's deposition from a 2005 lawsuit came to light, in which he said he obtained quaaludes to give to women.",
"title": "Comedian Bill Cosby performs at the Buell Theater in Denver last January. Cosby's fall from grace continued in 2015, with mounting allegations of sexual abuse. The Philadelphia native's deposition from a 2005 lawsuit came to light, in which he said he obtained quaaludes to give to women.",
"credit": "Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11204167": {
"type": "attachments",
"id": "arts_11204167",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11204167",
"found": true
},
"parent": 11203795,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/11954667_398500467022077_9168757091320146744_n-1-960x576.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/11954667_398500467022077_9168757091320146744_n-1-e1451434046998-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/11954667_398500467022077_9168757091320146744_n-1-960x641.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 641
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/11954667_398500467022077_9168757091320146744_n-1-e1451434046998-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/11954667_398500467022077_9168757091320146744_n-1-e1451434046998.jpg",
"width": 955,
"height": 537
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/11954667_398500467022077_9168757091320146744_n-1-e1451434046998-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/11954667_398500467022077_9168757091320146744_n-1-e1451434046998-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/11954667_398500467022077_9168757091320146744_n-1-e1451434046998-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/11954667_398500467022077_9168757091320146744_n-1-e1451434046998-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/11954667_398500467022077_9168757091320146744_n-1-e1451434046998-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/11954667_398500467022077_9168757091320146744_n-1-e1451434046998-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/11954667_398500467022077_9168757091320146744_n-1-e1451434046998-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1451434023,
"modified": 1451434069,
"caption": "MC and vocalist Aima the Dreamer hosts NYE at the Elbo Room. ",
"description": null,
"title": "11954667_398500467022077_9168757091320146744_n-1",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11191895": {
"type": "attachments",
"id": "arts_11191895",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11191895",
"found": true
},
"parent": 11191894,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/th8-ac-00096_lg_wide-30c02b02ccf2a78f87d962d2ccb8dbe2d967e4f3-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/th8-ac-00096_lg_wide-30c02b02ccf2a78f87d962d2ccb8dbe2d967e4f3-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/th8-ac-00096_lg_wide-30c02b02ccf2a78f87d962d2ccb8dbe2d967e4f3-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/th8-ac-00096_lg_wide-30c02b02ccf2a78f87d962d2ccb8dbe2d967e4f3-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/th8-ac-00096_lg_wide-30c02b02ccf2a78f87d962d2ccb8dbe2d967e4f3.jpg",
"width": 1186,
"height": 667
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/th8-ac-00096_lg_wide-30c02b02ccf2a78f87d962d2ccb8dbe2d967e4f3-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/th8-ac-00096_lg_wide-30c02b02ccf2a78f87d962d2ccb8dbe2d967e4f3-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/th8-ac-00096_lg_wide-30c02b02ccf2a78f87d962d2ccb8dbe2d967e4f3-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/th8-ac-00096_lg_wide-30c02b02ccf2a78f87d962d2ccb8dbe2d967e4f3-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/th8-ac-00096_lg_wide-30c02b02ccf2a78f87d962d2ccb8dbe2d967e4f3-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/th8-ac-00096_lg_wide-30c02b02ccf2a78f87d962d2ccb8dbe2d967e4f3-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/th8-ac-00096_lg_wide-30c02b02ccf2a78f87d962d2ccb8dbe2d967e4f3-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/th8-ac-00096_lg_wide-30c02b02ccf2a78f87d962d2ccb8dbe2d967e4f3-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/th8-ac-00096_lg_wide-30c02b02ccf2a78f87d962d2ccb8dbe2d967e4f3-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1451061511,
"modified": 1451061610,
"caption": "Samuel L. Jackson plays Major Marquis Warren in 'The Hateful Eight.'",
"description": null,
"title": "Samuel L. Jackson plays Major Marquis Warren in The Hateful Eight.",
"credit": "Photo: Andrew Cooper/Courtesy of The Weinstein Company",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"byline_arts_11225551": {
"type": "authors",
"id": "byline_arts_11225551",
"meta": {
"override": true
},
"slug": "byline_arts_11225551",
"name": "Adrian Florido",
"isLoading": false
},
"byline_arts_11225432": {
"type": "authors",
"id": "byline_arts_11225432",
"meta": {
"override": true
},
"slug": "byline_arts_11225432",
"name": "Michael Liedtke, Associated Press",
"isLoading": false
},
"byline_pop_19730": {
"type": "authors",
"id": "byline_pop_19730",
"meta": {
"override": true
},
"slug": "byline_pop_19730",
"name": "Camila Domonoske",
"isLoading": false
},
"byline_arts_11206703": {
"type": "authors",
"id": "byline_arts_11206703",
"meta": {
"override": true
},
"slug": "byline_arts_11206703",
"name": "Bob Mondello",
"isLoading": false
},
"byline_arts_11206573": {
"type": "authors",
"id": "byline_arts_11206573",
"meta": {
"override": true
},
"slug": "byline_arts_11206573",
"name": "Bill Chappell",
"isLoading": false
},
"byline_arts_11191894": {
"type": "authors",
"id": "byline_arts_11191894",
"meta": {
"override": true
},
"slug": "byline_arts_11191894",
"name": "Scott Tobias",
"isLoading": false
},
"mfox": {
"type": "authors",
"id": "22",
"meta": {
"index": "authors_1716337520",
"id": "22",
"found": true
},
"name": "Michael Fox",
"firstName": "Michael",
"lastName": "Fox",
"slug": "mfox",
"email": "foxonfilm@yahoo.com",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "Michael Fox has written about film for dozens of publications since 1987. He is a founding member of the San Francisco Bay Area Film Critics Circle.",
"avatar": "https://secure.gravatar.com/avatar/d9849d6c659c41414795c471d907bb97b396e2a32b88e20e6ff66f65fbdd6dcd?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"contributor"
]
}
],
"headData": {
"title": "Michael Fox | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/d9849d6c659c41414795c471d907bb97b396e2a32b88e20e6ff66f65fbdd6dcd?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/d9849d6c659c41414795c471d907bb97b396e2a32b88e20e6ff66f65fbdd6dcd?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/mfox"
},
"esilvers": {
"type": "authors",
"id": "7237",
"meta": {
"index": "authors_1716337520",
"id": "7237",
"found": true
},
"name": "Emma Silvers",
"firstName": "Emma",
"lastName": "Silvers",
"slug": "esilvers",
"email": "esilvers@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "Emma Silvers is an editor at KQED Arts and a former digital producer at KQED News. Born and raised in the Bay Area, she has previously been an arts and entertainment editor at the \u003cem>San Francisco Chronicle\u003c/em>, \u003cem>SF Weekly\u003c/em> and the \u003cem>San Francisco Bay Guardian.\u003c/em> \u003ca href=\"https://www.emmasilvers.com\">Her work\u003c/a> has also appeared in \u003cem>Rolling Stone\u003c/em>, Pitchfork and \u003cem>Mother Jones\u003c/em>. In 2017 she was the recipient of the Society of Professional Journalists-Northern California's award for arts and culture reporting. In 1993 she \u003ca href=\"https://www.kqed.org/pop/16759/wait-what-my-coworker-was-a-voice-over-hyperventilator-for-jurassic-park\">hyperventilated in \u003cem>Jurassic Park\u003c/em>\u003c/a>.",
"avatar": "https://secure.gravatar.com/avatar/247beada39b88ea5759db1f51dba05cf?s=600&d=blank&r=g",
"twitter": "emmaruthless",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"contributor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "food",
"roles": [
"contributor"
]
},
{
"site": "liveblog",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Emma Silvers | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/247beada39b88ea5759db1f51dba05cf?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/247beada39b88ea5759db1f51dba05cf?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/esilvers"
},
"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"
}
},
"pagesReducer": {
"arts_category_movies": {
"type": "terms",
"id": "arts_74",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "74",
"score": 12.557373
},
"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": 192
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=movies",
"seeMore": false,
"paginated": true,
"page": 192
}
},
{
"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": "/"
}
},
"trulyca_30": {
"type": "posts",
"id": "trulyca_30",
"meta": {
"index": "posts_1716263798",
"site": "trulyca",
"id": "30",
"score": null,
"sort": [
1452103200000
]
},
"parent": 0,
"labelTerm": {
"site": "trulyca",
"term": 771
},
"blocks": [],
"publishDate": 1452103200,
"format": "video",
"disqusTitle": "Adult Beginner Ballet",
"title": "Adult Beginner Ballet",
"headTitle": "Shorts | Truly CA | Truly CA | KQED Arts",
"content": "\u003cp>\u003cem class=\"video_caption\">Watch the \u003cstrong>Truly CA\u003c/strong> film \u003cstrong>Adult Beginner Ballet\u003c/strong> by Michelle Ortega. (Running Time: 22:47)\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Adult Beginner Ballet\u003c/strong> is about adults of various ages, shapes and sizes who take a beginning ballet class at the renowned Alonzo King's LINES Dance Center in San Francisco, California. The film features Kathy Mata, a dedicated instructor, who is determined to teach adults the beautiful and technically challenging art of ballet.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"disqusIdentifier": "30 http://kqed2.wsmtechs.net/trulyca/adult-beginner-ballet/",
"disqusUrl": "https://ww2.kqed.org/trulyca/adult-beginner-ballet/",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 72,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 4
},
"modified": 1538002288,
"excerpt": "View Michelle Ortega's short film, \u003cstrong>Adult Beginner Ballet\u003c/strong>, a portrait of Kathy Mata, who is determined to teach adults the beautiful and technically challenging art of ballet.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "View Michelle Ortega's short film, Adult Beginner Ballet, a portrait of Kathy Mata, who is determined to teach adults the beautiful and technically challenging art of ballet.",
"title": "Adult Beginner Ballet | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Adult Beginner Ballet",
"datePublished": "2016-01-06T10:00:00-08:00",
"dateModified": "2018-09-26T15:51:28-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "adult-beginner-ballet",
"status": "publish",
"videoEmbed": "https://www.youtube.com/watch?v=UTMdqhMNHmA",
"path": "/trulyca/30/adult-beginner-ballet",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem class=\"video_caption\">Watch the \u003cstrong>Truly CA\u003c/strong> film \u003cstrong>Adult Beginner Ballet\u003c/strong> by Michelle Ortega. (Running Time: 22:47)\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Adult Beginner Ballet\u003c/strong> is about adults of various ages, shapes and sizes who take a beginning ballet class at the renowned Alonzo King's LINES Dance Center in San Francisco, California. The film features Kathy Mata, a dedicated instructor, who is determined to teach adults the beautiful and technically challenging art of ballet.\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": "/trulyca/30/adult-beginner-ballet",
"authors": [
"8666"
],
"programs": [
"trulyca_771"
],
"series": [
"trulyca_2"
],
"categories": [
"trulyca_30",
"trulyca_21"
],
"tags": [
"trulyca_86",
"trulyca_90",
"trulyca_146",
"trulyca_83",
"trulyca_501",
"trulyca_267",
"trulyca_28",
"trulyca_492"
],
"collections": [
"trulyca_81",
"trulyca_80"
],
"featImg": "trulyca_2526",
"label": "trulyca_771"
},
"arts_11225551": {
"type": "posts",
"id": "arts_11225551",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11225551",
"score": null,
"sort": [
1452123359000
]
},
"guestAuthors": [],
"slug": "mi-familia-in-movies-films-mexican-american-millennials-grew-up-on",
"title": "'Mi Familia' in Movies: Films Mexican-American Millennials Grew Up On",
"publishDate": 1452123359,
"format": "standard",
"headTitle": "‘Mi Familia’ in Movies: Films Mexican-American Millennials Grew Up On | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>At Code Switch, we like movies. We like to talk about movies. (Apologies to the newscast folks who have to sit near us.) Recently, we got into this big discussion about movies we watched over and over again growing up — not just because they’re good, but also because, in one way or another, they reflected our lives as people of color in the United States.\u003c/p>\n\u003cp>When I was a kid in Southern California, there were several films that helped me make sense of what it meant to grow up Mexican in the States. If you’re Latino and have seen these, you probably quote from them liberally. If you haven’t, go watch them this weekend!\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Born in East L.A.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>When I was growing up, my family often visited Tijuana, a two-hour drive south of our house in Orange County. I knew we were getting close when \u003ca href=\"http://articles.latimes.com/1991-08-31/local/me-1096_1_illegal-immigrants\" target=\"_blank\" rel=\"noopener\">the freeway divider suddenly shot up 6 feet\u003c/a>, a barrier to discourage migrants who’d already hopped the fence from making it across Interstate 5. It let us know we were entering the borderlands.\u003c/p>\n\u003cp>Right around this point, my mom would turn to the back seat and say something like, “You know, your dad came through here.” Then my dad would tell us stories of crossing into the U.S. in the ’70s, hiding from Border Patrol under bridges or curled up in the trunk of a car. In his retelling of these cat-and-mouse chases, he was always just a little bit cannier than his pursuers. He wanted to get into the U.S. more than they wanted to keep him out.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>His stories always reminded me of \u003cem>Born in East L.A\u003c/em>. The film, written, directed by and starring Cheech Marin, is a satire about a Los Angeles-born Chicano named Rudy who gets mistakenly rounded up during an immigration raid at a factory and deported. He ends up stuck in Tijuana because immigration officers don’t believe he’s a U.S. citizen. Hilarity ensues as Rudy tries again and again to get home.\u003c/p>\n\u003cp>In one scene, after hopping the border fence, Rudy is trekking through the hills of southern San Diego County with a bush strapped to his back. When he spots a Border Patrol agent, he crouches down like a desert scrub. Thinking he’s in the clear, he ditches the disguise. Then he sees another agent. He ducks behind some nearby foliage in the nick of time. But it turns out he’s dived right into a Border Patrol truck that’s also in disguise — as a much larger bush. Back to Mexico!\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KQXR3AeuN5g\u003c/p>\n\u003cp>\u003cem>Born in East L.A.\u003c/em> was made at a time when illegal immigration into the U.S. was on the rise, and so was border enforcement. By 1987, when the movie hit theaters, crossing at San Diego was a lot harder than when my 15-year-old dad first tried it in 1975 (though not nearly as hard as it is today). Rudy’s repeated failures to cross reflected this. But the movie’s more incisive point was the absurdity of Rudy’s dilemma: He’d been deported from his own country, and then had to sneak back in.\u003c/p>\n\u003cp>Marin’s movie was hilarious, but also a warning about how anti-immigrant sentiment can become a convenient proxy for anti-Latino racism. That’s one reason \u003cem>Born in East L.A.\u003c/em> remains as relevant today as it was in 1987.\u003c/p>\n\u003cp>Over the holidays, I drove my dad (a U.S. citizen since the early ’90s) to the Tijuana airport. Today, whenever we’re near the border, we often remark on how tall the fence has gotten. Could he have crossed if it had been like this back then? I asked him.\u003c/p>\n\u003cp>“Oooh, no, no, no.”\u003c/p>\n\u003cp>As my dad got out of the car to cross into Mexico, I double-checked to make sure he had his passport.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>My Family, Mi Familia \u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003cem>My Family, Mi Familia\u003c/em> tells the story of the Sanchez family over three generations. It starts with the patriarch’s migration from Mexico to Los Angeles in the early 20th century and tracks the Sanchezes through the 1980s, by which point the family is undeniably American, yet still struggling with the complexities of what it means to call yourself American if you aren’t white.\u003c/p>\n\u003cp>Along the way, the Sanchezes deal with illegal deportations during the Depression, police brutality and racial tension during the ’50s, and anxieties around assimilation when one of the Sanchez sons is engaged to a white woman in the ’80s.\u003c/p>\n\u003cp>There is nothing remarkable about my favorite scene in the movie. It has no bearing on the plot. But I love it because it captured a detail of bicultural Mexican-American life so small, so seemingly perfunctory, that only a writer who lived it would have cared, let alone had the cultural knowledge, to write it into a screenplay. (Director and co-writer Gregory Nava \u003ca href=\"http://www.mediumraretv.org/2013/04/interview-with-gregory-nava-2/\" target=\"_blank\" rel=\"noopener\">grew up in San Diego but regularly crossed the border\u003c/a> to visit family in Tijuana).\u003c/p>\n\u003cp>In my favorite scene, it’s 1950s Los Angeles and the Sanchez family is sitting in their living room, its walls painted a bright pink common in Mexican-American households. They realize \u003cem>I Love Lucy\u003c/em> is starting — “Hey, it’s time for Lucy!” “I love that show, \u003cem>mamá\u003c/em>!”\u003cstrong> —\u003c/strong> and they flip on the TV. A little later, they’ll hear gunshots outside, leading to the film’s most tragic scene, but my favorite part of the whole movie is when they tune in to watch that zany redhead and her antics.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xsX7TKRZwmI\u003c/p>\n\u003cp>Why? Because growing up, “Put on Lucy!” was a constant refrain in our house, too — most recently on Christmas Day, in fact. \u003cem>I Love Lucy\u003c/em> has been my mom’s favorite show since she was a girl growing up in the \u003cem>barrios\u003c/em> of Orange County. Lucy was hysterical, and she and Ricky Ricardo \u003ca href=\"http://www.npr.org/sections/codeswitch/2014/02/15/276526212/love-in-technicolor-interracial-families-on-television\" target=\"_blank\" rel=\"noopener\">were network television’s first mixed-race couple\u003c/a>. For most Americans, his hot-blooded, and, yes, stereotypical, fits of anger, spewed in Spanish, were meaningless gibberish. But unlike many viewers, my mom actually understood what he was saying, which made it even funnier.\u003cstrong>\u003cbr>\u003c/strong>\u003c/p>\n\u003cp>Nava pumped the film full of these seemingly insignificant details. And the cumulative effect was that \u003cem>My Family\u003c/em> \u003cstrong>\u003c/strong>became a richly textured film in which many Mexicans and Mexican-Americans could see bits and pieces of their own families, even if not every aspect of its story mirrored their own.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Selena\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Selena’s music was the soundtrack of our Sunday mornings. Actually, it was our alarm clock. When “Amor Prohibido” started blasting from the dining room stereo — and I mean really blasting, with my mom singing along — my brother and I knew it was time to get up and do our chores.\u003c/p>\n\u003cp>When the Tejano music pop star was shot and killed at age 23 in 1995, it’s not a stretch to say it felt like losing family. A few years ago, a friend and I were talking about where we were when we learned that Yolanda Saldívar, the president of Selena’s fan club, had shot her. I remembered sitting in the living room with my parents watching coverage of the standoff between Saldívar and police on a Spanish-language news channel.\u003c/p>\n\u003cp>The memory was vivid: Saldívar had barricaded herself in her truck, tears flowing, a gun in one hand, a phone in the other as she spoke to a police negotiator. “Look at what I’ve done to my best friend!” she sobbed. “I want to talk to my mother!”\u003c/p>\n\u003cp>I told my friend I remembered Saldívar’s shaky, miserable words like it was yesterday.\u003c/p>\n\u003cp>“They didn’t show that on the news,” she said.\u003c/p>\n\u003cp>“Yeah, they did,” I said.\u003c/p>\n\u003cp>“No, that was only in the movie.”\u003c/p>\n\u003cp>It hit me. She was right. The camera crews that showed up the day Selena died were far from the action. There’s no way they could have picked up what Saldívar was saying to the cops. How had I misremembered that?\u003c/p>\n\u003cp>\u003cem>Selena\u003c/em> the movie, which came out in 1997, two years after the singer’s death, cemented her legacy as Mexican America’s darling. It told the story of her childhood and her rise to fame. It painted a portrait of a talented, sexy yet wholesome, humble, almost flawless star cut down in the prime of her life. As kids, we watched the movie constantly. And at some point, \u003cem>Selena\u003c/em> the movie imprinted on my childhood in a way that became almost indistinguishable from Selena in real life.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_e-w4GB0AZ8\u003c/p>\n\u003cp>This was true for a lot of Mexican- and Latino-Americans. The late Lupe Ontiveros, who portrayed Yolanda Saldívar in the movie, once said that for years after the film came out, \u003ca href=\"http://www.nytimes.com/2012/07/28/arts/television/lupe-ontiveros-69-desperate-housewives-actress-dies.html?_r=2\" target=\"_blank\" rel=\"noopener\">Selena’s fans would hiss at her when she was in public places\u003c/a>. She would have to explain that she shared their feelings.\u003c/p>\n\u003cp>A friend of mine in college had a picture of Selena on his desk — except it wasn’t Selena. It was a picture of Jennifer Lopez as Selena in the movie. I never asked whether he knew that, although now I wonder.\u003cstrong>\u003cbr>\u003c/strong>\u003c/p>\n\u003cp>Today, many of the references we make to Selena when talking about her come from the movie, not from her own mouth or things that actually happened. Say this line to any U.S.-raised Mexican child of the ’90s — “Anything for Salinas!” — and he or she will tell you it was spoken \u003ca href=\"https://www.youtube.com/watch?v=ZwDlsyOL_Kg\" target=\"_blank\" rel=\"noopener\">by two awestruck and sheepish \u003cem>cholos\u003c/em> who helped out\u003c/a> when Selena’s tour bus got stuck in a ditch.\u003c/p>\n\u003cp>Did that even really happen? I have no idea. And I guess I don’t really care. For young fans like us, \u003cem>Selena\u003c/em> the movie mattered almost as much as Selena’s music because it gave us a way to connect with her story. When Selena died, we were old enough to love her, but too young to fully grasp her importance to our community. Then the movie came out, and we understood.\u003c/p>\n\u003cp>—\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>These are only a few of the Mexican-American movies I watched growing up. There are a bunch more — \u003cem>La Bamba, El Norte, Stand and Deliver\u003c/em>. What movies did you watch as a little person of color, and why were they important for you? Let us know in the comments or tweet us \u003ca href=\"https://twitter.com/NPRCodeSwitch/\">@nprcodeswitch\u003c/a>. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Mi+Familia%27+In+Movies%3A+Films+Mexican-American+Millennials+Grew+Up+On&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "The bush-disguise bit in 'Born in East L.A.' The murder scene in 'Selena.' I watched these dozens of times as a kid, but as an adult, they've come to mean more.",
"status": "publish",
"parent": 0,
"modified": 1726788260,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 37,
"wordCount": 1856
},
"headData": {
"title": "'Mi Familia' in Movies: Films Mexican-American Millennials Grew Up On | KQED",
"description": "The bush-disguise bit in 'Born in East L.A.' The murder scene in 'Selena.' I watched these dozens of times as a kid, but as an adult, they've come to mean more.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Mi Familia' in Movies: Films Mexican-American Millennials Grew Up On",
"datePublished": "2016-01-06T15:35:59-08:00",
"dateModified": "2024-09-19T16:24:20-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Adrian Florido",
"nprImageAgency": "Left: Zoetrope/New Line/Kobal Collection. Right: Scott Del Amo/AFP/Getty Images",
"nprStoryId": "461380315",
"nprApiLink": "http://api.npr.org/query?id=461380315&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "http://www.npr.org/sections/codeswitch/2016/01/06/461380315/mi-familia-in-movies-films-mexican-american-millennials-grew-up-on?ft=nprml&f=461380315",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 06 Jan 2016 13:00:00 -0500",
"nprStoryDate": "Wed, 06 Jan 2016 07:00:00 -0500",
"nprLastModifiedDate": "Wed, 06 Jan 2016 13:00:47 -0500",
"path": "/arts/11225551/mi-familia-in-movies-films-mexican-american-millennials-grew-up-on",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At Code Switch, we like movies. We like to talk about movies. (Apologies to the newscast folks who have to sit near us.) Recently, we got into this big discussion about movies we watched over and over again growing up — not just because they’re good, but also because, in one way or another, they reflected our lives as people of color in the United States.\u003c/p>\n\u003cp>When I was a kid in Southern California, there were several films that helped me make sense of what it meant to grow up Mexican in the States. If you’re Latino and have seen these, you probably quote from them liberally. If you haven’t, go watch them this weekend!\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Born in East L.A.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>When I was growing up, my family often visited Tijuana, a two-hour drive south of our house in Orange County. I knew we were getting close when \u003ca href=\"http://articles.latimes.com/1991-08-31/local/me-1096_1_illegal-immigrants\" target=\"_blank\" rel=\"noopener\">the freeway divider suddenly shot up 6 feet\u003c/a>, a barrier to discourage migrants who’d already hopped the fence from making it across Interstate 5. It let us know we were entering the borderlands.\u003c/p>\n\u003cp>Right around this point, my mom would turn to the back seat and say something like, “You know, your dad came through here.” Then my dad would tell us stories of crossing into the U.S. in the ’70s, hiding from Border Patrol under bridges or curled up in the trunk of a car. In his retelling of these cat-and-mouse chases, he was always just a little bit cannier than his pursuers. He wanted to get into the U.S. more than they wanted to keep him out.\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>His stories always reminded me of \u003cem>Born in East L.A\u003c/em>. The film, written, directed by and starring Cheech Marin, is a satire about a Los Angeles-born Chicano named Rudy who gets mistakenly rounded up during an immigration raid at a factory and deported. He ends up stuck in Tijuana because immigration officers don’t believe he’s a U.S. citizen. Hilarity ensues as Rudy tries again and again to get home.\u003c/p>\n\u003cp>In one scene, after hopping the border fence, Rudy is trekking through the hills of southern San Diego County with a bush strapped to his back. When he spots a Border Patrol agent, he crouches down like a desert scrub. Thinking he’s in the clear, he ditches the disguise. Then he sees another agent. He ducks behind some nearby foliage in the nick of time. But it turns out he’s dived right into a Border Patrol truck that’s also in disguise — as a much larger bush. Back to Mexico!\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/KQXR3AeuN5g'\n title='//www.youtube.com/embed/KQXR3AeuN5g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Born in East L.A.\u003c/em> was made at a time when illegal immigration into the U.S. was on the rise, and so was border enforcement. By 1987, when the movie hit theaters, crossing at San Diego was a lot harder than when my 15-year-old dad first tried it in 1975 (though not nearly as hard as it is today). Rudy’s repeated failures to cross reflected this. But the movie’s more incisive point was the absurdity of Rudy’s dilemma: He’d been deported from his own country, and then had to sneak back in.\u003c/p>\n\u003cp>Marin’s movie was hilarious, but also a warning about how anti-immigrant sentiment can become a convenient proxy for anti-Latino racism. That’s one reason \u003cem>Born in East L.A.\u003c/em> remains as relevant today as it was in 1987.\u003c/p>\n\u003cp>Over the holidays, I drove my dad (a U.S. citizen since the early ’90s) to the Tijuana airport. Today, whenever we’re near the border, we often remark on how tall the fence has gotten. Could he have crossed if it had been like this back then? I asked him.\u003c/p>\n\u003cp>“Oooh, no, no, no.”\u003c/p>\n\u003cp>As my dad got out of the car to cross into Mexico, I double-checked to make sure he had his passport.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>My Family, Mi Familia \u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003cem>My Family, Mi Familia\u003c/em> tells the story of the Sanchez family over three generations. It starts with the patriarch’s migration from Mexico to Los Angeles in the early 20th century and tracks the Sanchezes through the 1980s, by which point the family is undeniably American, yet still struggling with the complexities of what it means to call yourself American if you aren’t white.\u003c/p>\n\u003cp>Along the way, the Sanchezes deal with illegal deportations during the Depression, police brutality and racial tension during the ’50s, and anxieties around assimilation when one of the Sanchez sons is engaged to a white woman in the ’80s.\u003c/p>\n\u003cp>There is nothing remarkable about my favorite scene in the movie. It has no bearing on the plot. But I love it because it captured a detail of bicultural Mexican-American life so small, so seemingly perfunctory, that only a writer who lived it would have cared, let alone had the cultural knowledge, to write it into a screenplay. (Director and co-writer Gregory Nava \u003ca href=\"http://www.mediumraretv.org/2013/04/interview-with-gregory-nava-2/\" target=\"_blank\" rel=\"noopener\">grew up in San Diego but regularly crossed the border\u003c/a> to visit family in Tijuana).\u003c/p>\n\u003cp>In my favorite scene, it’s 1950s Los Angeles and the Sanchez family is sitting in their living room, its walls painted a bright pink common in Mexican-American households. They realize \u003cem>I Love Lucy\u003c/em> is starting — “Hey, it’s time for Lucy!” “I love that show, \u003cem>mamá\u003c/em>!”\u003cstrong> —\u003c/strong> and they flip on the TV. A little later, they’ll hear gunshots outside, leading to the film’s most tragic scene, but my favorite part of the whole movie is when they tune in to watch that zany redhead and her antics.\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/xsX7TKRZwmI'\n title='//www.youtube.com/embed/xsX7TKRZwmI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Why? Because growing up, “Put on Lucy!” was a constant refrain in our house, too — most recently on Christmas Day, in fact. \u003cem>I Love Lucy\u003c/em> has been my mom’s favorite show since she was a girl growing up in the \u003cem>barrios\u003c/em> of Orange County. Lucy was hysterical, and she and Ricky Ricardo \u003ca href=\"http://www.npr.org/sections/codeswitch/2014/02/15/276526212/love-in-technicolor-interracial-families-on-television\" target=\"_blank\" rel=\"noopener\">were network television’s first mixed-race couple\u003c/a>. For most Americans, his hot-blooded, and, yes, stereotypical, fits of anger, spewed in Spanish, were meaningless gibberish. But unlike many viewers, my mom actually understood what he was saying, which made it even funnier.\u003cstrong>\u003cbr>\u003c/strong>\u003c/p>\n\u003cp>Nava pumped the film full of these seemingly insignificant details. And the cumulative effect was that \u003cem>My Family\u003c/em> \u003cstrong>\u003c/strong>became a richly textured film in which many Mexicans and Mexican-Americans could see bits and pieces of their own families, even if not every aspect of its story mirrored their own.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Selena\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Selena’s music was the soundtrack of our Sunday mornings. Actually, it was our alarm clock. When “Amor Prohibido” started blasting from the dining room stereo — and I mean really blasting, with my mom singing along — my brother and I knew it was time to get up and do our chores.\u003c/p>\n\u003cp>When the Tejano music pop star was shot and killed at age 23 in 1995, it’s not a stretch to say it felt like losing family. A few years ago, a friend and I were talking about where we were when we learned that Yolanda Saldívar, the president of Selena’s fan club, had shot her. I remembered sitting in the living room with my parents watching coverage of the standoff between Saldívar and police on a Spanish-language news channel.\u003c/p>\n\u003cp>The memory was vivid: Saldívar had barricaded herself in her truck, tears flowing, a gun in one hand, a phone in the other as she spoke to a police negotiator. “Look at what I’ve done to my best friend!” she sobbed. “I want to talk to my mother!”\u003c/p>\n\u003cp>I told my friend I remembered Saldívar’s shaky, miserable words like it was yesterday.\u003c/p>\n\u003cp>“They didn’t show that on the news,” she said.\u003c/p>\n\u003cp>“Yeah, they did,” I said.\u003c/p>\n\u003cp>“No, that was only in the movie.”\u003c/p>\n\u003cp>It hit me. She was right. The camera crews that showed up the day Selena died were far from the action. There’s no way they could have picked up what Saldívar was saying to the cops. How had I misremembered that?\u003c/p>\n\u003cp>\u003cem>Selena\u003c/em> the movie, which came out in 1997, two years after the singer’s death, cemented her legacy as Mexican America’s darling. It told the story of her childhood and her rise to fame. It painted a portrait of a talented, sexy yet wholesome, humble, almost flawless star cut down in the prime of her life. As kids, we watched the movie constantly. And at some point, \u003cem>Selena\u003c/em> the movie imprinted on my childhood in a way that became almost indistinguishable from Selena in real life.\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/_e-w4GB0AZ8'\n title='//www.youtube.com/embed/_e-w4GB0AZ8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This was true for a lot of Mexican- and Latino-Americans. The late Lupe Ontiveros, who portrayed Yolanda Saldívar in the movie, once said that for years after the film came out, \u003ca href=\"http://www.nytimes.com/2012/07/28/arts/television/lupe-ontiveros-69-desperate-housewives-actress-dies.html?_r=2\" target=\"_blank\" rel=\"noopener\">Selena’s fans would hiss at her when she was in public places\u003c/a>. She would have to explain that she shared their feelings.\u003c/p>\n\u003cp>A friend of mine in college had a picture of Selena on his desk — except it wasn’t Selena. It was a picture of Jennifer Lopez as Selena in the movie. I never asked whether he knew that, although now I wonder.\u003cstrong>\u003cbr>\u003c/strong>\u003c/p>\n\u003cp>Today, many of the references we make to Selena when talking about her come from the movie, not from her own mouth or things that actually happened. Say this line to any U.S.-raised Mexican child of the ’90s — “Anything for Salinas!” — and he or she will tell you it was spoken \u003ca href=\"https://www.youtube.com/watch?v=ZwDlsyOL_Kg\" target=\"_blank\" rel=\"noopener\">by two awestruck and sheepish \u003cem>cholos\u003c/em> who helped out\u003c/a> when Selena’s tour bus got stuck in a ditch.\u003c/p>\n\u003cp>Did that even really happen? I have no idea. And I guess I don’t really care. For young fans like us, \u003cem>Selena\u003c/em> the movie mattered almost as much as Selena’s music because it gave us a way to connect with her story. When Selena died, we were old enough to love her, but too young to fully grasp her importance to our community. Then the movie came out, and we understood.\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>These are only a few of the Mexican-American movies I watched growing up. There are a bunch more — \u003cem>La Bamba, El Norte, Stand and Deliver\u003c/em>. What movies did you watch as a little person of color, and why were they important for you? Let us know in the comments or tweet us \u003ca href=\"https://twitter.com/NPRCodeSwitch/\">@nprcodeswitch\u003c/a>. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Mi+Familia%27+In+Movies%3A+Films+Mexican-American+Millennials+Grew+Up+On&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11225551/mi-familia-in-movies-films-mexican-american-millennials-grew-up-on",
"authors": [
"byline_arts_11225551"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11225552",
"label": "arts_137"
},
"arts_11225432": {
"type": "posts",
"id": "arts_11225432",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11225432",
"score": null,
"sort": [
1452120073000
]
},
"guestAuthors": [],
"slug": "netflix-expands-into-130-more-countries-in-surprise-move",
"title": "Netflix Expands Into 130 More Countries in Surprise Move",
"publishDate": 1452120073,
"format": "standard",
"headTitle": "Netflix Expands Into 130 More Countries in Surprise Move | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Netflix has already crossed off the biggest item on its New Year’s list of resolutions. The Internet video service debuted in 130 countries Wednesday in a surprise move likely to reel in millions of new subscribers.\u003c/p>\n\u003cp>CEO Reed Hastings revealed the scope of Netflix’s expansion at the end of a presentation in Las Vegas at CES, one of the technology industry’s marquee events.\u003c/p>\n\u003cp>“You are witnessing the birth of a global TV network,” Hastings crowed on stage.\u003c/p>\n\u003cp>The news caught almost everyone off guard because Netflix had previously set a goal of being available in most of the world by the end of this year. It looked like the Los Gatos, California, company had plenty of work ahead it because it ended December in 60 countries.\u003c/p>\n\u003cp>Now, Netflix is available in 21 different languages and streaming in just about every market that it had in its sights, with the notable exception of China, the world’s most populous country. Entering China may be a formidable challenge requiring potentially prickly negotiations with a government that blocks its citizenry from seeing material it considers objectionable or incendiary.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Netflix currently has no plans to push into North Korea, Syria or Crimea because of restrictions on U.S. companies operating in those countries.\u003c/p>\n\u003cp>Investors were delighted with Netflix’s quantum leap across the globe. Its stock climbed $8.78, or 8 percent, $116.44 on a grim day in the rest of the market.\u003c/p>\n\u003cp>The uptick in the shares reflects a belief that Netflix is now in a position to sign up more subscribers this year than analysts had previously anticipated, generating additional revenue that the company can spend on TV series and movies as it bids against rivals such as HBO, Amazon.com, YouTube and Hulu for licensing rights.\u003c/p>\n\u003cp>Netflix Inc. began the year with more than 70 million subscribers and management had already vowed to spend about $5 billion this year licensing video from studios around the world.\u003c/p>\n\u003cp>Increasingly, Netflix has been buying material that only can be seen on its service, with more than 600 hours of original programming lined up for this year. That slate encompasses more than 50 exclusive TV shows and movies, including award-winning series such as \u003cem>House of Cards\u003c/em> and \u003cem>Orange Is the New Black\u003c/em>.\u003c/p>\n\u003cp>Although Netflix is now virtually worldwide, not of all its entertainment will be available everywhere. For instance, a prized licensing contract that gives Netflix the rights to Walt Disney films after their theatrical release will be limited to the U.S. and Canada as part of a deal negotiated several years ago. Hastings told reporters Wednesday that Netflix is hoping to expand those rights into other countries.\u003c/p>\n\u003cp>Netflix has come up with a formula that has proven addictive as its service has transformed the entertainment industry by allowing people to watch video anytime they want on an Internet-connected device.\u003c/p>\n\u003cp>Hastings revealed Wednesday that Netflix subscribers watched 42.5 billion hours of programming last year, including 12 billion hours in the October-December fourth quarter. The fourth-quarter viewership volume represented a nearly 50 percent increase from 8.25 billion hours the previous year. Put another way, Netflix subscribers are now watching a weekly average of 13 hours of programming, up from 12 hours the previous year.\u003c/p>\n\u003cp>In remarks to reporters, Hastings likened the near-completion of Netflix’s worldwide expansion to a parent having a baby. “It’s a big deal, but the real work is the next 20 years,” Hastings, 55, said.\u003c/p>\n\u003cp>One of Netflix’s next challenges will be delivering on its promise to make its international operations profitable by next year. Hastings said the company is on track to fulfill that pledge.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n",
"blocks": [],
"excerpt": null,
"status": "publish",
"parent": 0,
"modified": 1726771321,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 18,
"wordCount": 640
},
"headData": {
"title": "Netflix Expands Into 130 More Countries in Surprise Move | KQED",
"description": "Netflix has already crossed off the biggest item on its New Year's list of resolutions. The Internet video service debuted in 130 countries Wednesday in a surprise move likely to reel in millions of new subscribers. CEO Reed Hastings revealed the scope of Netflix's expansion at the end of a presentation in Las Vegas at CES, one of the technology industry's marquee events. "You are witnessing the birth of a global TV network," Hastings crowed on stage. The news caught almost everyone off guard because Netflix had previously set a goal of being available in most of the world by",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Netflix Expands Into 130 More Countries in Surprise Move",
"datePublished": "2016-01-06T14:41:13-08:00",
"dateModified": "2024-09-19T11:42:01-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Michael Liedtke, Associated Press",
"path": "/arts/11225432/netflix-expands-into-130-more-countries-in-surprise-move",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Netflix has already crossed off the biggest item on its New Year’s list of resolutions. The Internet video service debuted in 130 countries Wednesday in a surprise move likely to reel in millions of new subscribers.\u003c/p>\n\u003cp>CEO Reed Hastings revealed the scope of Netflix’s expansion at the end of a presentation in Las Vegas at CES, one of the technology industry’s marquee events.\u003c/p>\n\u003cp>“You are witnessing the birth of a global TV network,” Hastings crowed on stage.\u003c/p>\n\u003cp>The news caught almost everyone off guard because Netflix had previously set a goal of being available in most of the world by the end of this year. It looked like the Los Gatos, California, company had plenty of work ahead it because it ended December in 60 countries.\u003c/p>\n\u003cp>Now, Netflix is available in 21 different languages and streaming in just about every market that it had in its sights, with the notable exception of China, the world’s most populous country. Entering China may be a formidable challenge requiring potentially prickly negotiations with a government that blocks its citizenry from seeing material it considers objectionable or incendiary.\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>Netflix currently has no plans to push into North Korea, Syria or Crimea because of restrictions on U.S. companies operating in those countries.\u003c/p>\n\u003cp>Investors were delighted with Netflix’s quantum leap across the globe. Its stock climbed $8.78, or 8 percent, $116.44 on a grim day in the rest of the market.\u003c/p>\n\u003cp>The uptick in the shares reflects a belief that Netflix is now in a position to sign up more subscribers this year than analysts had previously anticipated, generating additional revenue that the company can spend on TV series and movies as it bids against rivals such as HBO, Amazon.com, YouTube and Hulu for licensing rights.\u003c/p>\n\u003cp>Netflix Inc. began the year with more than 70 million subscribers and management had already vowed to spend about $5 billion this year licensing video from studios around the world.\u003c/p>\n\u003cp>Increasingly, Netflix has been buying material that only can be seen on its service, with more than 600 hours of original programming lined up for this year. That slate encompasses more than 50 exclusive TV shows and movies, including award-winning series such as \u003cem>House of Cards\u003c/em> and \u003cem>Orange Is the New Black\u003c/em>.\u003c/p>\n\u003cp>Although Netflix is now virtually worldwide, not of all its entertainment will be available everywhere. For instance, a prized licensing contract that gives Netflix the rights to Walt Disney films after their theatrical release will be limited to the U.S. and Canada as part of a deal negotiated several years ago. Hastings told reporters Wednesday that Netflix is hoping to expand those rights into other countries.\u003c/p>\n\u003cp>Netflix has come up with a formula that has proven addictive as its service has transformed the entertainment industry by allowing people to watch video anytime they want on an Internet-connected device.\u003c/p>\n\u003cp>Hastings revealed Wednesday that Netflix subscribers watched 42.5 billion hours of programming last year, including 12 billion hours in the October-December fourth quarter. The fourth-quarter viewership volume represented a nearly 50 percent increase from 8.25 billion hours the previous year. Put another way, Netflix subscribers are now watching a weekly average of 13 hours of programming, up from 12 hours the previous year.\u003c/p>\n\u003cp>In remarks to reporters, Hastings likened the near-completion of Netflix’s worldwide expansion to a parent having a baby. “It’s a big deal, but the real work is the next 20 years,” Hastings, 55, said.\u003c/p>\n\u003cp>One of Netflix’s next challenges will be delivering on its promise to make its international operations profitable by next year. Hastings said the company is on track to fulfill that pledge.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11225432/netflix-expands-into-130-more-countries-in-surprise-move",
"authors": [
"byline_arts_11225432"
],
"categories": [
"arts_74",
"arts_235",
"arts_990"
],
"tags": [
"arts_1254"
],
"featImg": "arts_11225433",
"label": "arts"
},
"arts_11224847": {
"type": "posts",
"id": "arts_11224847",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11224847",
"score": null,
"sort": [
1452110444000
]
},
"guestAuthors": [],
"slug": "when-fish-fly-how-to-get-your-pet-from-los-angeles-to-denver",
"title": "When Fish Fly: How to Get Your Pet from Los Angeles to Denver",
"publishDate": 1452110444,
"format": "standard",
"headTitle": "When Fish Fly: How to Get Your Pet from Los Angeles to Denver | 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>Fluffy the Flying Fish\u003c/em>: When they move from Los Angeles to Denver, a family has to decide how to transport their pet goldfish, Fluffy.\u003c/p>\n\u003cp>How do you transport a pet goldfish from Los Angeles to Denver? Fluffy’s family devised a plan: Mom put \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2016/01/06/when-fish-fly-how-to-get-your-pet-from-los-angeles-to-denver/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2016/01/06/when-fish-fly-how-to-get-your-pet-from-los-angeles-to-denver/\" target=\"_blank\" title=\"When Fish Fly: How To Get Your Pet from Los Angeles to Denver\" rel=\"noopener\">Films School Shorts News\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"blocks": [],
"excerpt": "When they move from Los Angeles to Denver, a family has to decide how to transport their pet goldfish, Fluffy.",
"status": "publish",
"parent": 0,
"modified": 1726704832,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 5,
"wordCount": 65
},
"headData": {
"title": "When Fish Fly: How to Get Your Pet from Los Angeles to Denver | KQED",
"description": "When they move from Los Angeles to Denver, a family has to decide how to transport their pet goldfish, Fluffy.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "When Fish Fly: How to Get Your Pet from Los Angeles to Denver",
"datePublished": "2016-01-06T12:00:44-08:00",
"dateModified": "2024-09-18T17:13:52-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"rssmiSourceLink": "http://blogs.kqed.org/filmschoolshorts/2016/01/06/when-fish-fly-how-to-get-your-pet-from-los-angeles-to-denver/",
"sticky": false,
"path": "/arts/11224847/when-fish-fly-how-to-get-your-pet-from-los-angeles-to-denver",
"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>Fluffy the Flying Fish\u003c/em>: When they move from Los Angeles to Denver, a family has to decide how to transport their pet goldfish, Fluffy.\u003c/p>\n\u003cp>How do you transport a pet goldfish from Los Angeles to Denver? Fluffy’s family devised a plan: Mom put \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2016/01/06/when-fish-fly-how-to-get-your-pet-from-los-angeles-to-denver/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2016/01/06/when-fish-fly-how-to-get-your-pet-from-los-angeles-to-denver/\" target=\"_blank\" title=\"When Fish Fly: How To Get Your Pet from Los Angeles to Denver\" 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/11224847/when-fish-fly-how-to-get-your-pet-from-los-angeles-to-denver",
"authors": [
"8652"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_1007"
],
"featImg": "arts_11224965",
"label": "arts"
},
"pop_19730": {
"type": "posts",
"id": "pop_19730",
"meta": {
"index": "posts_1716263798",
"site": "pop",
"id": "19730",
"score": null,
"sort": [
1452113820000
]
},
"parent": 0,
"labelTerm": {
"site": "pop"
},
"blocks": [],
"publishDate": 1452113820,
"format": "standard",
"disqusTitle": "#WhereIsRey? She's On Her Way, Says Hasbro",
"title": "#WhereIsRey? She's On Her Way, Says Hasbro",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>\u003cem>Star Wars: The Force Awakens\u003c/em> revolves around the story of staff-wielding scavenger Rey.\u003c/p>\n\u003cp>(That's hardly a spoiler; she's \u003ca href=\"http://www.eonline.com/news/707676/star-wars-the-force-awakens-new-poster-revealed-before-first-trailer-find-out-which-major-star-is-missing\" target=\"_blank\">front-and-center in the movie poster\u003c/a>, after all.)\u003c/p>\n\u003cp>But in the world of \u003cem>Star Wars \u003c/em>toys, Rey's been hard to find — and fans took to social media, under the hashtags #WheresRey and #WhereisRey, to complain about all the movie merchandise that left her out.\u003c/p>\n\u003cp>Target's \u003cem>Star Wars \u003c/em>figurine 6-pack? Finn, Chewbacca, Poe, Kylo Ren and two unnamed characters: a Stormtrooper officer and a First Order TIE fighter.\u003c/p>\n\u003cp>Central heroine: \u003ca href=\"http://www.target.com/p/star-wars-the-force-awakens-6-action-figure-pack/-/A-17294971\" target=\"_blank\">Nowhere in sight\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/JamieFord/status/664824284938809345\u003c/p>\n\u003cp>Hasbro's \"Battle Action\" Millennium Falcon? Comes with \u003ca href=\"http://www.hasbro.com/en-us/product/star-wars-the-force-awakens-battle-action-millennium-falcon:4C779CBB-5056-9047-F500-253B7076D3FF\" target=\"_blank\">Chewie, Finn and BB-8\u003c/a>: Rey's gotta hitch another ride.\u003c/p>\n\u003cp>\"The soccer ball gets more love,\" complained one fan \u003ca href=\"https://twitter.com/CorporateMalice/status/681893309372076032\">on Twitter.\u003c/a>\u003c/p>\n\u003cp>Bedspread? \u003ca href=\"https://twitter.com/HKhug/status/681311984873160705\" target=\"_blank\">No Rey\u003c/a>. Disney store display? \u003ca href=\"https://twitter.com/acnally/status/681502669219971072\" target=\"_blank\">No Rey\u003c/a>. Barnes and Noble bobbleheads? \u003ca href=\"https://twitter.com/shanegreer/status/681138520023547904\" target=\"_blank\">No Rey\u003c/a>. Walgreens shelves? \u003ca href=\"https://twitter.com/laflaneuse/status/682366514016595968\" target=\"_blank\">No Rey\u003c/a>.\u003c/p>\n\u003cp>In some of the Rey-less displays, \u003ca href=\"http://thenerdybird.com/more-star-wars-force-awakens-rey-merchandise-than-you-can-shake-a-staff-at/\" target=\"_blank\">her products\u003c/a> might not have been stocked by individual stores — or may have sold out.\u003c/p>\n\u003cp>But in many other cases, \u003ca href=\"http://www.gq.com/story/star-wars-toys-wheres-rey\" target=\"_blank\">toys featuring her simply hadn't been released\u003c/a>.\u003c/p>\n\u003cp>https://twitter.com/holden/status/679126771472531458\u003c/p>\n\u003cp>The new Star Wars Monopoly game was one of the most egregious offenders. It features four characters: Finn, Luke Skywalker, Kylo Ren and Darth Vader.\u003c/p>\n\u003cp>That's two characters from the new films, and two from the classic trilogy, says Hasbro. Or to look at it another way, that's — OK, OK, \u003cem>now \u003c/em>it's time for a \u003cstrong>spoiler warning\u003c/strong> from here on out — two key characters from \u003cem>The Force Awakens\u003c/em>, one dude who's on screen for, like, a minute tops, and one character who is literally \u003cem>dead \u003c/em>and appears only as a crumpled helmet and a super unhealthy hero-obsession.\u003c/p>\n\u003cp>And no Rey, the star of the film.\u003c/p>\n\u003cp>The Monopoly game was targeted by many #WheresRey tweets — and by a letter from an 8-year-old fan who pointed out Rey's essential role in the film's plot.\u003c/p>\n\u003cp>https://twitter.com/CarrieMGoldman/status/684112303806111745\u003c/p>\n\u003cp>After the backlash, Hasbro has set a new course.\u003c/p>\n\u003cp>\"We love the passion fans have for Rey, and are happy to announce that we will be making a running change to include her in the Monopoly: Star Wars game available later this year,\" the game company said in a statement. The news was \u003ca href=\"http://www.ew.com/article/2016/01/05/star-wars-monopoly-game-adding-rey\" target=\"_blank\">first announced by EW on Tuesday night\u003c/a>.\u003c/p>\n\u003cp>Hasbro said Rey was not initially included in the game to \"avoid revealing a key plotline\" — an argument some found specious, since she was clearly going to be a central character based solely on early promotional materials.\u003c/p>\n\u003cp>(And as \u003cem>The Guardian \u003c/em>pointed out, Hasbro's explanatory note was clearly not written by a true fan: \u003ca href=\"http://www.theguardian.com/film/2016/jan/06/hasbro-monopoly-rey-star-wars-the-force-awakens-spoilers\" target=\"_blank\">They confused the Rebel Alliance and The Resistance in their statement\u003c/a>.)\u003c/p>\n\u003cp>Hasbro also points out that Rey is featured in \u003cem>Star Wars\u003c/em>-branded games of Hands Down, Guess Who and Chess, and that two new Rey action figures will be arriving in stores this month.\u003c/p>\n\u003cp>Meanwhile, Lego featured Rey in its line from the start — as a \u003ca href=\"http://shop.lego.com/en-US/Rey-75113\" target=\"_blank\">standalone figure\u003c/a>, \u003ca href=\"http://shop.lego.com/en-US/Rey-s-Speeder-75099\" target=\"_blank\">with her speeder\u003c/a> and as part of the \u003ca href=\"http://shop.lego.com/en-US/Millennium-Falcon-75105\" target=\"_blank\">Millennium Falcon set\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All three products are currently out of stock.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%23WhereIsRey%3F+She%27s+On+Her+Way%2C+Says+Hasbro&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\" alt=\"\">\u003c/div>\n\n",
"disqusIdentifier": "19730 http://ww2.kqed.org/pop/?p=19730",
"disqusUrl": "https://ww2.kqed.org/pop/2016/01/06/whereisrey-shes-on-her-way-says-hasbro/",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 552,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 23
},
"modified": 1452114720,
"excerpt": "The newest Star Wars Monopoly game featured Finn, Kylo Ren, Luke Skywalker and Darth Vader — but not the latest film's heroine, Rey. Hasbro says it will add her to the game this year.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The newest Star Wars Monopoly game featured Finn, Kylo Ren, Luke Skywalker and Darth Vader — but not the latest film's heroine, Rey. Hasbro says it will add her to the game this year.",
"title": "#WhereIsRey? She's On Her Way, Says Hasbro | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "#WhereIsRey? She's On Her Way, Says Hasbro",
"datePublished": "2016-01-06T12:57:00-08:00",
"dateModified": "2016-01-06T13:12:00-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "whereisrey-shes-on-her-way-says-hasbro",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=462144156&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Camila Domonoske",
"nprStoryDate": "Wed, 06 Jan 2016 14:33:00 -0500",
"nprLastModifiedDate": "Wed, 06 Jan 2016 15:22:26 -0500",
"nprHtmlLink": "http://www.npr.org/sections/thetwo-way/2016/01/06/462144156/-whereisrey-shes-on-her-way-says-hasbro?ft=nprml&f=462144156",
"nprImageAgency": "Lucasfilm",
"nprImageCredit": "David James",
"nprStoryId": "462144156",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 06 Jan 2016 15:22:00 -0500",
"path": "/pop/19730/whereisrey-shes-on-her-way-says-hasbro",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Star Wars: The Force Awakens\u003c/em> revolves around the story of staff-wielding scavenger Rey.\u003c/p>\n\u003cp>(That's hardly a spoiler; she's \u003ca href=\"http://www.eonline.com/news/707676/star-wars-the-force-awakens-new-poster-revealed-before-first-trailer-find-out-which-major-star-is-missing\" target=\"_blank\">front-and-center in the movie poster\u003c/a>, after all.)\u003c/p>\n\u003cp>But in the world of \u003cem>Star Wars \u003c/em>toys, Rey's been hard to find — and fans took to social media, under the hashtags #WheresRey and #WhereisRey, to complain about all the movie merchandise that left her out.\u003c/p>\n\u003cp>Target's \u003cem>Star Wars \u003c/em>figurine 6-pack? Finn, Chewbacca, Poe, Kylo Ren and two unnamed characters: a Stormtrooper officer and a First Order TIE fighter.\u003c/p>\n\u003cp>Central heroine: \u003ca href=\"http://www.target.com/p/star-wars-the-force-awakens-6-action-figure-pack/-/A-17294971\" target=\"_blank\">Nowhere in sight\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>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "664824284938809345"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Hasbro's \"Battle Action\" Millennium Falcon? Comes with \u003ca href=\"http://www.hasbro.com/en-us/product/star-wars-the-force-awakens-battle-action-millennium-falcon:4C779CBB-5056-9047-F500-253B7076D3FF\" target=\"_blank\">Chewie, Finn and BB-8\u003c/a>: Rey's gotta hitch another ride.\u003c/p>\n\u003cp>\"The soccer ball gets more love,\" complained one fan \u003ca href=\"https://twitter.com/CorporateMalice/status/681893309372076032\">on Twitter.\u003c/a>\u003c/p>\n\u003cp>Bedspread? \u003ca href=\"https://twitter.com/HKhug/status/681311984873160705\" target=\"_blank\">No Rey\u003c/a>. Disney store display? \u003ca href=\"https://twitter.com/acnally/status/681502669219971072\" target=\"_blank\">No Rey\u003c/a>. Barnes and Noble bobbleheads? \u003ca href=\"https://twitter.com/shanegreer/status/681138520023547904\" target=\"_blank\">No Rey\u003c/a>. Walgreens shelves? \u003ca href=\"https://twitter.com/laflaneuse/status/682366514016595968\" target=\"_blank\">No Rey\u003c/a>.\u003c/p>\n\u003cp>In some of the Rey-less displays, \u003ca href=\"http://thenerdybird.com/more-star-wars-force-awakens-rey-merchandise-than-you-can-shake-a-staff-at/\" target=\"_blank\">her products\u003c/a> might not have been stocked by individual stores — or may have sold out.\u003c/p>\n\u003cp>But in many other cases, \u003ca href=\"http://www.gq.com/story/star-wars-toys-wheres-rey\" target=\"_blank\">toys featuring her simply hadn't been released\u003c/a>.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "679126771472531458"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The new Star Wars Monopoly game was one of the most egregious offenders. It features four characters: Finn, Luke Skywalker, Kylo Ren and Darth Vader.\u003c/p>\n\u003cp>That's two characters from the new films, and two from the classic trilogy, says Hasbro. Or to look at it another way, that's — OK, OK, \u003cem>now \u003c/em>it's time for a \u003cstrong>spoiler warning\u003c/strong> from here on out — two key characters from \u003cem>The Force Awakens\u003c/em>, one dude who's on screen for, like, a minute tops, and one character who is literally \u003cem>dead \u003c/em>and appears only as a crumpled helmet and a super unhealthy hero-obsession.\u003c/p>\n\u003cp>And no Rey, the star of the film.\u003c/p>\n\u003cp>The Monopoly game was targeted by many #WheresRey tweets — and by a letter from an 8-year-old fan who pointed out Rey's essential role in the film's plot.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "684112303806111745"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>After the backlash, Hasbro has set a new course.\u003c/p>\n\u003cp>\"We love the passion fans have for Rey, and are happy to announce that we will be making a running change to include her in the Monopoly: Star Wars game available later this year,\" the game company said in a statement. The news was \u003ca href=\"http://www.ew.com/article/2016/01/05/star-wars-monopoly-game-adding-rey\" target=\"_blank\">first announced by EW on Tuesday night\u003c/a>.\u003c/p>\n\u003cp>Hasbro said Rey was not initially included in the game to \"avoid revealing a key plotline\" — an argument some found specious, since she was clearly going to be a central character based solely on early promotional materials.\u003c/p>\n\u003cp>(And as \u003cem>The Guardian \u003c/em>pointed out, Hasbro's explanatory note was clearly not written by a true fan: \u003ca href=\"http://www.theguardian.com/film/2016/jan/06/hasbro-monopoly-rey-star-wars-the-force-awakens-spoilers\" target=\"_blank\">They confused the Rebel Alliance and The Resistance in their statement\u003c/a>.)\u003c/p>\n\u003cp>Hasbro also points out that Rey is featured in \u003cem>Star Wars\u003c/em>-branded games of Hands Down, Guess Who and Chess, and that two new Rey action figures will be arriving in stores this month.\u003c/p>\n\u003cp>Meanwhile, Lego featured Rey in its line from the start — as a \u003ca href=\"http://shop.lego.com/en-US/Rey-75113\" target=\"_blank\">standalone figure\u003c/a>, \u003ca href=\"http://shop.lego.com/en-US/Rey-s-Speeder-75099\" target=\"_blank\">with her speeder\u003c/a> and as part of the \u003ca href=\"http://shop.lego.com/en-US/Millennium-Falcon-75105\" target=\"_blank\">Millennium Falcon set\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All three products are currently out of stock.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%23WhereIsRey%3F+She%27s+On+Her+Way%2C+Says+Hasbro&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\" alt=\"\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/pop/19730/whereisrey-shes-on-her-way-says-hasbro",
"authors": [
"byline_pop_19730"
],
"categories": [
"pop_51"
],
"featImg": "pop_19731",
"label": "pop"
},
"arts_11222584": {
"type": "posts",
"id": "arts_11222584",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11222584",
"score": null,
"sort": [
1452049235000
]
},
"guestAuthors": [],
"slug": "cheap-date-lemmy-vandella-and-a-chance-to-wear-no-pants-in-public",
"title": "Cheap Date: Lemmy, Vandella, and a Chance to Wear No Pants (In Public!)",
"publishDate": 1452049235,
"format": "standard",
"headTitle": "Cheap Date: Lemmy, Vandella, and a Chance to Wear No Pants (In Public!) | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Dear readers! Hello and welcome back to reality, assuming a good portion of you have had the privilege to be away from work for at least a few days — days you likely filled with copious amounts of food and/or alcohol. (It’s ok. That’s what the holidays are for.)\u003c/p>\n\u003cp>Did you make any New Year’s resolutions?\u003cem> [Ed. note: I know that’s a terrible question, and I’m sorry for asking it.] \u003c/em>If, however, at the top of your list is a bright red glaring “SAVE MONEY” — well, let’s just say you’re not alone. What better way to kick off a year of entertainment on the cheap than with a week full of activities for $20 and under?\u003c/p>\n\u003cp>Here you are, friends. The first \u003cstrong>Cheap Date\u003c/strong> of 2016.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cTKw2ssDr7w\u003c/p>\n\u003cp>\u003cstrong>Wednesday, Jan. 6: \u003cem>Lemmy \u003c/em>and \u003cem>Classic Albums: Motorhead – Ace of Spades\u003c/em> celebration at the Chapel, SF. \u003c/strong>The dearly beloved, recently departed metal icon was a hard-partying, take-no-BS, yet incredibly endearing one of a kind — and he would absolutely want you to pay your respects by going to a bar. This double feature includes two documentaries full of heavy metal and real-life debauchery. For free! \u003ca href=\"http://www.thechapelsf.com/event/1047389-lemmy-documentary-classic-san-francisco/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VUErICL9WAo\u003c/p>\n\u003cp>\u003cstrong>Thursday, Jan. 7: Goodnight, Texas at the Independent, SF. \u003c/strong>Named for a tiny town at the midway point between the songwriters’ hometowns, this Americana four-piece nevertheless claims San Francisco as home base. Expect foot-stomping, whiskey-drinking, a surprisingly haunting ballad or two, and a hefty dose of humor. Openers Whiskey Shivers throw a helluva party too. \u003ca href=\"http://www.theindependentsf.com/event/1017543-goodnight-texas-san-francisco/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11223054\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11223054\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/lil_debbie_cropped-400x352.jpg\" alt=\"Lil Debbie\" width=\"400\" height=\"352\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/lil_debbie_cropped-400x352.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/lil_debbie_cropped.jpg 559w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Lil Debbie\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Friday, Jan. 8: Lil Debbie at the Phoenix, Petaluma. \u003c/strong>Like Taylor Swift and Harry Styles, it may be that the White Girl Mob — the counter-intuitive Oakland crew of sh*t-talking, weed-smoking girls who brought you Kreayshawn (“Gucci Gucci”) and V-Nasty, among others — were made to fall apart. No matter: Lil Debbie charges ahead with a solo album and a brand that’s, well, if not trailblazing, certainly blazing. Here she opens for Baeza, a MC from Fresno. $20; \u003ca href=\"http://www.thephoenixtheater.com/event/1029711-baeza-lil-debbie-petaluma/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Saturday, Jan. 9: Mortified at the New Parish, Oakland. \u003c/strong>Got a high school diary just begging to be mined for comedic value? Have I got the event for you. “Personal redemption through public humiliation” is the motto at this interactive show, where adults from all walks of life share the stories that made them cringe as teens — and will likely have you crying with laughter by the time they’re over. $14 – $20; \u003ca href=\"http://thenewparish.com/event.cfm?id=185601\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=45d4ArIRe8A\u003c/p>\n\u003cp>\u003cstrong>Saturday, Jan. 9: Vandella at Smiley’s Schooner Saloon, Bolinas. \u003c/strong>Just past Stinson, at the edge of a piece of Marin County land \u003ca href=\"http://articles.latimes.com/1989-11-09/news/mn-1431_1_road-signs\" target=\"_blank\" rel=\"noopener\">its residents don’t really want you to know about\u003c/a>, lies the magical coastal land of Bolinas. And in that land, you’ll find a more-than-a-century-old bar hosting one of my favorite San Francisco indie-rock/soul outfits, fronted by a dynamic male/female duo (one-half of whom is the deceptively diminutive Tracey Holland, who’s something like the lovechild of Stevie Nicks and Janis Joplin, minus a lot of drugs). \u003ca href=\"https://www.facebook.com/events/792989000813169/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Sunday, Jan. 10: No Pants BART Ride, all over the Bay Area. \u003c/strong>Let’s not make this more complicated than it is. While the tradition of a pantsless subway ride supposedly originated in New York City, leave to the Bay Area to take public nudity to new heights. Or depths, ie, under the Bay. You don’t have to participate, but this is one instance in which, uh, you’ll probably see some things — and there’s really no point in saying something. (\u003ca href=\"https://www.facebook.com/events/1491288427843410/\" target=\"_blank\" rel=\"noopener\">Details for 2015’s event here\u003c/a>, stay tuned for updated info).\u003c/p>\n\n",
"blocks": [],
"excerpt": "Six ways to kick off 2016, all for $20 or less. ",
"status": "publish",
"parent": 0,
"modified": 1726788262,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 11,
"wordCount": 702
},
"headData": {
"title": "Cheap Date: Lemmy, Vandella, and a Chance to Wear No Pants (In Public!) | KQED",
"description": "Six ways to kick off 2016, all for $20 or less. ",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Cheap Date: Lemmy, Vandella, and a Chance to Wear No Pants (In Public!)",
"datePublished": "2016-01-05T19:00:35-08:00",
"dateModified": "2024-09-19T16:24:22-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/11222584/cheap-date-lemmy-vandella-and-a-chance-to-wear-no-pants-in-public",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Dear readers! Hello and welcome back to reality, assuming a good portion of you have had the privilege to be away from work for at least a few days — days you likely filled with copious amounts of food and/or alcohol. (It’s ok. That’s what the holidays are for.)\u003c/p>\n\u003cp>Did you make any New Year’s resolutions?\u003cem> [Ed. note: I know that’s a terrible question, and I’m sorry for asking it.] \u003c/em>If, however, at the top of your list is a bright red glaring “SAVE MONEY” — well, let’s just say you’re not alone. What better way to kick off a year of entertainment on the cheap than with a week full of activities for $20 and under?\u003c/p>\n\u003cp>Here you are, friends. The first \u003cstrong>Cheap Date\u003c/strong> of 2016.\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/cTKw2ssDr7w'\n title='//www.youtube.com/embed/cTKw2ssDr7w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Wednesday, Jan. 6: \u003cem>Lemmy \u003c/em>and \u003cem>Classic Albums: Motorhead – Ace of Spades\u003c/em> celebration at the Chapel, SF. \u003c/strong>The dearly beloved, recently departed metal icon was a hard-partying, take-no-BS, yet incredibly endearing one of a kind — and he would absolutely want you to pay your respects by going to a bar. This double feature includes two documentaries full of heavy metal and real-life debauchery. For free! \u003ca href=\"http://www.thechapelsf.com/event/1047389-lemmy-documentary-classic-san-francisco/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\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/VUErICL9WAo'\n title='//www.youtube.com/embed/VUErICL9WAo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Thursday, Jan. 7: Goodnight, Texas at the Independent, SF. \u003c/strong>Named for a tiny town at the midway point between the songwriters’ hometowns, this Americana four-piece nevertheless claims San Francisco as home base. Expect foot-stomping, whiskey-drinking, a surprisingly haunting ballad or two, and a hefty dose of humor. Openers Whiskey Shivers throw a helluva party too. \u003ca href=\"http://www.theindependentsf.com/event/1017543-goodnight-texas-san-francisco/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11223054\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11223054\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/lil_debbie_cropped-400x352.jpg\" alt=\"Lil Debbie\" width=\"400\" height=\"352\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/lil_debbie_cropped-400x352.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/lil_debbie_cropped.jpg 559w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Lil Debbie\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Friday, Jan. 8: Lil Debbie at the Phoenix, Petaluma. \u003c/strong>Like Taylor Swift and Harry Styles, it may be that the White Girl Mob — the counter-intuitive Oakland crew of sh*t-talking, weed-smoking girls who brought you Kreayshawn (“Gucci Gucci”) and V-Nasty, among others — were made to fall apart. No matter: Lil Debbie charges ahead with a solo album and a brand that’s, well, if not trailblazing, certainly blazing. Here she opens for Baeza, a MC from Fresno. $20; \u003ca href=\"http://www.thephoenixtheater.com/event/1029711-baeza-lil-debbie-petaluma/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Saturday, Jan. 9: Mortified at the New Parish, Oakland. \u003c/strong>Got a high school diary just begging to be mined for comedic value? Have I got the event for you. “Personal redemption through public humiliation” is the motto at this interactive show, where adults from all walks of life share the stories that made them cringe as teens — and will likely have you crying with laughter by the time they’re over. $14 – $20; \u003ca href=\"http://thenewparish.com/event.cfm?id=185601\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\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/45d4ArIRe8A'\n title='//www.youtube.com/embed/45d4ArIRe8A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Saturday, Jan. 9: Vandella at Smiley’s Schooner Saloon, Bolinas. \u003c/strong>Just past Stinson, at the edge of a piece of Marin County land \u003ca href=\"http://articles.latimes.com/1989-11-09/news/mn-1431_1_road-signs\" target=\"_blank\" rel=\"noopener\">its residents don’t really want you to know about\u003c/a>, lies the magical coastal land of Bolinas. And in that land, you’ll find a more-than-a-century-old bar hosting one of my favorite San Francisco indie-rock/soul outfits, fronted by a dynamic male/female duo (one-half of whom is the deceptively diminutive Tracey Holland, who’s something like the lovechild of Stevie Nicks and Janis Joplin, minus a lot of drugs). \u003ca href=\"https://www.facebook.com/events/792989000813169/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Sunday, Jan. 10: No Pants BART Ride, all over the Bay Area. \u003c/strong>Let’s not make this more complicated than it is. While the tradition of a pantsless subway ride supposedly originated in New York City, leave to the Bay Area to take public nudity to new heights. Or depths, ie, under the Bay. You don’t have to participate, but this is one instance in which, uh, you’ll probably see some things — and there’s really no point in saying something. (\u003ca href=\"https://www.facebook.com/events/1491288427843410/\" target=\"_blank\" rel=\"noopener\">Details for 2015’s event here\u003c/a>, stay tuned for updated info).\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11222584/cheap-date-lemmy-vandella-and-a-chance-to-wear-no-pants-in-public",
"authors": [
"7237"
],
"categories": [
"arts_1",
"arts_968",
"arts_74",
"arts_69"
],
"tags": [
"arts_1310",
"arts_1118",
"arts_1006",
"arts_596"
],
"featImg": "arts_11223052",
"label": "arts"
},
"arts_11220123": {
"type": "posts",
"id": "arts_11220123",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11220123",
"score": null,
"sort": [
1452026226000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1452026226,
"format": "standard",
"title": "The Gold Standard: Jeff Goldblum Talks Fatherhood, Jazz and Aliens (Of Course)",
"headTitle": "The Gold Standard: Jeff Goldblum Talks Fatherhood, Jazz and Aliens (Of Course) | KQED",
"content": "\u003cp>How do we love Jeff Goldblum? Let us count the ways.\u003c/p>\n\u003cp>There was the time he stole our hearts as Dr. Ian Malcolm in \u003cem>Jurassic Park\u003c/em>, of course, and his equally charming scientist in \u003cem>Independence Day\u003c/em>. The nervy, fast-talking journalist of \u003cem>The Big Chill\u003c/em>; the physical comedy of \u003cem>Earth Girls Are Easy\u003c/em>; the unsettling, animalistic energy at the center of \u003cem>The Fly. \u003c/em>There’s his voice. There’s his \u003ca href=\"https://www.youtube.com/watch?v=lS9D6w1GzGY\" target=\"_blank\" rel=\"noopener\">laugh\u003c/a>. And then there’s his penchant for jazz piano.\u003c/p>\n\u003cp>Though it may be one of the less-celebrated tools in his belt, Goldblum’s been playing music as long as he’s been an actor — which explains why SF Sketchfest’s “Tribute to Jeff Goldblum” this Saturday stars his band, the \u003ca href=\"https://www.youtube.com/watch?v=W67Is7NZOFY\" target=\"_blank\" rel=\"noopener\">Mildred Snitzer Orchestra\u003c/a>, who’ll play tunes between film clips, classic Goldblum-y riffage with the audience, and more.\u003c/p>\n\u003cp>We caught up with the actor/musician just before Christmas, when he called from his walk-in closet in LA. He has a little couch in there, you see.\u003c/p>\n\u003cp>\u003cstrong>KQED Arts: So you played here in SF just a couple months ago with your jazz group, the \u003ca href=\"http://www.npr.org/2014/05/25/312857631/jeff-goldblum-plays-a-jazz-show-almost-every-week-no-really\" target=\"_blank\" rel=\"noopener\">Mildred Snitzer Orchestra\u003c/a> — though this show sounds a little different, being part of \u003ca href=\"http://sfsketchfest.com/x/\" target=\"_blank\" rel=\"noopener\">Sketchfest\u003c/a> and all.\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Jeff Goldblum:\u003c/strong> Yes! I love it up there. We were at Michael Feinstein’s [at the Nikko] last time, and I had a blast. Though, to be honest, I don’t know much about this show — I like to be surprised, so I keep myself from knowing too much about it. Our manager, John Mastro, interfaces with the venue and makes everything sound good and directs the show, which I think will have some film clips in it this time around… the so-called audience gets to decide some things, too. I like not having that control.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-11220238\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/12363063_1666102656998543_4408081738865763816_o-400x587.jpg\" alt=\"12363063_1666102656998543_4408081738865763816_o\" width=\"400\" height=\"587\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/12363063_1666102656998543_4408081738865763816_o-400x587.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/12363063_1666102656998543_4408081738865763816_o-409x600.jpg 409w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/12363063_1666102656998543_4408081738865763816_o.jpg 654w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cstrong>You’ve played piano since you were young?\u003c/strong>\u003c/p>\n\u003cp>Yes, my parents gave us all lessons as kids, and I had some facility, but I didn’t know the joys of discipline then. It was a lesson once a week… I wish I could do it again. Even if it’s a broccoli activity, now I know the delicious fruits that can come from that.\u003c/p>\n\u003cp>And then I got it into my head when I was 15 — this was in Pittsburgh, where I grew up — to play in cocktail lounges. I’d just go in and say ‘Oh, I understand you need a pianist.’ And they’d say, ‘I don’t know how you heard that, but sure.’ I got a couple jobs that way. But I already knew it was a side passion, because I wanted to be an actor from the time I was in fifth grade.\u003c/p>\n\u003cp>So I go to New York at 17, 18 to study acting, but I always had a piano. I did a musical or two on Broadway where I’d run into real musicians… and then about 20 years later, doing \u003cem>Buckaroo Bonzai\u003c/em>, I met [actor] Peter Weller, and he plays the trumpet, so we’d get together and play.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=oOtkpqBBPV4\u003c/p>\n\u003cp>And \u003cem>then\u003c/em> Peter did a Woody Allen movie, and Woody said, ‘You guys should do what I do and have a weekly gig — you have to play out.’ So we did that, played at Sunday brunch for a few years, and then he went and had a family and a directing career, and I’ve maintained this group. It all came full circle one night a few years ago, we played the Cafe Carlyle, and the night before we played Woody’s band was playing. I hadn’t seen him since [\u003cem>Annie Hall\u003c/em>], so me and my bass player went and sat in the front row… and he had us \u003ca href=\"https://www.youtube.com/watch?v=Q9tDpu5bwGk\" target=\"_blank\" rel=\"noopener\">come up and sit in\u003c/a>. It was delightful.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7GNSPBx7zEc\u003c/p>\n\u003cp>\u003cstrong>Have you ever thought about recording an album?\u003c/strong>\u003c/p>\n\u003cp>You know, people have approached me about that, but I’m not careerist about this. I have no strategy or goal. I just love music. I think of myself as a late bloomer, I’m still learning — and I’m sort of glad that I never \u003cem>have\u003c/em> to play gigs; it’s never a job to me. I’ve been on a couple of other people’s records — \u003ca href=\"http://lincolnadler.com/\" target=\"_blank\" rel=\"noopener\">Lincoln Adler\u003c/a>, the great sax player. And I did a little \u003ca href=\"http://www.amazon.com/gp/product/B00005ALH5?ie=UTF8&tag=looktothestar-20&link_code=as3&camp=211189&creative=373489&creativeASIN=B00005ALH5\" target=\"_blank\" rel=\"noopener\">charity album\u003c/a>.\u003c/p>\n\u003cp>Also, have you seen the \u003ca href=\"https://www.youtube.com/watch?v=2zi8zwN57Ug\" target=\"_blank\" rel=\"noopener\">Apartments.com campaign\u003c/a>? We recorded a new commercial recently where my character, Brad Bellflower, who ostensibly created this thing, plays the piano and sings — it’s the theme song to \u003cem>The Jeffersons\u003c/em>. Mark Mothersbaugh was there recording, so… well, this is a Super Bowl commercial. I hope I’m not spoiling anything.\u003c/p>\n\u003cp>\u003cstrong>Going back to the time you’ve spent in San Francisco — I recently rewatched the 1978 \u003cem>Invasion of the Body Snatchers\u003c/em>, and it struck me that they succeeded in making the city look really claustrophobic, anxious and dark. What was the shooting like?\u003c/strong>\u003c/p>\n\u003cp>That was a wonderful experience. [Director] Phil Kaufman is a fantastic fellow, his whole family is fantastic — I first met him on \u003cem>The Right Stuff\u003c/em>. He’s just very enjoyable, and seeing San Francisco through his eyes and his whole crowd — [Tom] Luddy, [cinematographer] Michael Chapman, who had also done\u003cem> Raging Bull\u003c/em>. And oh, gosh, Donald Sutherland, Brooke Adams, Veronica Cartwright — it was wonderful. We’d go to interesting restaurants; it was a very refined, smart shoot.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Kj_iyH3naPI\u003c/p>\n\u003cp>\u003cstrong>That was also one of quite a few films you’ve done involving aliens — either fighting them or playing them…\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Earth Girls Are Easy\u003c/em>, yes!\u003c/p>\n\u003cp>\u003cstrong>…and I know you have another one coming up, having just finished \u003cem>Independence Day: Resurgence.\u003c/em> Was that just a no-brainer when they asked you to do it?\u003c/strong>\u003c/p>\n\u003cp>Yes, we shot that over the summer in Albuquerque. And definitely, I like Roland Emmerich. He’s a wonderful director, and he obviously had a fire in his belly about making it good. The writers were meticulous and careful and thorough about the script, and I loved the other actors: Bill Pullman, Judd Hirsch, who I’d never worked with before or since [the original\u003cem> Independence Day\u003c/em>], so I relished that opportunity. And we have wonderful people joining the cast; I get kind of a romantic side story with another scientist played by Charlotte Gainsbourg — who I loved in \u003cem>Antichrist, Melacholia, Nymphomaniac\u003c/em> — so meeting her and working with her has just been fantastic.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LbduDRH2m2M\u003c/p>\n\u003cp>\u003cstrong>Since you’ve been in so many alien movies, I’m curious if you ever think on how aliens often represent a fear of something or someone else — the way there’s a lot of Cold War subtext in alien movies from the ’50s, etc. Do you have any thoughts on what our aliens represent in 2016?\u003c/strong>\u003c/p>\n\u003cp>Wow, well, I didn’t have any metaphorical, cultural parallel in mind going in. I mean, I do think it’s interesting that in America we do have this whole issue about “the other” living amongst us, and the threat that poses in some people’s minds: that fear of the other, and having \u003cem>your\u003c/em> world, \u003cem>your\u003c/em> space invaded and taken over.\u003c/p>\n\u003cp>Whether it comes through in the movie or not, I think my character is having a kind of an epiphany around that issue. It’s been my job to stay on the case and prepare technology and weaponry, in the event that there’s another [alien invasion], so I’ve been preparing for another one this whole time. Who exactly the aliens were and what they were up to gets a little bit clearer — it’s not just “Gee, I think they’re after our resources, they want us to die.” The first one, it was vague but malevolent, of course, which allows us to be righteous when we fight them, to feel like we’re the good guys.\u003c/p>\n\u003cfigure id=\"attachment_11222233\" class=\"wp-caption alignright\" style=\"max-width: 391px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-11222233\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/goldblumjazz_0210_custom-4be61fa5c457deb6436224a6f646920f4f747dc8-s800-c85-400x266.jpg\" alt=\"Jeff Goldblum performing at the Rockwell club in LA.\" width=\"391\" height=\"260\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/goldblumjazz_0210_custom-4be61fa5c457deb6436224a6f646920f4f747dc8-s800-c85-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/goldblumjazz_0210_custom-4be61fa5c457deb6436224a6f646920f4f747dc8-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/goldblumjazz_0210_custom-4be61fa5c457deb6436224a6f646920f4f747dc8-s800-c85-768x511.jpg 768w\" sizes=\"(max-width: 391px) 100vw, 391px\">\u003cfigcaption class=\"wp-caption-text\">Jeff Goldblum performing at the Rockwell club in LA. \u003ccite>(Hayley Bartels / NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In this one, I think we come to think more about what they’re up to in other areas of the cosmos, that in fact it’s a \u003cem>visitation\u003c/em>, and how that might point to our own ignorance. In my character’s mind, at least, the concept of the “visiting other” is an opportunity to learn about our connection, where we all singularly may come from, how our stupidity is maybe shared by others, and how we have to solve it together. And the realization that conflict resolution, when it’s solved by violence, weaponry and war technology, is, well, a dead end.\u003c/p>\n\u003cp>That’s all relevant to things I’m thinking about. The movie may be more ambiguous, when you see it — if you want to see it as a pro-war movie, I suppose you could. The “other” is still very simply evil. And the stronger you are, the more you kill, the better.\u003c/p>\n\u003cp>\u003cstrong>Speaking of big things that happened this summer, you became a father.\u003c/strong>\u003c/p>\n\u003cp>Yes! Charlie, who was born on Independence Day. My wife Emilie and I met about four and a half years ago, and then late last year we got with child — she told me the day before our wedding, and it made the whole thing kind of glowy. The due date was July 4, and we said, you know, that’s just a rough marker — but it happened on that day. Luckily the producers built a little window into my schedule right around there, so I got to take a week off. He’s doing great, Emilie’s doing great, everybody’s healthy.\u003c/p>\n\u003cp>https://www.facebook.com/golblumofficial/photos/pb.1608187546123388.-2207520000.1451954904./1615867665355376/?type=3&theater\u003c/p>\n\u003cp>\u003cstrong>Well, mazel tov.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>[Here the conversation degenerates into a long Jewy discussion of how both our names were changed by our grandparents — his used to be Povartzik — and then turns to Yiddish in general.]\u003c/em>\u003c/p>\n\u003cp>…Speaking of, did you hear this latest nonsense [in last night’s debate] with Trump saying Hillary “got schlonged”? And then today he came out and said “no, no, that doesn’t mean anything vulgar, shame on the press.”\u003c/p>\n\u003cp>\u003cstrong>Hearing it used as a verb was the really confusing part for me.\u003c/strong>\u003c/p>\n\u003cp>Right! You don’t “get schlonged.”\u003c/p>\n\u003cp>\u003cstrong>Have you been following the election closely, then?\u003c/strong>\u003c/p>\n\u003cp>Yeah, too closely. I’m a little bit addicted. I just watched this clip twice this morning of Hilary at a town meeting yesterday, and she took a question from this adorable 10-year-old girl, who asked her “What do you think about bullying?” and this and that. And the way Hillary was listening to her, I found very moving already… and then her response was just so dear and genuine and smart.\u003c/p>\n\u003cp>That job is tough. Maybe impossible. But somebody’s gotta do it, and you certainly want the smartest person.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=W67Is7NZOFY\u003c/p>\n\u003cp>\u003cstrong>We’ll wrap up with something from a long time ago: You brought up \u003cem>Annie Hall, \u003c/em>but your first film role was actually as “Freak #1” in the first \u003cem>Death Wish, \u003c/em>with Charles Bronson, in 1974. \u003c/strong>\u003c/p>\n\u003cp>Yep, I was 21. I’d just done \u003cem>Two Gentlemen of Verona\u003c/em> on Broadway, and my agent sent me out for a movie, and here I was auditioning with all these scuzzy-looking guys. And then I got the part, and here was the director, Michael Winner, who was kind of notorious, and I don’t remember what I was doing — I think I was supposed to run up the stairs, and I was kinda walking. Anyway [Winner] yells in front of everyone, “Goldblum! Start acting NOW!”\u003c/p>\n\u003cp>It sort of shook me; I’d been studying with \u003ca href=\"http://www.pbs.org/wnet/americanmasters/sanford-meisner-about-sanford-meisner/660/\" target=\"_blank\" rel=\"noopener\">Sandy Meisner\u003c/a>, and [Winner’s] was not exactly the most nourishing kind of direction. But after a couple of decades, \u003ca href=\"http://www.playhousewest.com/\" target=\"_blank\" rel=\"noopener\">I started to teach\u003c/a>, and I thought about that fairly often — how he wasn’t wrong. It’s actually kind of a nice way to look at it. Start acting now\u003cem>. \u003c/em>Start acting\u003cem> now. \u003c/em>\u003c/p>\n\u003cp>\u003cem>Jeff Goldblum and the Mildred Snitzer Orchestra perform at the Marines Memorial Theater in San Francisco on Saturday, Jan. 9 at 7pm. $50; \u003ca href=\"http://www.sfsketchfest.com\" target=\"_blank\" rel=\"noopener\">sfsketchfest.com.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Note: Interview edited for length and clarity (and for Goldblum’s tendency to interview his interviewer).\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 2217,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 43
},
"modified": 1705045525,
"excerpt": "Ahead of an SF Sketchfest appearance, the actor waxes poetic on extraterrestrial life -- and his lesser-known alter ego as a musician. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Ahead of an SF Sketchfest appearance, the actor waxes poetic on extraterrestrial life -- and his lesser-known alter ego as a musician. ",
"title": "The Gold Standard: Jeff Goldblum Talks Fatherhood, Jazz and Aliens (Of Course) | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The Gold Standard: Jeff Goldblum Talks Fatherhood, Jazz and Aliens (Of Course)",
"datePublished": "2016-01-05T12:37:06-08:00",
"dateModified": "2024-01-11T23:45:25-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "the-gold-standard-jeff-goldblum-talks-fatherhood-jazz-and-aliens-of-course",
"status": "publish",
"sticky": false,
"path": "/arts/11220123/the-gold-standard-jeff-goldblum-talks-fatherhood-jazz-and-aliens-of-course",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>How do we love Jeff Goldblum? Let us count the ways.\u003c/p>\n\u003cp>There was the time he stole our hearts as Dr. Ian Malcolm in \u003cem>Jurassic Park\u003c/em>, of course, and his equally charming scientist in \u003cem>Independence Day\u003c/em>. The nervy, fast-talking journalist of \u003cem>The Big Chill\u003c/em>; the physical comedy of \u003cem>Earth Girls Are Easy\u003c/em>; the unsettling, animalistic energy at the center of \u003cem>The Fly. \u003c/em>There’s his voice. There’s his \u003ca href=\"https://www.youtube.com/watch?v=lS9D6w1GzGY\" target=\"_blank\" rel=\"noopener\">laugh\u003c/a>. And then there’s his penchant for jazz piano.\u003c/p>\n\u003cp>Though it may be one of the less-celebrated tools in his belt, Goldblum’s been playing music as long as he’s been an actor — which explains why SF Sketchfest’s “Tribute to Jeff Goldblum” this Saturday stars his band, the \u003ca href=\"https://www.youtube.com/watch?v=W67Is7NZOFY\" target=\"_blank\" rel=\"noopener\">Mildred Snitzer Orchestra\u003c/a>, who’ll play tunes between film clips, classic Goldblum-y riffage with the audience, and more.\u003c/p>\n\u003cp>We caught up with the actor/musician just before Christmas, when he called from his walk-in closet in LA. He has a little couch in there, you see.\u003c/p>\n\u003cp>\u003cstrong>KQED Arts: So you played here in SF just a couple months ago with your jazz group, the \u003ca href=\"http://www.npr.org/2014/05/25/312857631/jeff-goldblum-plays-a-jazz-show-almost-every-week-no-really\" target=\"_blank\" rel=\"noopener\">Mildred Snitzer Orchestra\u003c/a> — though this show sounds a little different, being part of \u003ca href=\"http://sfsketchfest.com/x/\" target=\"_blank\" rel=\"noopener\">Sketchfest\u003c/a> and all.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Jeff Goldblum:\u003c/strong> Yes! I love it up there. We were at Michael Feinstein’s [at the Nikko] last time, and I had a blast. Though, to be honest, I don’t know much about this show — I like to be surprised, so I keep myself from knowing too much about it. Our manager, John Mastro, interfaces with the venue and makes everything sound good and directs the show, which I think will have some film clips in it this time around… the so-called audience gets to decide some things, too. I like not having that control.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-11220238\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/12363063_1666102656998543_4408081738865763816_o-400x587.jpg\" alt=\"12363063_1666102656998543_4408081738865763816_o\" width=\"400\" height=\"587\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/12363063_1666102656998543_4408081738865763816_o-400x587.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/12363063_1666102656998543_4408081738865763816_o-409x600.jpg 409w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/12363063_1666102656998543_4408081738865763816_o.jpg 654w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cstrong>You’ve played piano since you were young?\u003c/strong>\u003c/p>\n\u003cp>Yes, my parents gave us all lessons as kids, and I had some facility, but I didn’t know the joys of discipline then. It was a lesson once a week… I wish I could do it again. Even if it’s a broccoli activity, now I know the delicious fruits that can come from that.\u003c/p>\n\u003cp>And then I got it into my head when I was 15 — this was in Pittsburgh, where I grew up — to play in cocktail lounges. I’d just go in and say ‘Oh, I understand you need a pianist.’ And they’d say, ‘I don’t know how you heard that, but sure.’ I got a couple jobs that way. But I already knew it was a side passion, because I wanted to be an actor from the time I was in fifth grade.\u003c/p>\n\u003cp>So I go to New York at 17, 18 to study acting, but I always had a piano. I did a musical or two on Broadway where I’d run into real musicians… and then about 20 years later, doing \u003cem>Buckaroo Bonzai\u003c/em>, I met [actor] Peter Weller, and he plays the trumpet, so we’d get together and play.\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/oOtkpqBBPV4'\n title='//www.youtube.com/embed/oOtkpqBBPV4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And \u003cem>then\u003c/em> Peter did a Woody Allen movie, and Woody said, ‘You guys should do what I do and have a weekly gig — you have to play out.’ So we did that, played at Sunday brunch for a few years, and then he went and had a family and a directing career, and I’ve maintained this group. It all came full circle one night a few years ago, we played the Cafe Carlyle, and the night before we played Woody’s band was playing. I hadn’t seen him since [\u003cem>Annie Hall\u003c/em>], so me and my bass player went and sat in the front row… and he had us \u003ca href=\"https://www.youtube.com/watch?v=Q9tDpu5bwGk\" target=\"_blank\" rel=\"noopener\">come up and sit in\u003c/a>. It was delightful.\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/7GNSPBx7zEc'\n title='//www.youtube.com/embed/7GNSPBx7zEc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Have you ever thought about recording an album?\u003c/strong>\u003c/p>\n\u003cp>You know, people have approached me about that, but I’m not careerist about this. I have no strategy or goal. I just love music. I think of myself as a late bloomer, I’m still learning — and I’m sort of glad that I never \u003cem>have\u003c/em> to play gigs; it’s never a job to me. I’ve been on a couple of other people’s records — \u003ca href=\"http://lincolnadler.com/\" target=\"_blank\" rel=\"noopener\">Lincoln Adler\u003c/a>, the great sax player. And I did a little \u003ca href=\"http://www.amazon.com/gp/product/B00005ALH5?ie=UTF8&tag=looktothestar-20&link_code=as3&camp=211189&creative=373489&creativeASIN=B00005ALH5\" target=\"_blank\" rel=\"noopener\">charity album\u003c/a>.\u003c/p>\n\u003cp>Also, have you seen the \u003ca href=\"https://www.youtube.com/watch?v=2zi8zwN57Ug\" target=\"_blank\" rel=\"noopener\">Apartments.com campaign\u003c/a>? We recorded a new commercial recently where my character, Brad Bellflower, who ostensibly created this thing, plays the piano and sings — it’s the theme song to \u003cem>The Jeffersons\u003c/em>. Mark Mothersbaugh was there recording, so… well, this is a Super Bowl commercial. I hope I’m not spoiling anything.\u003c/p>\n\u003cp>\u003cstrong>Going back to the time you’ve spent in San Francisco — I recently rewatched the 1978 \u003cem>Invasion of the Body Snatchers\u003c/em>, and it struck me that they succeeded in making the city look really claustrophobic, anxious and dark. What was the shooting like?\u003c/strong>\u003c/p>\n\u003cp>That was a wonderful experience. [Director] Phil Kaufman is a fantastic fellow, his whole family is fantastic — I first met him on \u003cem>The Right Stuff\u003c/em>. He’s just very enjoyable, and seeing San Francisco through his eyes and his whole crowd — [Tom] Luddy, [cinematographer] Michael Chapman, who had also done\u003cem> Raging Bull\u003c/em>. And oh, gosh, Donald Sutherland, Brooke Adams, Veronica Cartwright — it was wonderful. We’d go to interesting restaurants; it was a very refined, smart shoot.\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/Kj_iyH3naPI'\n title='//www.youtube.com/embed/Kj_iyH3naPI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>That was also one of quite a few films you’ve done involving aliens — either fighting them or playing them…\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Earth Girls Are Easy\u003c/em>, yes!\u003c/p>\n\u003cp>\u003cstrong>…and I know you have another one coming up, having just finished \u003cem>Independence Day: Resurgence.\u003c/em> Was that just a no-brainer when they asked you to do it?\u003c/strong>\u003c/p>\n\u003cp>Yes, we shot that over the summer in Albuquerque. And definitely, I like Roland Emmerich. He’s a wonderful director, and he obviously had a fire in his belly about making it good. The writers were meticulous and careful and thorough about the script, and I loved the other actors: Bill Pullman, Judd Hirsch, who I’d never worked with before or since [the original\u003cem> Independence Day\u003c/em>], so I relished that opportunity. And we have wonderful people joining the cast; I get kind of a romantic side story with another scientist played by Charlotte Gainsbourg — who I loved in \u003cem>Antichrist, Melacholia, Nymphomaniac\u003c/em> — so meeting her and working with her has just been fantastic.\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/LbduDRH2m2M'\n title='//www.youtube.com/embed/LbduDRH2m2M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Since you’ve been in so many alien movies, I’m curious if you ever think on how aliens often represent a fear of something or someone else — the way there’s a lot of Cold War subtext in alien movies from the ’50s, etc. Do you have any thoughts on what our aliens represent in 2016?\u003c/strong>\u003c/p>\n\u003cp>Wow, well, I didn’t have any metaphorical, cultural parallel in mind going in. I mean, I do think it’s interesting that in America we do have this whole issue about “the other” living amongst us, and the threat that poses in some people’s minds: that fear of the other, and having \u003cem>your\u003c/em> world, \u003cem>your\u003c/em> space invaded and taken over.\u003c/p>\n\u003cp>Whether it comes through in the movie or not, I think my character is having a kind of an epiphany around that issue. It’s been my job to stay on the case and prepare technology and weaponry, in the event that there’s another [alien invasion], so I’ve been preparing for another one this whole time. Who exactly the aliens were and what they were up to gets a little bit clearer — it’s not just “Gee, I think they’re after our resources, they want us to die.” The first one, it was vague but malevolent, of course, which allows us to be righteous when we fight them, to feel like we’re the good guys.\u003c/p>\n\u003cfigure id=\"attachment_11222233\" class=\"wp-caption alignright\" style=\"max-width: 391px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-11222233\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/goldblumjazz_0210_custom-4be61fa5c457deb6436224a6f646920f4f747dc8-s800-c85-400x266.jpg\" alt=\"Jeff Goldblum performing at the Rockwell club in LA.\" width=\"391\" height=\"260\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/goldblumjazz_0210_custom-4be61fa5c457deb6436224a6f646920f4f747dc8-s800-c85-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/goldblumjazz_0210_custom-4be61fa5c457deb6436224a6f646920f4f747dc8-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/goldblumjazz_0210_custom-4be61fa5c457deb6436224a6f646920f4f747dc8-s800-c85-768x511.jpg 768w\" sizes=\"(max-width: 391px) 100vw, 391px\">\u003cfigcaption class=\"wp-caption-text\">Jeff Goldblum performing at the Rockwell club in LA. \u003ccite>(Hayley Bartels / NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In this one, I think we come to think more about what they’re up to in other areas of the cosmos, that in fact it’s a \u003cem>visitation\u003c/em>, and how that might point to our own ignorance. In my character’s mind, at least, the concept of the “visiting other” is an opportunity to learn about our connection, where we all singularly may come from, how our stupidity is maybe shared by others, and how we have to solve it together. And the realization that conflict resolution, when it’s solved by violence, weaponry and war technology, is, well, a dead end.\u003c/p>\n\u003cp>That’s all relevant to things I’m thinking about. The movie may be more ambiguous, when you see it — if you want to see it as a pro-war movie, I suppose you could. The “other” is still very simply evil. And the stronger you are, the more you kill, the better.\u003c/p>\n\u003cp>\u003cstrong>Speaking of big things that happened this summer, you became a father.\u003c/strong>\u003c/p>\n\u003cp>Yes! Charlie, who was born on Independence Day. My wife Emilie and I met about four and a half years ago, and then late last year we got with child — she told me the day before our wedding, and it made the whole thing kind of glowy. The due date was July 4, and we said, you know, that’s just a rough marker — but it happened on that day. Luckily the producers built a little window into my schedule right around there, so I got to take a week off. He’s doing great, Emilie’s doing great, everybody’s healthy.\u003c/p>\n\u003cp>https://www.facebook.com/golblumofficial/photos/pb.1608187546123388.-2207520000.1451954904./1615867665355376/?type=3&theater\u003c/p>\n\u003cp>\u003cstrong>Well, mazel tov.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>[Here the conversation degenerates into a long Jewy discussion of how both our names were changed by our grandparents — his used to be Povartzik — and then turns to Yiddish in general.]\u003c/em>\u003c/p>\n\u003cp>…Speaking of, did you hear this latest nonsense [in last night’s debate] with Trump saying Hillary “got schlonged”? And then today he came out and said “no, no, that doesn’t mean anything vulgar, shame on the press.”\u003c/p>\n\u003cp>\u003cstrong>Hearing it used as a verb was the really confusing part for me.\u003c/strong>\u003c/p>\n\u003cp>Right! You don’t “get schlonged.”\u003c/p>\n\u003cp>\u003cstrong>Have you been following the election closely, then?\u003c/strong>\u003c/p>\n\u003cp>Yeah, too closely. I’m a little bit addicted. I just watched this clip twice this morning of Hilary at a town meeting yesterday, and she took a question from this adorable 10-year-old girl, who asked her “What do you think about bullying?” and this and that. And the way Hillary was listening to her, I found very moving already… and then her response was just so dear and genuine and smart.\u003c/p>\n\u003cp>That job is tough. Maybe impossible. But somebody’s gotta do it, and you certainly want the smartest person.\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/W67Is7NZOFY'\n title='//www.youtube.com/embed/W67Is7NZOFY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>We’ll wrap up with something from a long time ago: You brought up \u003cem>Annie Hall, \u003c/em>but your first film role was actually as “Freak #1” in the first \u003cem>Death Wish, \u003c/em>with Charles Bronson, in 1974. \u003c/strong>\u003c/p>\n\u003cp>Yep, I was 21. I’d just done \u003cem>Two Gentlemen of Verona\u003c/em> on Broadway, and my agent sent me out for a movie, and here I was auditioning with all these scuzzy-looking guys. And then I got the part, and here was the director, Michael Winner, who was kind of notorious, and I don’t remember what I was doing — I think I was supposed to run up the stairs, and I was kinda walking. Anyway [Winner] yells in front of everyone, “Goldblum! Start acting NOW!”\u003c/p>\n\u003cp>It sort of shook me; I’d been studying with \u003ca href=\"http://www.pbs.org/wnet/americanmasters/sanford-meisner-about-sanford-meisner/660/\" target=\"_blank\" rel=\"noopener\">Sandy Meisner\u003c/a>, and [Winner’s] was not exactly the most nourishing kind of direction. But after a couple of decades, \u003ca href=\"http://www.playhousewest.com/\" target=\"_blank\" rel=\"noopener\">I started to teach\u003c/a>, and I thought about that fairly often — how he wasn’t wrong. It’s actually kind of a nice way to look at it. Start acting now\u003cem>. \u003c/em>Start acting\u003cem> now. \u003c/em>\u003c/p>\n\u003cp>\u003cem>Jeff Goldblum and the Mildred Snitzer Orchestra perform at the Marines Memorial Theater in San Francisco on Saturday, Jan. 9 at 7pm. $50; \u003ca href=\"http://www.sfsketchfest.com\" target=\"_blank\" rel=\"noopener\">sfsketchfest.com.\u003c/a>\u003c/em>\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>Note: Interview edited for length and clarity (and for Goldblum’s tendency to interview his interviewer).\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11220123/the-gold-standard-jeff-goldblum-talks-fatherhood-jazz-and-aliens-of-course",
"authors": [
"7237"
],
"categories": [
"arts_74",
"arts_69"
],
"tags": [
"arts_549",
"arts_1118",
"arts_596"
],
"featImg": "arts_11222232",
"label": "arts"
},
"arts_11206703": {
"type": "posts",
"id": "arts_11206703",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11206703",
"score": null,
"sort": [
1451577659000
]
},
"guestAuthors": [],
"slug": "seeing-double-bob-mondello-picks-2015s-best-movies-2-at-a-time",
"title": "Seeing Double: Bob Mondello Picks 2015's Best Movies, 2 at a Time",
"publishDate": 1451577659,
"format": "standard",
"headTitle": "Seeing Double: Bob Mondello Picks 2015’s Best Movies, 2 at a Time | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>I’m not sure why this happened, but as I assembled this year’s best-of list, I kept seeing matched sets: Two terrific desert movies, two swoon-inducing romances, two single-minded crusades by men who think they’re already dead, and even a pair of riveting mortgage crisis flicks (and what are the chances of that?). The doubleness is a good organizing principle, since my 10-best list nearly always turns into a 20-best — so here goes:\u003c/p>\n\u003cp>\u003cstrong>Two Desert Films: ‘\u003ca href=\"http://www.npr.org/2015/05/15/407071550/mad-max-reboot-is-a-gorgeous-scrap-metal-demolition-derby\" target=\"_blank\" rel=\"noopener\">Mad Max: Fury Road\u003c/a>‘ And ‘\u003ca href=\"http://www.npr.org/2015/10/01/444735099/ridley-scott-finds-an-optimistic-space-in-the-martian\" target=\"_blank\" rel=\"noopener\">The Martian\u003c/a>‘\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11206825\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/madmax-martians-800x307.jpg\" alt=\"(Left) Nicholas Hoult, Courtney Eaton, Riley Keough and Charlize Theron in 'Mad Max: Fury Road.' (Right) Matt Damon in 'The Martian.'\" width=\"800\" height=\"307\" class=\"size-medium wp-image-11206825\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/madmax-martians.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/madmax-martians-400x154.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/madmax-martians-768x295.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Left) Nicholas Hoult, Courtney Eaton, Riley Keough and Charlize Theron in ‘Mad Max: Fury Road.’ (Right) Matt Damon in ‘The Martian.’ \u003ccite>(Left: Jasin Boland/Warner Bros. Right: Aidan Monaghan/20th Century Fox)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Mad Max: Fury Road\u003c/em> is a gorgeous, scrap-metal demolition derby — a popcorn picture with a surprising feminist twist: Tom Hardy’s Max is more or less a sidekick to Charlize Theron’s Furiosa.\u003c/p>\n\u003cp>Ridley Scott, meanwhile, makes conquering a desert on another planet downright cerebral. \u003cem>The Martian\u003c/em> is about an astronaut accidentally left for dead by a crew that won’t be able to get back to Mars for four years.\u003c/p>\n\u003cp>\u003cstrong>Two Beautifully Realized Love Stories: ‘\u003ca href=\"http://www.npr.org/2015/11/19/456507326/women-in-love-in-the-ravishing-carol\" target=\"_blank\" rel=\"noopener\">Carol\u003c/a>‘ And ‘\u003ca href=\"http://www.npr.org/2015/12/30/460946174/anomalisa-is-a-charlie-kaufman-movie-featuring-puppets-yes-its-weird?utm_medium=RSS&utm_campaign=moviereviews\" target=\"_blank\" rel=\"noopener\">Anomalisa\u003c/a>‘\u003c/strong>\u003cem>\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Anomalisa\u003c/em> is about a motivational speaker who is convinced that everyone is the same, until he meets Lisa, who’s an anomaly. This extraordinary film is the latest weirdness from Charlie Kaufman, who gave us \u003cem>Eternal Sunshine of the Spotless Mind\u003c/em>. This time, his leads are puppets — figures in miniature with emotions writ grand.\u003c/p>\n\u003cp>\u003cem>Carol\u003c/em> is another love story uncommonly told. Director Todd Haynes has adapted a Patricia Highsmith novel about a love that dared not speak its name in the 1950s — a love between two women. Lush and sumptuous, \u003cem>Carol\u003c/em> is forever having its camera peer at these women through glass, mirrors and windshields, reflecting the way ’50s society \u003cem>saw\u003c/em> homosexuals while keeping them at a slight remove.\u003c/p>\n\u003cp>\u003cstrong>Two Cinematic Head Trips: ‘\u003ca href=\"http://www.npr.org/2015/06/18/414701069/from-the-inside-out-a-lively-look-inside-a-young-mind\" target=\"_blank\" rel=\"noopener\">Inside Out\u003c/a>‘ And ‘\u003ca href=\"http://www.npr.org/2015/12/23/460813004/an-icy-chill-from-the-past-threatens-a-steady-flame-in-45-years\" target=\"_blank\" rel=\"noopener\">45 Years\u003c/a>‘\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11206827\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/insideout-45years-800x266.jpg\" alt=\"(Left) Amy Poehler as Joy in 'Inside Out.' (Right) Charlotte Rampling in '45 Years.'\" width=\"800\" height=\"266\" class=\"size-medium wp-image-11206827\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/insideout-45years.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/insideout-45years-400x133.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/insideout-45years-768x255.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Left) Amy Poehler as Joy in ‘Inside Out.’ (Right) Charlotte Rampling in ’45 Years.’ \u003ccite>(Left: Pixar/Disney. Right: Courtesy of Agatha A. Nitecka/IFC Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pixar’s \u003cem>Inside Out\u003c/em> takes audiences literally inside the head of an 11-year-old girl by giving personalities to her emotions. And while \u003cem>Inside Out\u003c/em> expresses everything its heroine is thinking, the tragedy \u003cem>45 Years\u003c/em> gives us Charlotte Rampling as a wife who keeps her feelings bottled up. So much so, that when a revelation shakes her marriage, the film could almost be called “outside in.”\u003c/p>\n\u003cp>\u003cstrong>Two Brutal Historical Epics: ‘\u003ca href=\"http://www.npr.org/2015/12/18/460285985/shallow-focus-creates-depth-of-feeling-in-son-of-saul\" target=\"_blank\" rel=\"noopener\">Son Of Saul\u003c/a>‘ And ‘\u003ca href=\"http://www.npr.org/2015/12/25/460946566/revenant-reveals-a-breathtaking-punishing-saga-of-survival-and-revenge\" target=\"_blank\" rel=\"noopener\">The Revenant\u003c/a>‘\u003c/strong>\u003c/p>\n\u003cp>Both of these films feature men who risk everything because they figure they’re already dead: \u003cem>Son of Saul\u003c/em>‘s Saul because he’s in Auschwitz, and \u003cem>The Revenant\u003c/em>‘s 1820s fur trapper because he was left for dead by a man who also killed his son. Both of these films left me wrung-out.\u003c/p>\n\u003cp>\u003cstrong>Two Mortgage Crisis Films: ‘\u003ca href=\"http://www.npr.org/2015/09/25/443423954/99-homes-a-morality-play-built-on-foreclosures-and-evictions\" target=\"_blank\" rel=\"noopener\">99 Homes\u003c/a>‘ And ‘\u003ca href=\"http://www.npr.org/2015/12/10/459119984/the-guys-who-put-monster-bets-on-bad-outcomes-in-the-big-short\" target=\"_blank\" rel=\"noopener\">The Big Short\u003c/a>‘\u003c/strong>\u003c/p>\n\u003cp>Both of these films left me angry. I’d suggest you watch \u003cem>99 Homes\u003c/em> first. It’ll have you seething about predatory real estate brokers. Then, once you’ve become acquainted with the ordinary folks who were the housing bubble’s big losers, check out the guys who saw the crash coming and figured out how to profit from it in \u003cem>The Big Short.\u003c/em> It plays like a comic heist flick, but this heist had real-world consequences.\u003c/p>\n\u003cp>\u003cstrong>Two Eye-Openers From The Muslim World: ‘\u003ca href=\"http://www.npr.org/2015/01/29/381876506/timbuktu-stories-from-a-city-held-then-freed\" target=\"_blank\" rel=\"noopener\">Timbuktu\u003c/a>‘ And ‘\u003ca href=\"http://www.npr.org/2015/10/02/445048946/riding-rings-around-irans-censors-in-jafar-panahis-taxi\" target=\"_blank\" rel=\"noopener\">Taxi\u003c/a>‘\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11206823\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/timbuktu-taxi-800x258.jpg\" alt=\"(Left) Mehdi A.G. Mohamed and Layla Walet Mohamed in 'Timbuktu.' (Right) Director Jafar Panahi in 'Taxi'\" width=\"800\" height=\"258\" class=\"size-medium wp-image-11206823\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/timbuktu-taxi.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/timbuktu-taxi-400x129.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/timbuktu-taxi-768x248.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Left) Mehdi A.G. Mohamed and Layla Walet Mohamed in ‘Timbuktu.’ (Right) Director Jafar Panahi in ‘Taxi’ \u003ccite>( Left: Cohen Media Group. Right: Kino Lorber)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Timbuktu\u003c/em> chronicles the confusion in Mali when jihadists issue conflicting edicts about worship and culture. They ban music, for instance, which leads to this line in the subtitles: “They are singing in praise of God and the prophet. Should I arrest them?”\u003c/p>\n\u003cp>The Iranian film \u003cem>Taxi\u003c/em> finds gentle comedy in a different set of contradictions: Internationally celebrated director Jafar Panahi is banned by his government from operating a camera, writing a script or directing a film. So what does he do? He drives a taxi with a camera on its dashboard, and lets Tehran’s dramas come to him. \u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Two Films That Exalt Journalists: ‘\u003ca href=\"http://www.npr.org/2015/11/06/454988021/all-star-spotlight-cast-creates-a-riveting-movie-about-investigative-journalism\" target=\"_blank\" rel=\"noopener\">Spotlight\u003c/a>‘ And ‘\u003ca href=\"http://www.npr.org/2015/03/27/395800345/photography-misery-and-beauty-in-the-salt-of-the-earth\" target=\"_blank\" rel=\"noopener\">The Salt Of The Earth\u003c/a>‘\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Spotlight\u003c/em> is a sharply made newspaper procedural about a Pulitzer Prize-winning \u003cem>Boston Globe\u003c/em> investigation that documented not just sexual abuse by priests, but a cover-up by the Catholic Church.\u003c/p>\n\u003cp>The documentary \u003cem>The Salt of the Earth\u003c/em> also turns a spotlight on horrors — this one through the exquisite black-and-white images created by photojournalist Sebastiao Salgado. Salgado makes the world face up to landscapes of famine, drought and war by finding humanity in scenes of despair.\u003c/p>\n\u003cp>\u003cstrong>Two Feminine Perspectives On Sex And Maturity: ‘\u003ca href=\"http://www.npr.org/2015/08/13/431997207/a-diary-unlocked-a-teenage-coming-of-age-story-put-on-film\" target=\"_blank\" rel=\"noopener\">Diary Of A Teenage Girl\u003c/a>‘ And ‘\u003ca href=\"http://www.npr.org/sections/monkeysee/2015/07/17/423828933/i-really-like-you-amy-schumer-makes-a-fine-trainwreck\" target=\"_blank\" rel=\"noopener\">Trainwreck\u003c/a>‘\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11206824\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/teengirl-trainwreck-800x285.jpg\" alt=\"(Left) Bel Powley in 'The Diary of a Teenage Girl.' (Right) Amy Schumer and Bill Hader in 'Trainwreck.'\" width=\"800\" height=\"285\" class=\"size-medium wp-image-11206824\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/teengirl-trainwreck.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/teengirl-trainwreck-400x143.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/teengirl-trainwreck-768x274.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Left) Bel Powley in ‘The Diary of a Teenage Girl.’ (Right) Amy Schumer and Bill Hader in ‘Trainwreck.’ \u003ccite>(Left: Sony Pictures. Right: Universal Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Women have been having an extraordinary year in front of the camera, so it’s fitting that in two of the year’s best films they also excelled \u003cem>behind\u003c/em> the camera. Both Phoebe Gloeckner, who penned the autobiographical graphic novel on which \u003cem>The Diary of a Teenage Girl\u003c/em> is based, and director Marielle Heller contributed to giving that film a distinctly feminine teen outlook. And Amy Schumer’s script for her riotous comedy, \u003cem>Trainwreck,\u003c/em> about a woman who realizes she’s been undervaluing both her feelings and herself, gave her hilarious performance authority as well as laughs.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And now that I’m tallying, let me mention some remarkable films that stood alone: \u003ca href=\"http://www.npr.org/2015/07/11/421452904/a-big-hearted-tangerine-vision-of-l-a-s-crime-riddled-streets\" target=\"_blank\" rel=\"noopener\">Tangerine\u003c/a>, a brash story about trans prostitutes shot on iPhone 5s; \u003ca href=\"http://www.npr.org/2015/06/17/414674331/the-tribe-says-a-lot-about-violence-sex-and-love-without-a-single-word\" target=\"_blank\" rel=\"noopener\">The Tribe\u003c/a>, a wordless portrait of deaf juvenile delinquents; \u003ca href=\"http://www.npr.org/2015/12/16/460000968/star-wars-the-force-of-nostalgia-is-strong-with-this-one\" target=\"_blank\" rel=\"noopener\">Star Wars: The Force Awakens\u003c/a>, a little indie flick you might have heard of; and \u003ca href=\"http://www.npr.org/2015/06/04/411309872/a-simplified-brian-wilson-in-love-and-mercy\" target=\"_blank\" rel=\"noopener\">Love and Mercy\u003c/a>, the story of Beach Boy Brian Wilson, who struggled mightily with mental illness and played extravagantly with sound. I think about sound all day in my job, and \u003cem>Love and Mercy\u003c/em> made me reconsider everything I thought I knew. Not bad for the 20th film in a year full of good vibrations. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Seeing+Double%3A+Bob+Mondello+Picks+2015%27s+Best+Movies%2C+2+At+A+Time&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "When NPR's movie critic sat down to write this year's best-of list, he kept seeing matched sets: two cinematic head trips, two brutal historical epics and even two riveting mortgage crisis flicks.",
"status": "publish",
"parent": 0,
"modified": 1726763721,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 24,
"wordCount": 1134
},
"headData": {
"title": "Seeing Double: Bob Mondello Picks 2015's Best Movies, 2 at a Time | KQED",
"description": "When NPR's movie critic sat down to write this year's best-of list, he kept seeing matched sets: two cinematic head trips, two brutal historical epics and even two riveting mortgage crisis flicks.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Seeing Double: Bob Mondello Picks 2015's Best Movies, 2 at a Time",
"datePublished": "2015-12-31T08:00:59-08:00",
"dateModified": "2024-09-19T09:35:21-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Bob Mondello",
"nprImageAgency": "20th Century Fox/Pixar/20th Century Fox/Cohen Media Group/Warner Bros.",
"nprStoryId": "460844013",
"nprApiLink": "http://api.npr.org/query?id=460844013&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "http://www.npr.org/2015/12/30/460844013/seeing-double-bob-mondello-picks-2015s-best-movies-two-at-a-time?ft=nprml&f=460844013",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 30 Dec 2015 09:14:00 -0500",
"nprStoryDate": "Wed, 30 Dec 2015 07:00:00 -0500",
"nprLastModifiedDate": "Wed, 30 Dec 2015 09:14:08 -0500",
"path": "/arts/11206703/seeing-double-bob-mondello-picks-2015s-best-movies-2-at-a-time",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I’m not sure why this happened, but as I assembled this year’s best-of list, I kept seeing matched sets: Two terrific desert movies, two swoon-inducing romances, two single-minded crusades by men who think they’re already dead, and even a pair of riveting mortgage crisis flicks (and what are the chances of that?). The doubleness is a good organizing principle, since my 10-best list nearly always turns into a 20-best — so here goes:\u003c/p>\n\u003cp>\u003cstrong>Two Desert Films: ‘\u003ca href=\"http://www.npr.org/2015/05/15/407071550/mad-max-reboot-is-a-gorgeous-scrap-metal-demolition-derby\" target=\"_blank\" rel=\"noopener\">Mad Max: Fury Road\u003c/a>‘ And ‘\u003ca href=\"http://www.npr.org/2015/10/01/444735099/ridley-scott-finds-an-optimistic-space-in-the-martian\" target=\"_blank\" rel=\"noopener\">The Martian\u003c/a>‘\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11206825\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/madmax-martians-800x307.jpg\" alt=\"(Left) Nicholas Hoult, Courtney Eaton, Riley Keough and Charlize Theron in 'Mad Max: Fury Road.' (Right) Matt Damon in 'The Martian.'\" width=\"800\" height=\"307\" class=\"size-medium wp-image-11206825\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/madmax-martians.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/madmax-martians-400x154.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/madmax-martians-768x295.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Left) Nicholas Hoult, Courtney Eaton, Riley Keough and Charlize Theron in ‘Mad Max: Fury Road.’ (Right) Matt Damon in ‘The Martian.’ \u003ccite>(Left: Jasin Boland/Warner Bros. Right: Aidan Monaghan/20th Century Fox)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Mad Max: Fury Road\u003c/em> is a gorgeous, scrap-metal demolition derby — a popcorn picture with a surprising feminist twist: Tom Hardy’s Max is more or less a sidekick to Charlize Theron’s Furiosa.\u003c/p>\n\u003cp>Ridley Scott, meanwhile, makes conquering a desert on another planet downright cerebral. \u003cem>The Martian\u003c/em> is about an astronaut accidentally left for dead by a crew that won’t be able to get back to Mars for four years.\u003c/p>\n\u003cp>\u003cstrong>Two Beautifully Realized Love Stories: ‘\u003ca href=\"http://www.npr.org/2015/11/19/456507326/women-in-love-in-the-ravishing-carol\" target=\"_blank\" rel=\"noopener\">Carol\u003c/a>‘ And ‘\u003ca href=\"http://www.npr.org/2015/12/30/460946174/anomalisa-is-a-charlie-kaufman-movie-featuring-puppets-yes-its-weird?utm_medium=RSS&utm_campaign=moviereviews\" target=\"_blank\" rel=\"noopener\">Anomalisa\u003c/a>‘\u003c/strong>\u003cem>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Anomalisa\u003c/em> is about a motivational speaker who is convinced that everyone is the same, until he meets Lisa, who’s an anomaly. This extraordinary film is the latest weirdness from Charlie Kaufman, who gave us \u003cem>Eternal Sunshine of the Spotless Mind\u003c/em>. This time, his leads are puppets — figures in miniature with emotions writ grand.\u003c/p>\n\u003cp>\u003cem>Carol\u003c/em> is another love story uncommonly told. Director Todd Haynes has adapted a Patricia Highsmith novel about a love that dared not speak its name in the 1950s — a love between two women. Lush and sumptuous, \u003cem>Carol\u003c/em> is forever having its camera peer at these women through glass, mirrors and windshields, reflecting the way ’50s society \u003cem>saw\u003c/em> homosexuals while keeping them at a slight remove.\u003c/p>\n\u003cp>\u003cstrong>Two Cinematic Head Trips: ‘\u003ca href=\"http://www.npr.org/2015/06/18/414701069/from-the-inside-out-a-lively-look-inside-a-young-mind\" target=\"_blank\" rel=\"noopener\">Inside Out\u003c/a>‘ And ‘\u003ca href=\"http://www.npr.org/2015/12/23/460813004/an-icy-chill-from-the-past-threatens-a-steady-flame-in-45-years\" target=\"_blank\" rel=\"noopener\">45 Years\u003c/a>‘\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11206827\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/insideout-45years-800x266.jpg\" alt=\"(Left) Amy Poehler as Joy in 'Inside Out.' (Right) Charlotte Rampling in '45 Years.'\" width=\"800\" height=\"266\" class=\"size-medium wp-image-11206827\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/insideout-45years.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/insideout-45years-400x133.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/insideout-45years-768x255.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Left) Amy Poehler as Joy in ‘Inside Out.’ (Right) Charlotte Rampling in ’45 Years.’ \u003ccite>(Left: Pixar/Disney. Right: Courtesy of Agatha A. Nitecka/IFC Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pixar’s \u003cem>Inside Out\u003c/em> takes audiences literally inside the head of an 11-year-old girl by giving personalities to her emotions. And while \u003cem>Inside Out\u003c/em> expresses everything its heroine is thinking, the tragedy \u003cem>45 Years\u003c/em> gives us Charlotte Rampling as a wife who keeps her feelings bottled up. So much so, that when a revelation shakes her marriage, the film could almost be called “outside in.”\u003c/p>\n\u003cp>\u003cstrong>Two Brutal Historical Epics: ‘\u003ca href=\"http://www.npr.org/2015/12/18/460285985/shallow-focus-creates-depth-of-feeling-in-son-of-saul\" target=\"_blank\" rel=\"noopener\">Son Of Saul\u003c/a>‘ And ‘\u003ca href=\"http://www.npr.org/2015/12/25/460946566/revenant-reveals-a-breathtaking-punishing-saga-of-survival-and-revenge\" target=\"_blank\" rel=\"noopener\">The Revenant\u003c/a>‘\u003c/strong>\u003c/p>\n\u003cp>Both of these films feature men who risk everything because they figure they’re already dead: \u003cem>Son of Saul\u003c/em>‘s Saul because he’s in Auschwitz, and \u003cem>The Revenant\u003c/em>‘s 1820s fur trapper because he was left for dead by a man who also killed his son. Both of these films left me wrung-out.\u003c/p>\n\u003cp>\u003cstrong>Two Mortgage Crisis Films: ‘\u003ca href=\"http://www.npr.org/2015/09/25/443423954/99-homes-a-morality-play-built-on-foreclosures-and-evictions\" target=\"_blank\" rel=\"noopener\">99 Homes\u003c/a>‘ And ‘\u003ca href=\"http://www.npr.org/2015/12/10/459119984/the-guys-who-put-monster-bets-on-bad-outcomes-in-the-big-short\" target=\"_blank\" rel=\"noopener\">The Big Short\u003c/a>‘\u003c/strong>\u003c/p>\n\u003cp>Both of these films left me angry. I’d suggest you watch \u003cem>99 Homes\u003c/em> first. It’ll have you seething about predatory real estate brokers. Then, once you’ve become acquainted with the ordinary folks who were the housing bubble’s big losers, check out the guys who saw the crash coming and figured out how to profit from it in \u003cem>The Big Short.\u003c/em> It plays like a comic heist flick, but this heist had real-world consequences.\u003c/p>\n\u003cp>\u003cstrong>Two Eye-Openers From The Muslim World: ‘\u003ca href=\"http://www.npr.org/2015/01/29/381876506/timbuktu-stories-from-a-city-held-then-freed\" target=\"_blank\" rel=\"noopener\">Timbuktu\u003c/a>‘ And ‘\u003ca href=\"http://www.npr.org/2015/10/02/445048946/riding-rings-around-irans-censors-in-jafar-panahis-taxi\" target=\"_blank\" rel=\"noopener\">Taxi\u003c/a>‘\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11206823\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/timbuktu-taxi-800x258.jpg\" alt=\"(Left) Mehdi A.G. Mohamed and Layla Walet Mohamed in 'Timbuktu.' (Right) Director Jafar Panahi in 'Taxi'\" width=\"800\" height=\"258\" class=\"size-medium wp-image-11206823\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/timbuktu-taxi.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/timbuktu-taxi-400x129.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/timbuktu-taxi-768x248.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Left) Mehdi A.G. Mohamed and Layla Walet Mohamed in ‘Timbuktu.’ (Right) Director Jafar Panahi in ‘Taxi’ \u003ccite>( Left: Cohen Media Group. Right: Kino Lorber)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Timbuktu\u003c/em> chronicles the confusion in Mali when jihadists issue conflicting edicts about worship and culture. They ban music, for instance, which leads to this line in the subtitles: “They are singing in praise of God and the prophet. Should I arrest them?”\u003c/p>\n\u003cp>The Iranian film \u003cem>Taxi\u003c/em> finds gentle comedy in a different set of contradictions: Internationally celebrated director Jafar Panahi is banned by his government from operating a camera, writing a script or directing a film. So what does he do? He drives a taxi with a camera on its dashboard, and lets Tehran’s dramas come to him. \u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Two Films That Exalt Journalists: ‘\u003ca href=\"http://www.npr.org/2015/11/06/454988021/all-star-spotlight-cast-creates-a-riveting-movie-about-investigative-journalism\" target=\"_blank\" rel=\"noopener\">Spotlight\u003c/a>‘ And ‘\u003ca href=\"http://www.npr.org/2015/03/27/395800345/photography-misery-and-beauty-in-the-salt-of-the-earth\" target=\"_blank\" rel=\"noopener\">The Salt Of The Earth\u003c/a>‘\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Spotlight\u003c/em> is a sharply made newspaper procedural about a Pulitzer Prize-winning \u003cem>Boston Globe\u003c/em> investigation that documented not just sexual abuse by priests, but a cover-up by the Catholic Church.\u003c/p>\n\u003cp>The documentary \u003cem>The Salt of the Earth\u003c/em> also turns a spotlight on horrors — this one through the exquisite black-and-white images created by photojournalist Sebastiao Salgado. Salgado makes the world face up to landscapes of famine, drought and war by finding humanity in scenes of despair.\u003c/p>\n\u003cp>\u003cstrong>Two Feminine Perspectives On Sex And Maturity: ‘\u003ca href=\"http://www.npr.org/2015/08/13/431997207/a-diary-unlocked-a-teenage-coming-of-age-story-put-on-film\" target=\"_blank\" rel=\"noopener\">Diary Of A Teenage Girl\u003c/a>‘ And ‘\u003ca href=\"http://www.npr.org/sections/monkeysee/2015/07/17/423828933/i-really-like-you-amy-schumer-makes-a-fine-trainwreck\" target=\"_blank\" rel=\"noopener\">Trainwreck\u003c/a>‘\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11206824\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/teengirl-trainwreck-800x285.jpg\" alt=\"(Left) Bel Powley in 'The Diary of a Teenage Girl.' (Right) Amy Schumer and Bill Hader in 'Trainwreck.'\" width=\"800\" height=\"285\" class=\"size-medium wp-image-11206824\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/teengirl-trainwreck.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/teengirl-trainwreck-400x143.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/teengirl-trainwreck-768x274.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Left) Bel Powley in ‘The Diary of a Teenage Girl.’ (Right) Amy Schumer and Bill Hader in ‘Trainwreck.’ \u003ccite>(Left: Sony Pictures. Right: Universal Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Women have been having an extraordinary year in front of the camera, so it’s fitting that in two of the year’s best films they also excelled \u003cem>behind\u003c/em> the camera. Both Phoebe Gloeckner, who penned the autobiographical graphic novel on which \u003cem>The Diary of a Teenage Girl\u003c/em> is based, and director Marielle Heller contributed to giving that film a distinctly feminine teen outlook. And Amy Schumer’s script for her riotous comedy, \u003cem>Trainwreck,\u003c/em> about a woman who realizes she’s been undervaluing both her feelings and herself, gave her hilarious performance authority as well as laughs.\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>And now that I’m tallying, let me mention some remarkable films that stood alone: \u003ca href=\"http://www.npr.org/2015/07/11/421452904/a-big-hearted-tangerine-vision-of-l-a-s-crime-riddled-streets\" target=\"_blank\" rel=\"noopener\">Tangerine\u003c/a>, a brash story about trans prostitutes shot on iPhone 5s; \u003ca href=\"http://www.npr.org/2015/06/17/414674331/the-tribe-says-a-lot-about-violence-sex-and-love-without-a-single-word\" target=\"_blank\" rel=\"noopener\">The Tribe\u003c/a>, a wordless portrait of deaf juvenile delinquents; \u003ca href=\"http://www.npr.org/2015/12/16/460000968/star-wars-the-force-of-nostalgia-is-strong-with-this-one\" target=\"_blank\" rel=\"noopener\">Star Wars: The Force Awakens\u003c/a>, a little indie flick you might have heard of; and \u003ca href=\"http://www.npr.org/2015/06/04/411309872/a-simplified-brian-wilson-in-love-and-mercy\" target=\"_blank\" rel=\"noopener\">Love and Mercy\u003c/a>, the story of Beach Boy Brian Wilson, who struggled mightily with mental illness and played extravagantly with sound. I think about sound all day in my job, and \u003cem>Love and Mercy\u003c/em> made me reconsider everything I thought I knew. Not bad for the 20th film in a year full of good vibrations. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Seeing+Double%3A+Bob+Mondello+Picks+2015%27s+Best+Movies%2C+2+At+A+Time&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11206703/seeing-double-bob-mondello-picks-2015s-best-movies-2-at-a-time",
"authors": [
"byline_arts_11206703"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_1006"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11206704",
"label": "arts_137"
},
"arts_11186905": {
"type": "posts",
"id": "arts_11186905",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11186905",
"score": null,
"sort": [
1451505600000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1451505600,
"format": "standard",
"title": "Five to Watch: Brave New Year",
"headTitle": "Five to Watch: Brave New Year | KQED",
"content": "\u003cp>Leap year. Election year. Even-numbered year. (Let’s go, Giants!) What familiar or fresh thrills and chills will 2016 bring? It has to be a better year for new films than the largely uninspiring 12 months we’ve just endured. But regardless of the state of world cinema, Bay Area filmgoers can count on a healthy diet of nourishing retrospectives, nutrient-rich revivals and out-of-the-way discoveries from our stalwart band of dedicated programmers. Let’s see what they’ve got for us in the way of hangover restoratives and courage tonics this month. \u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11204169\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Court400-400x168.jpg\" alt=\"Still from 'Court,' 2015.\" width=\"400\" height=\"168\" class=\"size-thumbnail wp-image-11204169\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Court,’ 2015. \u003ccite>(Courtesy: Zeitgeist Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"http://rafaelfilm.cafilm.org/for-your-consideration-2016/\" target=\"_blank\" rel=\"noopener\">For Your Consideration: A Selection of Oscar Submissions from Around the World\u003c/a>\u003c/h3>\n\u003ch5>Jan. 1-7 at the Smith Rafael Film Center, San Rafael\u003c/h5>\n\u003cp>The Palm Springs International Film Festival (Jan. 1-11) strives to show as many of the 81 submissions in the Foreign Language Film category of the Academy Awards competition as it can. If you can’t make the hike to Bob Hope’s burg — let alone take a trek abroad — spend the week in Marin County. Beginning with Hou-Hsaio Hsien’s \u003cem>The Assassin\u003c/em> (Taiwan), the Smith Rafael Film Center presents no fewer than 15 of the official entries between Jan. 1 and 7. The Rafael seeks out films that didn’t or won’t get a U.S. theatrical release, such as the galvanizing abuse-of-justice saga \u003cem>Court\u003c/em> (Jan. 3) from India and the Mayan family drama \u003cem>Ixcanul\u003c/em> (Jan. 7) from Guatemala. If your New Year’s resolutions include expanding your worldview, start here.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11204176\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/ano400-400x167.jpg\" alt=\"Still from 'Anomalisa,' 2015.\" width=\"400\" height=\"167\" class=\"size-thumbnail wp-image-11204176\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Anomalisa,’ 2015. \u003ccite>(Courtesy: Paramount Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"http://www.landmarktheatres.com/san-francisco#upcoming\" target=\"_blank\" rel=\"noopener\">Charlie Kaufman Retrospective\u003c/a>\u003c/h3>\n\u003ch5>Jan. 4-8, Embarcadero Center Cinema, San Francisco\u003c/h5>\n\u003cp>The remarkable stop-motion animated film \u003cem>Anomalisa\u003c/em> is a collaboration between director Duke Johnson and the uniquely skewed and generally depressed Charlie Kaufman, who adapted his play into the screenplay. The movie opens Jan. 8 at the Embarcadero Center Cinema and spotlights the extraordinary voice talents of David Thewlis, Jennifer Jason Leigh and Tom Noonan. Leading up to its release, and with the presumed goal of putting us in the proper mood (funk?), the ECC revives Kaufman’s previous films in a series of 1pm weekday matinees: \u003cem>Being John Malkovich\u003c/em> on Monday, \u003cem>Adaptation\u003c/em> on Tuesday, \u003cem>Eternal Sunshine Of The Spotless Mind\u003c/em> on Wednesday and \u003cem>Synecdoche, New York\u003c/em> on Thursday. Am I actually recommending you launch your year by submerging in a Kaufmanesque pool of failure, inertia and self-pity? \u003ci>(Yes, yes he is. — Ed.)\u003c/i>\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11204165\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/BerlinSymphony400-400x225.jpg\" alt=\"Still from 'Berlin: Symphony of a Great City,' 1927.\" width=\"400\" height=\"225\" class=\"size-thumbnail wp-image-11204165\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Berlin, Symphony of a Great City,’ 1927. \u003ccite>(Courtesy: Berlin & Beyond)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"http://www.goethe.de/ins/us/saf/prj/bby/enindex.htm\" target=\"_blank\" rel=\"noopener\">20th Berlin & Beyond Film Festival\u003c/a>\u003c/h3>\n\u003ch5>Jan. 14-20, Castro Theatre and Goethe-Institut, San Francisco\u003c/h5>\n\u003cp>San Francisco’s rainy season and German films always struck me as the perfect match. Black-clad melancholy, postwar guilt and angsty affluence — which, admittedly, don’t encompass either the depth of the Teutonic soul or the breadth of the Berlin & Beyond lineup — are best-suited to a winter palette. Speaking of black and white and gray, ink in Jan. 17 for the restoration of Walther Ruttman’s stunning 1927 day-in-the-life portrait, \u003cem>Berlin, Symphony of a Great City\u003c/em>. Brilliantly shot by the pioneering cinematographer Karl Freund (whose remarkable career included \u003cem>The Last Laugh\u003c/em>, \u003cem>Metropolis\u003c/em>, \u003cem>Key Largo\u003c/em> and \u003cem>I Love Lucy\u003c/em>), the silent classic is accompanied by the Berlin electronic and acoustic trio ALP making their U.S. debut. The festival runs Jan. 14-20, with actor Tom Schilling on hand opening night for the computer thriller \u003cem>Who Am I\u003c/em> and sticking around for a special screening of his altogether wonderful 2012 film, \u003cem>A Coffee in Berlin\u003c/em>.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11204166\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/dumbo400-400x305.jpg\" alt=\"'Dumbo' poster, 1941.\" width=\"400\" height=\"305\" class=\"size-thumbnail wp-image-11204166\">\u003cfigcaption class=\"wp-caption-text\">‘Dumbo’ poster, 1941. \u003ccite>(Courtesy: Paramount Theatre of the Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"http://www.paramounttheatre.com/film.html\" target=\"_blank\" rel=\"noopener\">Dumbo\u003c/a>\u003c/h3>\n\u003ch5>Jan. 15, Paramount Theatre of the Arts, Oakland\u003c/h5>\n\u003cp>Say what you will about Walt Disney, the man could recognize talent. Compelled to cut back after \u003cem>Pinocchio\u003c/em> and \u003cem>Fantasia\u003c/em> garnered disappointing returns at the box office, Disney entrusted his ace team of animators to deliver on a tight budget. They came through with \u003cem>Dumbo\u003c/em>, a charming and timeless musical about the trials and travails of a young elephant and his irreplaceable friend, Timothy the Mouse. (I’ll assume a more detailed synopsis is unnecessary.) The shimmering Paramount Theatre of the Arts in Oakland revives Uncle Walt’s 1941 fairy tale, pink elephants and all, on Jan. 15.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11204297\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Cats400-400x225.jpg\" alt=\"Goersch & Rob A Fella, 'Kratzbaum,' directed by Simon Glass.\" width=\"400\" height=\"225\" class=\"size-thumbnail wp-image-11204297\">\u003cfigcaption class=\"wp-caption-text\">Goersch & Rob A Fella, ‘Kratzbaum,’ directed by Simon Glass. \u003ccite>(Courtesy: Walker Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"http://www.ybca.org/internet-cat-video-festival\" target=\"_blank\" rel=\"noopener\">Internet Cat Video Festival\u003c/a>\u003c/h3>\n\u003ch5>Jan. 21-24, Yerba Buena Center for the Arts, San Francisco\u003c/h5>\n\u003cp>At the Roxie in 2014, ace local programmer Mike Keegan (now creative manager of the Alamo Drafthouse at the New Mission) scored an unlikely hit with the First Annual San Francisco Intergalactic Film + Video Feline Festival for Humans. The SFIFVFFH was so successful, in fact, that the program toured independent theaters around the country. Yerba Buena Center For the Arts jumps gracefully into the fur-and-purr sweepstakes with a 90-minute buffet of Vine videos, mini-docs and short dramas (!) compiled by Henri Le Chat Noir mastermind Will Braden and starring our secret masters. Screening seven times between Jan. 21 and 24, the frisky and playful ICVF just might fortify us for whatever lies ahead in 2016.\u003c/p>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 900,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 8
},
"modified": 1705045564,
"excerpt": "What do our local film programmers have in the way of hangover restoratives and courage tonics?",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "What do our local film programmers have in the way of hangover restoratives and courage tonics?",
"title": "Five to Watch: Brave New Year | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Five to Watch: Brave New Year",
"datePublished": "2015-12-30T12:00:00-08:00",
"dateModified": "2024-01-11T23:46:04-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "five-to-watch-brave-new-year",
"status": "publish",
"sticky": false,
"path": "/arts/11186905/five-to-watch-brave-new-year",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Leap year. Election year. Even-numbered year. (Let’s go, Giants!) What familiar or fresh thrills and chills will 2016 bring? It has to be a better year for new films than the largely uninspiring 12 months we’ve just endured. But regardless of the state of world cinema, Bay Area filmgoers can count on a healthy diet of nourishing retrospectives, nutrient-rich revivals and out-of-the-way discoveries from our stalwart band of dedicated programmers. Let’s see what they’ve got for us in the way of hangover restoratives and courage tonics this month. \u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11204169\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Court400-400x168.jpg\" alt=\"Still from 'Court,' 2015.\" width=\"400\" height=\"168\" class=\"size-thumbnail wp-image-11204169\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Court,’ 2015. \u003ccite>(Courtesy: Zeitgeist Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"http://rafaelfilm.cafilm.org/for-your-consideration-2016/\" target=\"_blank\" rel=\"noopener\">For Your Consideration: A Selection of Oscar Submissions from Around the World\u003c/a>\u003c/h3>\n\u003ch5>Jan. 1-7 at the Smith Rafael Film Center, San Rafael\u003c/h5>\n\u003cp>The Palm Springs International Film Festival (Jan. 1-11) strives to show as many of the 81 submissions in the Foreign Language Film category of the Academy Awards competition as it can. If you can’t make the hike to Bob Hope’s burg — let alone take a trek abroad — spend the week in Marin County. Beginning with Hou-Hsaio Hsien’s \u003cem>The Assassin\u003c/em> (Taiwan), the Smith Rafael Film Center presents no fewer than 15 of the official entries between Jan. 1 and 7. The Rafael seeks out films that didn’t or won’t get a U.S. theatrical release, such as the galvanizing abuse-of-justice saga \u003cem>Court\u003c/em> (Jan. 3) from India and the Mayan family drama \u003cem>Ixcanul\u003c/em> (Jan. 7) from Guatemala. If your New Year’s resolutions include expanding your worldview, start here.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11204176\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/ano400-400x167.jpg\" alt=\"Still from 'Anomalisa,' 2015.\" width=\"400\" height=\"167\" class=\"size-thumbnail wp-image-11204176\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Anomalisa,’ 2015. \u003ccite>(Courtesy: Paramount Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"http://www.landmarktheatres.com/san-francisco#upcoming\" target=\"_blank\" rel=\"noopener\">Charlie Kaufman Retrospective\u003c/a>\u003c/h3>\n\u003ch5>Jan. 4-8, Embarcadero Center Cinema, San Francisco\u003c/h5>\n\u003cp>The remarkable stop-motion animated film \u003cem>Anomalisa\u003c/em> is a collaboration between director Duke Johnson and the uniquely skewed and generally depressed Charlie Kaufman, who adapted his play into the screenplay. The movie opens Jan. 8 at the Embarcadero Center Cinema and spotlights the extraordinary voice talents of David Thewlis, Jennifer Jason Leigh and Tom Noonan. Leading up to its release, and with the presumed goal of putting us in the proper mood (funk?), the ECC revives Kaufman’s previous films in a series of 1pm weekday matinees: \u003cem>Being John Malkovich\u003c/em> on Monday, \u003cem>Adaptation\u003c/em> on Tuesday, \u003cem>Eternal Sunshine Of The Spotless Mind\u003c/em> on Wednesday and \u003cem>Synecdoche, New York\u003c/em> on Thursday. Am I actually recommending you launch your year by submerging in a Kaufmanesque pool of failure, inertia and self-pity? \u003ci>(Yes, yes he is. — Ed.)\u003c/i>\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11204165\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/BerlinSymphony400-400x225.jpg\" alt=\"Still from 'Berlin: Symphony of a Great City,' 1927.\" width=\"400\" height=\"225\" class=\"size-thumbnail wp-image-11204165\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Berlin, Symphony of a Great City,’ 1927. \u003ccite>(Courtesy: Berlin & Beyond)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"http://www.goethe.de/ins/us/saf/prj/bby/enindex.htm\" target=\"_blank\" rel=\"noopener\">20th Berlin & Beyond Film Festival\u003c/a>\u003c/h3>\n\u003ch5>Jan. 14-20, Castro Theatre and Goethe-Institut, San Francisco\u003c/h5>\n\u003cp>San Francisco’s rainy season and German films always struck me as the perfect match. Black-clad melancholy, postwar guilt and angsty affluence — which, admittedly, don’t encompass either the depth of the Teutonic soul or the breadth of the Berlin & Beyond lineup — are best-suited to a winter palette. Speaking of black and white and gray, ink in Jan. 17 for the restoration of Walther Ruttman’s stunning 1927 day-in-the-life portrait, \u003cem>Berlin, Symphony of a Great City\u003c/em>. Brilliantly shot by the pioneering cinematographer Karl Freund (whose remarkable career included \u003cem>The Last Laugh\u003c/em>, \u003cem>Metropolis\u003c/em>, \u003cem>Key Largo\u003c/em> and \u003cem>I Love Lucy\u003c/em>), the silent classic is accompanied by the Berlin electronic and acoustic trio ALP making their U.S. debut. The festival runs Jan. 14-20, with actor Tom Schilling on hand opening night for the computer thriller \u003cem>Who Am I\u003c/em> and sticking around for a special screening of his altogether wonderful 2012 film, \u003cem>A Coffee in Berlin\u003c/em>.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11204166\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/dumbo400-400x305.jpg\" alt=\"'Dumbo' poster, 1941.\" width=\"400\" height=\"305\" class=\"size-thumbnail wp-image-11204166\">\u003cfigcaption class=\"wp-caption-text\">‘Dumbo’ poster, 1941. \u003ccite>(Courtesy: Paramount Theatre of the Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"http://www.paramounttheatre.com/film.html\" target=\"_blank\" rel=\"noopener\">Dumbo\u003c/a>\u003c/h3>\n\u003ch5>Jan. 15, Paramount Theatre of the Arts, Oakland\u003c/h5>\n\u003cp>Say what you will about Walt Disney, the man could recognize talent. Compelled to cut back after \u003cem>Pinocchio\u003c/em> and \u003cem>Fantasia\u003c/em> garnered disappointing returns at the box office, Disney entrusted his ace team of animators to deliver on a tight budget. They came through with \u003cem>Dumbo\u003c/em>, a charming and timeless musical about the trials and travails of a young elephant and his irreplaceable friend, Timothy the Mouse. (I’ll assume a more detailed synopsis is unnecessary.) The shimmering Paramount Theatre of the Arts in Oakland revives Uncle Walt’s 1941 fairy tale, pink elephants and all, on Jan. 15.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11204297\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Cats400-400x225.jpg\" alt=\"Goersch & Rob A Fella, 'Kratzbaum,' directed by Simon Glass.\" width=\"400\" height=\"225\" class=\"size-thumbnail wp-image-11204297\">\u003cfigcaption class=\"wp-caption-text\">Goersch & Rob A Fella, ‘Kratzbaum,’ directed by Simon Glass. \u003ccite>(Courtesy: Walker Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"http://www.ybca.org/internet-cat-video-festival\" target=\"_blank\" rel=\"noopener\">Internet Cat Video Festival\u003c/a>\u003c/h3>\n\u003ch5>Jan. 21-24, Yerba Buena Center for the Arts, San Francisco\u003c/h5>\n\u003cp>At the Roxie in 2014, ace local programmer Mike Keegan (now creative manager of the Alamo Drafthouse at the New Mission) scored an unlikely hit with the First Annual San Francisco Intergalactic Film + Video Feline Festival for Humans. The SFIFVFFH was so successful, in fact, that the program toured independent theaters around the country. Yerba Buena Center For the Arts jumps gracefully into the fur-and-purr sweepstakes with a 90-minute buffet of Vine videos, mini-docs and short dramas (!) compiled by Henri Le Chat Noir mastermind Will Braden and starring our secret masters. Screening seven times between Jan. 21 and 24, the frisky and playful ICVF just might fortify us for whatever lies ahead in 2016.\u003c/p>\u003c/div>\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/11186905/five-to-watch-brave-new-year",
"authors": [
"22"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_1006",
"arts_596"
],
"featImg": "arts_11204298",
"label": "arts"
},
"arts_11206573": {
"type": "posts",
"id": "arts_11206573",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11206573",
"score": null,
"sort": [
1451505012000
]
},
"guestAuthors": [],
"slug": "bill-cosby-charged-with-felony-sex-crime-over-2004-case",
"title": "Bill Cosby Charged with Felony Sex Crime Over 2004 Case",
"publishDate": 1451505012,
"format": "standard",
"headTitle": "Bill Cosby Charged with Felony Sex Crime Over 2004 Case | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>Narrowly beating a statute of limitations deadline to file charges, prosecutors in Pennsylvania announced a felony sexual assault charge against comedian Bill Cosby on Wednesday. A former Temple University employee says Cosby drugged and assaulted her in January of 2004.\u003c/p>\n\u003cp>Montgomery County, Pa., prosecutors have charged Cosby with aggravated indecent assault, a first-degree felony.\u003c/p>\n\u003cp>“These charges stem from a sexual assault,” according to prosecutor Kevin Steele, who said the assault occurred at Cosby’s house in Cheltenham, a Montgomery County township that’s just outside Philadelphia.\u003c/p>\n\u003cp>Steele said Cosby is expected to appear in court to be arraigned Wednesday afternoon; he also urged any other victims to contact his office.\u003c/p>\n\u003cp>Over the past year, Cosby has been accused of sexually abusing dozens of women. Cosby has denied those charges, and earlier this month, he filed lawsuits \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/12/14/459750910/bill-cosby-sues-women-who-accused-him-of-sexual-misconduct\" target=\"_blank\" rel=\"noopener\">against seven of his accusers\u003c/a>, saying they had made up the claims to extract money from him.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When NPR’s Scott Simon \u003ca href=\"http://www.npr.org/sections/thetwo-way/2014/11/15/364297097/in-npr-interview-bill-cosby-declines-to-discuss-assault-allegations\" target=\"_blank\" rel=\"noopener\">asked Cosby about the allegations\u003c/a> against him during a November 2014 interview, the comedian refused to respond, shaking his head in silence.\u003c/p>\n\u003cp>Pennsylvania has a 12-year statute of limitations on felony sex crimes, meaning prosecutors had until January to bring charges against Cosby, 78.\u003c/p>\n\u003cp>\u003ca href=\"http://www.legis.state.pa.us/cfdocs/legis/LI/consCheck.cfm?txtType=HTM&ttl=18&div=0&chpt=31\" target=\"_blank\" rel=\"noopener\">Under state law\u003c/a>, aggravated indecent assault has a range of definitions, from having sexual contact with a person without their consent to doing so after an attacker has “substantially impaired the complainant’s power to appraise or control his or her conduct by administering or employing, without the knowledge of the complainant, drugs, intoxicants or other means for the purpose of preventing resistance.”\u003c/p>\n\u003cp>After the Temple employee, Andrea Constand, accused Cosby of sexually assaulting her in 2004, a Montgomery County prosecutor decided in 2005 that charges weren’t warranted in the case. But that prosecutor lost his re-election bid last month to Steele, who made pursuing charges against Cosby an issue in his campaign.\u003c/p>\n\u003cp>On Wednesday, Steele outlined a timeline of events in 2004, saying Cosby established a friendship with the victim and then made sexual advances that were rejected. After that, Cosby urged her to take pills and drink wine, Steele said.\u003c/p>\n\u003cp>According to \u003ca href=\"https://www.documentcloud.org/documents/2661361-Criminal-Complaint-William-Cosby.html\" target=\"_blank\" rel=\"noopener\">the criminal complaint filed Wednesday\u003c/a>, Constand “considered Cosby, thirty-seven years her senior, to be a mentor, and described instances in which he invited her to his home for dinner, invited her to restaurants, invited her to events, introduced her to people, and provided her with guidance and career advice.”\u003c/p>\n\u003cp>The 2005 investigation into Cosby led to a deposition in which \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/07/06/420652103/report-cosby-admitted-giving-woman-sedative-quaaludes\" target=\"_blank\" rel=\"noopener\">Cosby admitted that he\u003c/a> had, as the Two-Way reported, “obtained the sedative Quaalude with the intent of giving the drug to women with whom he wanted to have sex, and he acknowledged giving it to at least one woman.”\u003c/p>\n\u003cdiv id=\"res461483149\" class=\"bucketwrap statichtml\" align=\"left\" style=\"padding-left:100px\">\u003c/div>\n\u003cp>That testimony became public this past summer, prompting new calls for charges against Cosby. Announcing the charges Wednesday, Steele said the decision was made after “new information” came to light in July.\u003c/p>\n\u003cp>Cosby gave his deposition in the course of a civil trial, before he and Constand reached a settlement over her lawsuit against him.\u003c/p>\n\u003cp>As part of their deal, the two sides signed a confidentiality agreement — but the records were unsealed at the request of the Associated Press, in part because the judge in the case said he regarded Cosby as something of a public servant who can be expected to forfeit some privacy protections, \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/07/07/420830305/the-cosby-revelation-how-a-decade-old-deposition-came-to-light\" target=\"_blank\" rel=\"noopener\">as Eyder reported for the Two-Way\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>We’ll note that while NPR \u003ca href=\"http://ethics.npr.org/category/i-respect/#423\" target=\"_blank\" rel=\"noopener\">doesn’t usually identify\u003c/a> people who say they’re the victims of sexual assault, we’ve done so in this case, because Constand has taken a public stand on the case. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Bill+Cosby+Is+Charged+With+Felony+Sex+Crime+Over+2004+Case&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "Pennsylvania has a 12-year statute of limitations on felony sex crimes, meaning prosecutors had until January to bring charges against the comedian.",
"status": "publish",
"parent": 0,
"modified": 1726763728,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 18,
"wordCount": 644
},
"headData": {
"title": "Bill Cosby Charged with Felony Sex Crime Over 2004 Case | KQED",
"description": "Pennsylvania has a 12-year statute of limitations on felony sex crimes, meaning prosecutors had until January to bring charges against the comedian.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Bill Cosby Charged with Felony Sex Crime Over 2004 Case",
"datePublished": "2015-12-30T11:50:12-08:00",
"dateModified": "2024-09-19T09:35:28-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Bill Chappell",
"nprImageAgency": "AP",
"nprStoryId": "461482697",
"nprApiLink": "http://api.npr.org/query?id=461482697&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "http://www.npr.org/sections/thetwo-way/2015/12/30/461482697/bill-cosby-is-charged-with-aggravated-indecent-assault-in-philadelphia-area-case?ft=nprml&f=461482697",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 30 Dec 2015 14:30:00 -0500",
"nprStoryDate": "Wed, 30 Dec 2015 10:18:00 -0500",
"nprLastModifiedDate": "Wed, 30 Dec 2015 14:30:24 -0500",
"path": "/arts/11206573/bill-cosby-charged-with-felony-sex-crime-over-2004-case",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Narrowly beating a statute of limitations deadline to file charges, prosecutors in Pennsylvania announced a felony sexual assault charge against comedian Bill Cosby on Wednesday. A former Temple University employee says Cosby drugged and assaulted her in January of 2004.\u003c/p>\n\u003cp>Montgomery County, Pa., prosecutors have charged Cosby with aggravated indecent assault, a first-degree felony.\u003c/p>\n\u003cp>“These charges stem from a sexual assault,” according to prosecutor Kevin Steele, who said the assault occurred at Cosby’s house in Cheltenham, a Montgomery County township that’s just outside Philadelphia.\u003c/p>\n\u003cp>Steele said Cosby is expected to appear in court to be arraigned Wednesday afternoon; he also urged any other victims to contact his office.\u003c/p>\n\u003cp>Over the past year, Cosby has been accused of sexually abusing dozens of women. Cosby has denied those charges, and earlier this month, he filed lawsuits \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/12/14/459750910/bill-cosby-sues-women-who-accused-him-of-sexual-misconduct\" target=\"_blank\" rel=\"noopener\">against seven of his accusers\u003c/a>, saying they had made up the claims to extract money from him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When NPR’s Scott Simon \u003ca href=\"http://www.npr.org/sections/thetwo-way/2014/11/15/364297097/in-npr-interview-bill-cosby-declines-to-discuss-assault-allegations\" target=\"_blank\" rel=\"noopener\">asked Cosby about the allegations\u003c/a> against him during a November 2014 interview, the comedian refused to respond, shaking his head in silence.\u003c/p>\n\u003cp>Pennsylvania has a 12-year statute of limitations on felony sex crimes, meaning prosecutors had until January to bring charges against Cosby, 78.\u003c/p>\n\u003cp>\u003ca href=\"http://www.legis.state.pa.us/cfdocs/legis/LI/consCheck.cfm?txtType=HTM&ttl=18&div=0&chpt=31\" target=\"_blank\" rel=\"noopener\">Under state law\u003c/a>, aggravated indecent assault has a range of definitions, from having sexual contact with a person without their consent to doing so after an attacker has “substantially impaired the complainant’s power to appraise or control his or her conduct by administering or employing, without the knowledge of the complainant, drugs, intoxicants or other means for the purpose of preventing resistance.”\u003c/p>\n\u003cp>After the Temple employee, Andrea Constand, accused Cosby of sexually assaulting her in 2004, a Montgomery County prosecutor decided in 2005 that charges weren’t warranted in the case. But that prosecutor lost his re-election bid last month to Steele, who made pursuing charges against Cosby an issue in his campaign.\u003c/p>\n\u003cp>On Wednesday, Steele outlined a timeline of events in 2004, saying Cosby established a friendship with the victim and then made sexual advances that were rejected. After that, Cosby urged her to take pills and drink wine, Steele said.\u003c/p>\n\u003cp>According to \u003ca href=\"https://www.documentcloud.org/documents/2661361-Criminal-Complaint-William-Cosby.html\" target=\"_blank\" rel=\"noopener\">the criminal complaint filed Wednesday\u003c/a>, Constand “considered Cosby, thirty-seven years her senior, to be a mentor, and described instances in which he invited her to his home for dinner, invited her to restaurants, invited her to events, introduced her to people, and provided her with guidance and career advice.”\u003c/p>\n\u003cp>The 2005 investigation into Cosby led to a deposition in which \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/07/06/420652103/report-cosby-admitted-giving-woman-sedative-quaaludes\" target=\"_blank\" rel=\"noopener\">Cosby admitted that he\u003c/a> had, as the Two-Way reported, “obtained the sedative Quaalude with the intent of giving the drug to women with whom he wanted to have sex, and he acknowledged giving it to at least one woman.”\u003c/p>\n\u003cdiv id=\"res461483149\" class=\"bucketwrap statichtml\" align=\"left\" style=\"padding-left:100px\">\u003c/div>\n\u003cp>That testimony became public this past summer, prompting new calls for charges against Cosby. Announcing the charges Wednesday, Steele said the decision was made after “new information” came to light in July.\u003c/p>\n\u003cp>Cosby gave his deposition in the course of a civil trial, before he and Constand reached a settlement over her lawsuit against him.\u003c/p>\n\u003cp>As part of their deal, the two sides signed a confidentiality agreement — but the records were unsealed at the request of the Associated Press, in part because the judge in the case said he regarded Cosby as something of a public servant who can be expected to forfeit some privacy protections, \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/07/07/420830305/the-cosby-revelation-how-a-decade-old-deposition-came-to-light\" target=\"_blank\" rel=\"noopener\">as Eyder reported for the Two-Way\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>We’ll note that while NPR \u003ca href=\"http://ethics.npr.org/category/i-respect/#423\" target=\"_blank\" rel=\"noopener\">doesn’t usually identify\u003c/a> people who say they’re the victims of sexual assault, we’ve done so in this case, because Constand has taken a public stand on the case. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Bill+Cosby+Is+Charged+With+Felony+Sex+Crime+Over+2004+Case&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11206573/bill-cosby-charged-with-felony-sex-crime-over-2004-case",
"authors": [
"byline_arts_11206573"
],
"categories": [
"arts_968",
"arts_74",
"arts_235",
"arts_967"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11206574",
"label": "arts_137"
},
"arts_11203795": {
"type": "posts",
"id": "arts_11203795",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11203795",
"score": null,
"sort": [
1451444416000
]
},
"guestAuthors": [],
"slug": "new-years-eve-for-20-and-under-yes-its-possible",
"title": "New Year's Eve For $20 and Under: Yes, It's Possible",
"publishDate": 1451444416,
"format": "standard",
"headTitle": "New Year’s Eve For $20 and Under: Yes, It’s Possible | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>There’s a particular gag that gets passed around every year during the last week of December that kills me, though I’ve seen it a hundred times. It’s a flyer for a typical New Year’s Eve party — AKA overpriced, full of obnoxious drunk dudes who seem to have never learned bar etiquette and irritating, wasted girls falling over in the street because they’re wearing impractical shoes. It speaks to a few sad truths about the holiday: Nearly everyone’s trying to take someone home and/or have the best night of their lives; nearly everyone wakes up the next day staring down a new year with a champagne headache, a boatload of regrets, and many fewer dollars than they woke up with on Dec. 31.\u003c/p>\n\u003cfigure id=\"attachment_11203917\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11203917\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/every_new_years_party-400x470.jpg\" alt=\"That particular joke flyer I was talking about\" width=\"400\" height=\"470\">\u003cfigcaption class=\"wp-caption-text\">I mean, they’re not wrong.\u003c/figcaption>\u003c/figure>\n\u003cp>That said, let’s get excited for New Year’s Eve!!\u003c/p>\n\u003cp>No, really. Truth be told, it is entirely possible to have a good — dare I say great — last night of 2015. It just involves being willing to go with the flow, having no expectations of it being the Most Perfect Night Ever, and (on the planet where I live, at least) minimizing New Year’s Day remorse by not spending a bajillion dollars on a prix fixe menu and “complimentary” glass of champagne.\u003c/p>\n\u003cp>Here are some $20-and-under options around the Bay that will help you do just that.\u003c/p>\n\u003cp>\u003cstrong>Hella Saucey New Year’s Eve Bash hosted by Aima the Dreamer at Elbo Room, SF. \u003c/strong>It’s been a rollercoaster of a year for this beloved Mission Dive, culminating in the happy announcement that \u003ca href=\"http://ww2.kqed.org/arts/2015/12/08/elbo-rooms-lease-extended-to-2018/\" target=\"_blank\" rel=\"noopener\">she’ll live to see 2018. \u003c/a>Celebrate with a killer lineup of local DJs, emceed by underrated hip-hop maven \u003ca href=\"https://www.facebook.com/Aima-the-Dreamer-136566167189/\" target=\"_blank\" rel=\"noopener\">Aima the Dreamer\u003c/a>. $10; \u003ca href=\"https://www.facebook.com/events/510671815776224/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>New Year’s Eve Afternoon Balloon Drop Celebration at the Chabot Space & Science Center, Oakland.\u003c/strong> Having little ones doesn’t mean you have to stay home — let ’em in on the fun (and be home in time for dinner) with one of these afternoon countdowns and balloon drops, with different times for different age groups. $5; \u003ca href=\"http://www.chabotspace.org/balloon-drop.htm\" target=\"_blank\" rel=\"noopener\">details here.\u003c/a>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-11204162\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/balloon-landing2-400x309.jpg\" alt=\"balloon-landing2\" width=\"400\" height=\"309\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/balloon-landing2-400x309.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/balloon-landing2.jpg 538w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cstrong>Sw\u003c/strong>\u003cstrong>eater Funk NYE Boogie Bash at the Knockout, SF. \u003c/strong>Live performances from PLAZA and K-Maxx plus the classic Sweater Funk DJ crew. $7 – $10;\u003ca href=\"https://www.facebook.com/events/179135359104997/\" target=\"_blank\" rel=\"noopener\"> details here. \u003c/a>\u003cstrong>\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Gene Kelly double feature at the Castro Theater, SF. \u003c/strong>Hide from the future with the help of Gene Kelly, Frank Sinatra, and Debbie Reynolds at their finest, courtesy of \u003cem>Singin’ In the Rain\u003c/em> and \u003cem>On the Town.\u003c/em> $10; \u003ca href=\"http://castrotheatre.com/p-list.html#dec31\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=w40ushYAaYA\u003c/p>\n\u003cp>\u003cstrong>New Year’s Eve Fireworks, SF. \u003c/strong>Bundle up, grab a beverage for the stroll, and cross your fingers for another one of these clear, cool nights we’ve been having, as it will all help you take in this fabulous (and free!) fireworks display all along the Embarcadero. \u003ca href=\"http://sf.funcheap.com/san-francisco-new-years-eve-fireworks/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>New Wave’s Eve at the Nightlight, Oakland.\u003c/strong> Partying like it’s 1984 never gets old, right? The Cure, The Go-Gos, David Bowie, Joy Division, Gang of Four, Flock of Seagulls, Flock of Seagulls haircuts…you get the idea. $10; \u003ca href=\"https://www.facebook.com/events/187356208266108/\" target=\"_blank\" rel=\"noopener\">details here.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>New Year’s Eve Bash with Lecherous Gaze, Pins of Light at the Hemlock Tavern, SF. \u003c/strong>Because nothing says “this is gonna be a great year” like starting it off sweaty while throwing yourself around to local punk/metal bad-asses. $12 – $15; \u003ca href=\"http://www.hemlocktavern.com/calendar/hemlock-tavern-new-years-eve-bash-with-pins-of-light-lecherous-gaze/\" target=\"_blank\" rel=\"noopener\">details here.\u003cstrong> \u003c/strong>\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Saturday Night Soul Party at Virgil’s Sea Room, SF.\u003c/strong> Sure, NYE is on a Thursday, but why mess with a classic? Soul tunes spun all night; a Fernet-Branca toast at midnight, just to keep things interesting. $5; \u003ca href=\"https://www.facebook.com/events/810889409020352/\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\n\n",
"blocks": [],
"excerpt": "NYE doesn't have to be an overhyped, overpriced club night -- here are eight other options, none of which involve staying home. ",
"status": "publish",
"parent": 0,
"modified": 1726702405,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 15,
"wordCount": 665
},
"headData": {
"title": "New Year's Eve For $20 and Under: Yes, It's Possible | KQED",
"description": "NYE doesn't have to be an overhyped, overpriced club night -- here are eight other options, none of which involve staying home. ",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "New Year's Eve For $20 and Under: Yes, It's Possible",
"datePublished": "2015-12-29T19:00:16-08:00",
"dateModified": "2024-09-18T16:33:25-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/11203795/new-years-eve-for-20-and-under-yes-its-possible",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s a particular gag that gets passed around every year during the last week of December that kills me, though I’ve seen it a hundred times. It’s a flyer for a typical New Year’s Eve party — AKA overpriced, full of obnoxious drunk dudes who seem to have never learned bar etiquette and irritating, wasted girls falling over in the street because they’re wearing impractical shoes. It speaks to a few sad truths about the holiday: Nearly everyone’s trying to take someone home and/or have the best night of their lives; nearly everyone wakes up the next day staring down a new year with a champagne headache, a boatload of regrets, and many fewer dollars than they woke up with on Dec. 31.\u003c/p>\n\u003cfigure id=\"attachment_11203917\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11203917\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/every_new_years_party-400x470.jpg\" alt=\"That particular joke flyer I was talking about\" width=\"400\" height=\"470\">\u003cfigcaption class=\"wp-caption-text\">I mean, they’re not wrong.\u003c/figcaption>\u003c/figure>\n\u003cp>That said, let’s get excited for New Year’s Eve!!\u003c/p>\n\u003cp>No, really. Truth be told, it is entirely possible to have a good — dare I say great — last night of 2015. It just involves being willing to go with the flow, having no expectations of it being the Most Perfect Night Ever, and (on the planet where I live, at least) minimizing New Year’s Day remorse by not spending a bajillion dollars on a prix fixe menu and “complimentary” glass of champagne.\u003c/p>\n\u003cp>Here are some $20-and-under options around the Bay that will help you do just that.\u003c/p>\n\u003cp>\u003cstrong>Hella Saucey New Year’s Eve Bash hosted by Aima the Dreamer at Elbo Room, SF. \u003c/strong>It’s been a rollercoaster of a year for this beloved Mission Dive, culminating in the happy announcement that \u003ca href=\"http://ww2.kqed.org/arts/2015/12/08/elbo-rooms-lease-extended-to-2018/\" target=\"_blank\" rel=\"noopener\">she’ll live to see 2018. \u003c/a>Celebrate with a killer lineup of local DJs, emceed by underrated hip-hop maven \u003ca href=\"https://www.facebook.com/Aima-the-Dreamer-136566167189/\" target=\"_blank\" rel=\"noopener\">Aima the Dreamer\u003c/a>. $10; \u003ca href=\"https://www.facebook.com/events/510671815776224/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>New Year’s Eve Afternoon Balloon Drop Celebration at the Chabot Space & Science Center, Oakland.\u003c/strong> Having little ones doesn’t mean you have to stay home — let ’em in on the fun (and be home in time for dinner) with one of these afternoon countdowns and balloon drops, with different times for different age groups. $5; \u003ca href=\"http://www.chabotspace.org/balloon-drop.htm\" target=\"_blank\" rel=\"noopener\">details here.\u003c/a>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-11204162\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/balloon-landing2-400x309.jpg\" alt=\"balloon-landing2\" width=\"400\" height=\"309\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/balloon-landing2-400x309.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/balloon-landing2.jpg 538w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cstrong>Sw\u003c/strong>\u003cstrong>eater Funk NYE Boogie Bash at the Knockout, SF. \u003c/strong>Live performances from PLAZA and K-Maxx plus the classic Sweater Funk DJ crew. $7 – $10;\u003ca href=\"https://www.facebook.com/events/179135359104997/\" target=\"_blank\" rel=\"noopener\"> details here. \u003c/a>\u003cstrong>\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Gene Kelly double feature at the Castro Theater, SF. \u003c/strong>Hide from the future with the help of Gene Kelly, Frank Sinatra, and Debbie Reynolds at their finest, courtesy of \u003cem>Singin’ In the Rain\u003c/em> and \u003cem>On the Town.\u003c/em> $10; \u003ca href=\"http://castrotheatre.com/p-list.html#dec31\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\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/w40ushYAaYA'\n title='//www.youtube.com/embed/w40ushYAaYA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>New Year’s Eve Fireworks, SF. \u003c/strong>Bundle up, grab a beverage for the stroll, and cross your fingers for another one of these clear, cool nights we’ve been having, as it will all help you take in this fabulous (and free!) fireworks display all along the Embarcadero. \u003ca href=\"http://sf.funcheap.com/san-francisco-new-years-eve-fireworks/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>New Wave’s Eve at the Nightlight, Oakland.\u003c/strong> Partying like it’s 1984 never gets old, right? The Cure, The Go-Gos, David Bowie, Joy Division, Gang of Four, Flock of Seagulls, Flock of Seagulls haircuts…you get the idea. $10; \u003ca href=\"https://www.facebook.com/events/187356208266108/\" target=\"_blank\" rel=\"noopener\">details here.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>New Year’s Eve Bash with Lecherous Gaze, Pins of Light at the Hemlock Tavern, SF. \u003c/strong>Because nothing says “this is gonna be a great year” like starting it off sweaty while throwing yourself around to local punk/metal bad-asses. $12 – $15; \u003ca href=\"http://www.hemlocktavern.com/calendar/hemlock-tavern-new-years-eve-bash-with-pins-of-light-lecherous-gaze/\" target=\"_blank\" rel=\"noopener\">details here.\u003cstrong> \u003c/strong>\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Saturday Night Soul Party at Virgil’s Sea Room, SF.\u003c/strong> Sure, NYE is on a Thursday, but why mess with a classic? Soul tunes spun all night; a Fernet-Branca toast at midnight, just to keep things interesting. $5; \u003ca href=\"https://www.facebook.com/events/810889409020352/\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11203795/new-years-eve-for-20-and-under-yes-its-possible",
"authors": [
"7237"
],
"categories": [
"arts_1",
"arts_74",
"arts_69"
],
"tags": [
"arts_1118",
"arts_596",
"arts_626"
],
"featImg": "arts_11204167",
"label": "arts"
},
"arts_11191894": {
"type": "posts",
"id": "arts_11191894",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11191894",
"score": null,
"sort": [
1451061670000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1451061670,
"format": "standard",
"title": "Tarantino Holes Up A Few Outlaws In 'The Hateful Eight'",
"headTitle": "Tarantino Holes Up A Few Outlaws In ‘The Hateful Eight’ | KQED",
"content": "\u003cp>Depending on your perspective, Quentin Tarantino’s career either comes full circle or spins its wheels with \u003cem>The Hateful Eight\u003c/em>, a three-hour Western pastiche that combines the single-setting theatricality of his first feature, \u003cem>Reservoir Dogs\u003c/em>, with the explosive Civil War politics of his last, \u003cem>Django Unchained\u003c/em>. As cinema’s reigning pastiche artist, Tarantino mixes and matches an array of influences into a remarkably compatible whole, with spaghetti western maestro Ennio Morricone scoring a snowbound chamber piece that evokes John Carpenter’s \u003cem>The Thing\u003c/em> and Agatha Christie’s \u003cem>Ten Little Indians\u003c/em> in equal measure. Everyone old is made new again, which is true not only of the referential texture of \u003cem>The Hateful Eight\u003c/em>, but of the narrow dimensions of Tarantino’s filmic universe, which keeps finding new ways to refresh old themes.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6_UI1GzaWv0\u003c/p>\n\u003cp>A natural follow-up to \u003cem>Django Unchained\u003c/em>, a racially charged revenge tale set two years before the Civil War, \u003cem>The Hateful Eight\u003c/em> surveys a collection of outlaws and ne’er-do-wells holed up in a Wyoming cabin in the years after the war, where the same tensions are sublimated rather than dissipated. In fact, the first 100 minutes or so—the length of an average feature—marinate in that tension with only brief, occasional spasms of violence, suggesting the uneasy peace that’s settled over the country from the Reconstruction Era to the present. As with the warehouse in \u003cem>Reservoir Dogs\u003c/em>, where thieves convene with an informant in their midst, the cabin runs hot with suspicion and dubious Clint Eastwood squints, but Tarantino is content to let it linger for a while. This is America as he understands it, and this isolated outpost is his \u003cem>Ship of Fools\u003c/em>.\u003c/p>\n\u003cp>Tarantino takes his sweet time ramping up, careful to give each character enough room for a proper introduction. In what will amount to a rare exterior scene, the action begins in a stagecoach where John “The Hangman” Ruth (Kurt Russell), a bounty hunter known for keeping his targets alive, is escorting black-eyed fugitive Daisy Domergue (Jennifer Jason Leigh) to the town of Red Rock to face execution. As a blizzard encroaches, the pair make room for two more strangers: Major Marquis Warren (Samuel L. Jackson), a former Union soldier and fellow bounty hunter whose tough reputation precedes him, and Chris Mannix (Walton Goggins), a southerner who claimed to be Red Rock’s incoming sheriff.\u003c/p>\n\u003cp>When the quartet arrive for an extended stay at Minnie’s Haberdashery, they encounter another group of men with questionable agendas, including Red Rock’s British hangman (Tim Roth), Minnie’s Mexican caretaker (Demián Bichir), a snarling black hat (Michael Madsen), and foul former general of the Confederacy (Bruce Dern). The allegiances among these men—and Daisy, perhaps the linchpin of the whole drama—are unclear, but Major Warren’s race gives their simmering animosity a focus and he in turn works to leverage an ugly situation to his advantage. Eventually, a trigger is squeezed and the exceedingly bloody reckoning begins in earnest.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Photographed in Super Panavision 70mm—the “roadshow” version of which includes an overture, an intermission, and other such blasts from spectacles past—\u003cem>The Hateful Eight\u003c/em> may seem like a willfully perverse candidate for the large format, since the Rocky Mountain expanses can barely be glimpsed through the haberdashery window. It seems likely that timing, as much as vision, inspired Tarantino to commit to an old-fashioned cinematic experience—with his beloved celluloid fading, 70mm is his way of raging against the dying of the Xenon light. But applied to such an intimate setting, the richness and depth of 70mm serve to heighten the tension considerably, as Tarantino keeps adding intrigue between various sets of characters. Samuel L. Jackson presides confidently over this Agatha Christie scenario, but there are potential eruptions all over the frame.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Hateful Eight\u003c/em> veers into dicey territory at times, particularly with Leigh’s Domergue, who absorbs the lion’s share of the physical and verbal abuse, however skilled she is at snarling insults through bloody rictus grins. Add to that Tarantino’s liberal deployment of racial epithets and extravagant violence—Greg Nicotero of \u003cem>The Walking Dead\u003c/em> fame gets second billing for his effects—and the viewership for this one narrows to the self-selected. Yet Tarantino can still spin a great yarn (and yarn within yarns), and his cast makes a meal of the dialogue, with favorites like Jackson and Roth returning to old form and newcomers getting a showcase, particularly Goggins, who excels at charismatic hicks, and Leigh, who converts violence into a form of knockabout comedy. \u003cem>The Hateful Eight\u003c/em> is a big, shambling, audacious inversion of the Western, held together by Tarantino’s sincere conviction that beyond his high juvenilia, American audiences might recognize their own fractious nation.\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 834,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 8
},
"modified": 1705045606,
"excerpt": "Quentin Tarantino makes a three-hour Western pastiche with a cast of old and new associates.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Quentin Tarantino makes a three-hour Western pastiche with a cast of old and new associates.",
"title": "Tarantino Holes Up A Few Outlaws In 'The Hateful Eight' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Tarantino Holes Up A Few Outlaws In 'The Hateful Eight'",
"datePublished": "2015-12-25T08:41:10-08:00",
"dateModified": "2024-01-11T23:46:46-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "tarantino-holes-up-a-few-outlaws-in-the-hateful-eight",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=460706652&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Scott Tobias",
"nprStoryDate": "Thu, 24 Dec 2015 17:00:08 -0500",
"nprLastModifiedDate": "Thu, 24 Dec 2015 17:00:08 -0500",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/2015/12/24/460706652/tarantino-holes-up-a-few-outlaws-in-the-hateful-eight?ft=nprml&f=460706652",
"nprImageAgency": "Courtesy of The Weinstein Company ",
"nprImageCredit": "Andrew Cooper ",
"nprStoryId": "460706652",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 24 Dec 2015 17:00:00 -0500",
"path": "/arts/11191894/tarantino-holes-up-a-few-outlaws-in-the-hateful-eight",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Depending on your perspective, Quentin Tarantino’s career either comes full circle or spins its wheels with \u003cem>The Hateful Eight\u003c/em>, a three-hour Western pastiche that combines the single-setting theatricality of his first feature, \u003cem>Reservoir Dogs\u003c/em>, with the explosive Civil War politics of his last, \u003cem>Django Unchained\u003c/em>. As cinema’s reigning pastiche artist, Tarantino mixes and matches an array of influences into a remarkably compatible whole, with spaghetti western maestro Ennio Morricone scoring a snowbound chamber piece that evokes John Carpenter’s \u003cem>The Thing\u003c/em> and Agatha Christie’s \u003cem>Ten Little Indians\u003c/em> in equal measure. Everyone old is made new again, which is true not only of the referential texture of \u003cem>The Hateful Eight\u003c/em>, but of the narrow dimensions of Tarantino’s filmic universe, which keeps finding new ways to refresh old themes.\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/6_UI1GzaWv0'\n title='//www.youtube.com/embed/6_UI1GzaWv0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A natural follow-up to \u003cem>Django Unchained\u003c/em>, a racially charged revenge tale set two years before the Civil War, \u003cem>The Hateful Eight\u003c/em> surveys a collection of outlaws and ne’er-do-wells holed up in a Wyoming cabin in the years after the war, where the same tensions are sublimated rather than dissipated. In fact, the first 100 minutes or so—the length of an average feature—marinate in that tension with only brief, occasional spasms of violence, suggesting the uneasy peace that’s settled over the country from the Reconstruction Era to the present. As with the warehouse in \u003cem>Reservoir Dogs\u003c/em>, where thieves convene with an informant in their midst, the cabin runs hot with suspicion and dubious Clint Eastwood squints, but Tarantino is content to let it linger for a while. This is America as he understands it, and this isolated outpost is his \u003cem>Ship of Fools\u003c/em>.\u003c/p>\n\u003cp>Tarantino takes his sweet time ramping up, careful to give each character enough room for a proper introduction. In what will amount to a rare exterior scene, the action begins in a stagecoach where John “The Hangman” Ruth (Kurt Russell), a bounty hunter known for keeping his targets alive, is escorting black-eyed fugitive Daisy Domergue (Jennifer Jason Leigh) to the town of Red Rock to face execution. As a blizzard encroaches, the pair make room for two more strangers: Major Marquis Warren (Samuel L. Jackson), a former Union soldier and fellow bounty hunter whose tough reputation precedes him, and Chris Mannix (Walton Goggins), a southerner who claimed to be Red Rock’s incoming sheriff.\u003c/p>\n\u003cp>When the quartet arrive for an extended stay at Minnie’s Haberdashery, they encounter another group of men with questionable agendas, including Red Rock’s British hangman (Tim Roth), Minnie’s Mexican caretaker (Demián Bichir), a snarling black hat (Michael Madsen), and foul former general of the Confederacy (Bruce Dern). The allegiances among these men—and Daisy, perhaps the linchpin of the whole drama—are unclear, but Major Warren’s race gives their simmering animosity a focus and he in turn works to leverage an ugly situation to his advantage. Eventually, a trigger is squeezed and the exceedingly bloody reckoning begins in earnest.\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>Photographed in Super Panavision 70mm—the “roadshow” version of which includes an overture, an intermission, and other such blasts from spectacles past—\u003cem>The Hateful Eight\u003c/em> may seem like a willfully perverse candidate for the large format, since the Rocky Mountain expanses can barely be glimpsed through the haberdashery window. It seems likely that timing, as much as vision, inspired Tarantino to commit to an old-fashioned cinematic experience—with his beloved celluloid fading, 70mm is his way of raging against the dying of the Xenon light. But applied to such an intimate setting, the richness and depth of 70mm serve to heighten the tension considerably, as Tarantino keeps adding intrigue between various sets of characters. Samuel L. Jackson presides confidently over this Agatha Christie scenario, but there are potential eruptions all over the frame.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Hateful Eight\u003c/em> veers into dicey territory at times, particularly with Leigh’s Domergue, who absorbs the lion’s share of the physical and verbal abuse, however skilled she is at snarling insults through bloody rictus grins. Add to that Tarantino’s liberal deployment of racial epithets and extravagant violence—Greg Nicotero of \u003cem>The Walking Dead\u003c/em> fame gets second billing for his effects—and the viewership for this one narrows to the self-selected. Yet Tarantino can still spin a great yarn (and yarn within yarns), and his cast makes a meal of the dialogue, with favorites like Jackson and Roth returning to old form and newcomers getting a showcase, particularly Goggins, who excels at charismatic hicks, and Leigh, who converts violence into a form of knockabout comedy. \u003cem>The Hateful Eight\u003c/em> is a big, shambling, audacious inversion of the Western, held together by Tarantino’s sincere conviction that beyond his high juvenilia, American audiences might recognize their own fractious nation.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11191894/tarantino-holes-up-a-few-outlaws-in-the-hateful-eight",
"authors": [
"byline_arts_11191894"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11191895",
"label": "arts_137"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"radioSearchSegmentsReducer": {},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?category=movies": {
"isFetching": false,
"latestQuery": {
"from": 2292,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 3243,
"relation": "eq"
},
"items": [
"trulyca_30",
"arts_11225551",
"arts_11225432",
"arts_11224847",
"pop_19730",
"arts_11222584",
"arts_11220123",
"arts_11206703",
"arts_11186905",
"arts_11206573",
"arts_11203795",
"arts_11191894"
],
"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"
},
"trulyca_771": {
"type": "terms",
"id": "trulyca_771",
"meta": {
"index": "terms_1716263798",
"site": "trulyca",
"id": "771",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Truly CA",
"description": null,
"taxonomy": "program",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Truly CA Archives | KQED Arts",
"ogDescription": null
},
"ttid": 771,
"slug": "truly-ca",
"isLoading": false,
"link": "/trulyca/program/truly-ca"
},
"trulyca_2": {
"type": "terms",
"id": "trulyca_2",
"meta": {
"index": "terms_1716263798",
"site": "trulyca",
"id": "2",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Shorts",
"description": null,
"taxonomy": "series",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Shorts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2,
"slug": "shorts",
"isLoading": false,
"link": "/trulyca/series/shorts"
},
"trulyca_30": {
"type": "terms",
"id": "trulyca_30",
"meta": {
"index": "terms_1716263798",
"site": "trulyca",
"id": "30",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Dance",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Dance Archives | KQED Arts",
"ogDescription": null
},
"ttid": 30,
"slug": "dance",
"isLoading": false,
"link": "/trulyca/category/dance"
},
"trulyca_21": {
"type": "terms",
"id": "trulyca_21",
"meta": {
"index": "terms_1716263798",
"site": "trulyca",
"id": "21",
"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": 21,
"slug": "documentary",
"isLoading": false,
"link": "/trulyca/category/documentary"
},
"trulyca_86": {
"type": "terms",
"id": "trulyca_86",
"meta": {
"index": "terms_1716263798",
"site": "trulyca",
"id": "86",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Art",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Art Archives | KQED Arts",
"ogDescription": null
},
"ttid": 86,
"slug": "art",
"isLoading": false,
"link": "/trulyca/tag/art"
},
"trulyca_90": {
"type": "terms",
"id": "trulyca_90",
"meta": {
"index": "terms_1716263798",
"site": "trulyca",
"id": "90",
"found": true
},
"relationships": {},
"featImg": null,
"name": "California",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "California Archives | KQED Arts",
"ogDescription": null
},
"ttid": 90,
"slug": "california",
"isLoading": false,
"link": "/trulyca/tag/california"
},
"trulyca_146": {
"type": "terms",
"id": "trulyca_146",
"meta": {
"index": "terms_1716263798",
"site": "trulyca",
"id": "146",
"found": true
},
"relationships": {},
"featImg": null,
"name": "dance",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "dance Archives | KQED Arts",
"ogDescription": null
},
"ttid": 146,
"slug": "dance",
"isLoading": false,
"link": "/trulyca/tag/dance"
},
"trulyca_83": {
"type": "terms",
"id": "trulyca_83",
"meta": {
"index": "terms_1716263798",
"site": "trulyca",
"id": "83",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Documentary",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Documentary Archives | KQED Arts",
"ogDescription": null
},
"ttid": 83,
"slug": "documentary",
"isLoading": false,
"link": "/trulyca/tag/documentary"
},
"trulyca_501": {
"type": "terms",
"id": "trulyca_501",
"meta": {
"index": "terms_1716263798",
"site": "trulyca",
"id": "501",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Movement",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Movement Archives | KQED Arts",
"ogDescription": null
},
"ttid": 501,
"slug": "movement",
"isLoading": false,
"link": "/trulyca/tag/movement"
},
"trulyca_267": {
"type": "terms",
"id": "trulyca_267",
"meta": {
"index": "terms_1716263798",
"site": "trulyca",
"id": "267",
"found": true
},
"relationships": {},
"featImg": null,
"name": "short docs",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "short docs Archives | KQED Arts",
"ogDescription": null
},
"ttid": 267,
"slug": "short-docs",
"isLoading": false,
"link": "/trulyca/tag/short-docs"
},
"trulyca_28": {
"type": "terms",
"id": "trulyca_28",
"meta": {
"index": "terms_1716263798",
"site": "trulyca",
"id": "28",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Watch Films",
"description": "Looking for more?",
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": "Looking for more?",
"title": "Watch Films Archives | KQED Arts",
"ogDescription": null
},
"ttid": 28,
"slug": "watch-films",
"isLoading": false,
"link": "/trulyca/tag/watch-films"
},
"trulyca_492": {
"type": "terms",
"id": "trulyca_492",
"meta": {
"index": "terms_1716263798",
"site": "trulyca",
"id": "492",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Women",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Women Archives | KQED Arts",
"ogDescription": null
},
"ttid": 492,
"slug": "women",
"isLoading": false,
"link": "/trulyca/tag/women"
},
"trulyca_81": {
"type": "terms",
"id": "trulyca_81",
"meta": {
"index": "terms_1716263798",
"site": "trulyca",
"id": "81",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Documentary",
"description": null,
"taxonomy": "collection",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Documentary Archives | KQED Arts",
"ogDescription": null
},
"ttid": 81,
"slug": "documentary",
"isLoading": false,
"link": "/trulyca/collection/documentary"
},
"trulyca_80": {
"type": "terms",
"id": "trulyca_80",
"meta": {
"index": "terms_1716263798",
"site": "trulyca",
"id": "80",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Films",
"description": null,
"taxonomy": "collection",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Films Archives | KQED Arts",
"ogDescription": null
},
"ttid": 80,
"slug": "films",
"isLoading": false,
"link": "/trulyca/collection/films"
},
"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_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_990": {
"type": "terms",
"id": "arts_990",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "990",
"found": true
},
"relationships": {},
"featImg": null,
"name": "TV",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "TV Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1008,
"slug": "tv",
"isLoading": false,
"link": "/arts/category/tv"
},
"arts_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_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"
},
"pop_51": {
"type": "terms",
"id": "pop_51",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "51",
"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": 51,
"slug": "movies",
"isLoading": false,
"link": "/pop/category/movies"
},
"arts_1": {
"type": "terms",
"id": "arts_1",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1,
"slug": "arts",
"isLoading": false,
"link": "/arts/category/arts"
},
"arts_968": {
"type": "terms",
"id": "arts_968",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "968",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Comedy",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Comedy Archives | KQED Arts",
"ogDescription": null
},
"ttid": 986,
"slug": "comedy",
"isLoading": false,
"link": "/arts/category/comedy"
},
"arts_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_1310": {
"type": "terms",
"id": "arts_1310",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1310",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Art in the Open",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Art in the Open Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1322,
"slug": "art-in-the-open",
"isLoading": false,
"link": "/arts/tag/art-in-the-open"
},
"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_549": {
"type": "terms",
"id": "arts_549",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "549",
"found": true
},
"relationships": {},
"featImg": null,
"name": "comedy",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "comedy Archives | KQED Arts",
"ogDescription": null
},
"ttid": 550,
"slug": "comedy",
"isLoading": false,
"link": "/arts/tag/comedy"
},
"arts_967": {
"type": "terms",
"id": "arts_967",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "967",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Theater",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Theater Archives | KQED Arts",
"ogDescription": null
},
"ttid": 985,
"slug": "theater",
"isLoading": false,
"link": "/arts/category/theater"
},
"arts_626": {
"type": "terms",
"id": "arts_626",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "626",
"found": true
},
"relationships": {},
"featImg": null,
"name": "the-do-list-featured",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "the-do-list-featured Archives | KQED Arts",
"ogDescription": null
},
"ttid": 634,
"slug": "the-do-list-featured",
"isLoading": false,
"link": "/arts/tag/the-do-list-featured"
},
"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"
}
},
"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
}
}
